And, really, she did like Chandler, too. She did. What woman wouldn't? He was handsome and successful, a member of one of Nashville's oldest and most prominent families. But she'd never felt anything more than a friendly sort of affection for him, and even that usually only came about after she'd consumed a good, dry Manhattan. Preferably during a two- for- one happy hour. At any rate, she'd never experienced for Chandler the kind of feeling a woman should have for a man she thought about marrying, that breathless kind of wanting, that aching sort of yearning, that endless, ferocious passion, that insistent, frenzied, needy demand, that hot, sweaty, wanton arousal that made a woman just want to rip off her clothes and wrap her naked body around a man and feed herself to him whole, that... that... Ah, where was she? Oh, yes. At any rate, she'd never experienced that sort of, um, feeling for Chandler that a woman should have for a man with whom she intended to spend the rest of her life.
Jane: "Look, Dave Chandler left me on the ninth floor of our university research library without my panties after we lost our virginity together. He never called me again and actually turned on his heel and walked in the opposite direction whenever he saw me on campus. Unless you're going to do that, I don't think were gonna have a problem. Gabriel?" Gabriel: "Sorry. Something strange happened inside my head when you said the word "panties". The overwhelming urge to kill Dave Chandler combined with a simultaneous loss of blood to the brain.
While I was writing poems, I would often divert myself by reading detective novels, I liked them. And there was a period when I read many of them. I absorbed the form, and I liked it, it was a good one, mostly the hard-boiled school, you know, Chandler, Hammett, and their heirs. That was the direction that interested me most.
He began as a minor imitator of Fitzgerald, wrote a novel in the late twenties which won a prize, became dissatisfied with his work, stopped writing for a period of years. When he came back it was to BLACK MASK and the other detective magazines with a curious and terrible fiction which had never been seen before in the genre markets; Hart Crane and certainly Hemingway were writing of people on the edge of their emotions and their possibility but the genre mystery markets were filled with characters whose pain was circumstantial, whose resolution was through action; Woolrich's gallery was of those so damaged that their lives could only be seen as vast anticlimax to central and terrible events which had occurred long before the incidents of the story. Hammett and his great disciple, Chandler, had verged toward this more than a little, there is no minimizing the depth of their contribution to the mystery and to literature but Hammett and Chandler were still working within the devices of their category: detectives confronted problems and solved (or more commonly failed to solve) them, evil was generalized but had at least specific manifestations: Woolrich went far out on the edge. His characters killed, were killed, witnessed murder, attempted to solve it but the events were peripheral to the central circumstances. What I am trying to say, perhaps, is that Hammett and Chandler wrote of death but the novels and short stories of Woolrich were death. In all of its delicacy and grace, its fragile beauty as well as its finality. Most of his plots made no objective sense. Woolrich was writing at the cutting edge of his time. Twenty years later his vision would attract a Truffaut whose own influences had been the philosophy of Sartre, the French nouvelle vague, the central conception that nothing really mattered. At all. But the suffering. Ah, that mattered; that mattered quite a bit.
Barry N. Malzberg
I definitely have an affection for detective fiction, and when I first read Dashiell Hammett's 'The Maltese Falcon,' that book and its author made an enormous impression on me as a reader and a writer, and led me to other hard-boiled American writers like Raymond Chandler and Ross McDonald, among many.
In 1968, 'Liberty Magazine' had an article about George Wallace in which he stated he would suggest me as a possible vice-presidential candidate, along with other choices such as 'Happy' Chandler and General Curtis LeMay. However, I am not interested in any political office in the United States or anywhere, now or back in 1968.
Late summer is perfect for classic mysteries - think of Raymond Chandler's hot Santa Anas and Agatha Christie's Mediterranean resorts - while big ambitious works of nonfiction are best approached in September and early October, when we still feel energetic and the grass no longer needs to be cut.
I feel sorry for novelists when they have to mention women's eyes: there's so little choice, and whatever colouring is decided upon inevitably carries banal implications. Her eyes are blue: innocence and honesty. Her eyes are black: passion and depth. Her eyes are green: wildness and jealousy. Her eyes are violet: the novel is by Raymond Chandler.
