Anthony Burgess sums up Raymond Chandler’s The Long Goodbye: “If this is not literature, what is?”
The Long Goodbye
Raymond Chandler (1953)
Cover of the first English editon
Chandler was once considered an admirable writer of low-class fiction, the story of crime and detection (despite the example of Wilkie Collins’s The Moonstone) being regarded as ineligible for inclusion in the ranks of the serious novel. But Chandler is a serious writer, an original stylist, creator of a character, Philip Marlowe, as immortal as Sherlock Holmes, and of an ambience—Southern California—which colours one’s attitude to the real location. This is perhaps the best of the Philip Marlowe series. Here Marlowe, the stoical and rather quixotic private eye, attempts to lose his old detachment from people and make friends with Terry Lennox, a weak but amiable man who is married to the daughter of a multimillionaire. The marriage is unsatisfactory; Lennox calls his wife, Sylvia, a tramp. The story becomes complicated when Sylvia is found bloodily murdered. Bribed heavily by his father-in-law, Lennox agrees to take the blame for the murder: he disappears into Mexico and is later reported dead. The case is officially closed and the great family name of Potter (that of the tycoon) cleared.
Marlowe now meets a popular novelist, Roger Wade, sick of his meretricious craft, a drunkard and former friend of Sylvia. Marlowe considers the possibility that Wade may have killed Sylvia when drunk and then blacked out the incident. Then Wade is found dead. Marlowe learns that his wife, Eileen, was once married to Lennox. She killed Sylvia out of jealousy and then killed Wade because of his unreliability: "He talked too much." At the end of the book Lennox reappears. Marlowe is disillusioned with him: his weakness of character has produced an unnecessary murder. Marlowe is hurt, but he soon reverts to his old cynicism. He needed friendship, but he is not going to get it. The world is a jungle; it is cynically given a veneer of order by the corrupt police. You can say goodbye to everybody, but never to them.
Romantic, tending towards a sentimentality it never quite reaches, The Long Goodbye is beautifully composed, with a taut economical style exactly suited to the narrator Marlowe. If this is not literature, what is?
—from Anthony Burgess, 99 Novels: The Best in English Since 1939. Allison & Busby, 1984.
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