Perhaps this is the purpose of detective investigations, real and fictional - to transform sensation, horror and grief into a puzzle, and then to solve the puzzle, to make it go away. 'The detective story, ' observed Raymond Chandler in 1949, 'is a tragedy with a happy ending.' A storybook detective starts by confronting us with a murder and ends by absolving us of it. He clears us of guilt. He relieves us of uncertainty. He removes us from the presence of death.
Leaning her silly, beautiful, drunken head on my shoulder, she said, "Oh, Esther, I don't want to be a feminist. I don't enjoy it. It's no fun." "I know," I said. "I don't either." People think you decide to be a "radical," for God's sake, like deciding to be a librarian or a ship's chandler. You "make up your mind," you "commit yourself" (sounds like a mental hospital, doesn't it?). I said Don't worry, we could be buried together and have engraved on our tombstone the awful truth, which some day somebody will understand: WE WUZ PUSHED.
Leaning her silly, beautiful, drunken head on my shoulder, she said, "Oh, Esther, I don't want to be a feminist. I don't enjoy it. It's no fun." "I know, " I said. "I don't either." People think you decide to be a "radical, " for God's sake, like deciding to be a librarian or a ship's chandler. You "make up your mind, " you "commit yourself" (sounds like a mental hospital, doesn't it?). I said Don't worry, we could be buried together and have engraved on our tombstone the awful truth, which some day somebody will understand: WE WUZ PUSHED.
It's like a bunch of hookers advertising their cellulite/ stretch- mark infested bodies to the highest bidder, and then claiming they deserve respect. Crawling on their hands and knees, pupils dilated on the high of greed, licking their lips almost tasting their next job of self- whoredom, and nothing is more tempting than the idea of Mr. Ellison. He could pay for tricks perform by the Pope, chandler-swinging strip-tease nuns.. No one has ever said "NO" to the idea of money and therefore no one has ever said "No" to Mr. Ellison and actually meant it... and then you have to wonder why he has no respect for people?
Avra Amar Filion
Snapping shut his mobile, Dalgliesh reflected that murder, a unique crime for which no reparation is ever possible, imposes it own compulsions as well as it's conventions. He doubted whether Macklefield [the murder victim's Will attorney] would have interrupted his country weekend for a less sensational crime. As a young officer he, too, had been touched, if unwillingly and temporarily, by the power of murder to attract even while it appalled and repelled. He had watched how people involved as innocent bystanders, provided they were unburdened by grief or suspicion, were engrossed by homicide, drawn inexorably to the place where the crime had occurred in fascinated disbelief. The crowd and the media who served them had not yet congregated outside the wrought-iron gates of the Manor. But they would come, and he doubted whether Chandler-Powell's [owner of the Manor where the murder was committed] private security team would be able to do more than inconvenience them.
He realized that time, clocks ticking, everything is just a human-made concept. That clocks didn't tick back in the times he was seeing now, and he realized that the sun never sets as long as you travel with it, circumnavigating the globe, once every 24 hours. It was a new thought, a new dogma to Jordan, evolving his idea of being more than one at once. It was an idea of being more than one time at once, literally moving along the 4th dimension. Not being pushed to the side, not being pushed up or down, not being pushed inward or outward, but being pushed in one way, without ever moving at all. They were being pushed along the track of time, with no way to go back, with no way to retract and go back to the starting point as they could in any of the three visible dimensions. And it was that thought, Jordan finally realized, that made him exhausted and scared. It was that realization that made Jordan realize that this was the thing Tong was afraid of. That through all his travels on planes and all his moving around the world, he could still go back to Bangkok, he could still go back to the hospital where he was born, but he could never go backward on that track and stand in the same place, only the same location, as where his first day began." -A Spontaneous Existence, Chandler Ivanko
for a piece of famous fluffiness that doesn't just pretend about what real lives can be like, but moves on into one of the world's least convincing pretences about what people themselves are like, consider the teased and coiffed nylon monument that is 'Imagine': surely the My Little Pony of philosophical statements. John and Yoko all in white, John at the white piano, John drifting through the white rooms of a white mansion, and all the while the sweet drivel flowing. Imagine there's no heaven. Imagine there's no hell. Imagine all the people, living life in - hello? Excuse me? Take religion out of the picture, and everybody spontaneously starts living life in peace? I don't know about you, but in my experience peace is not the default state of human beings, any more than having an apartment the size of Joey and Chandler's is. Peace is not the state of being we return to, like water running downhill, whenever there's nothing external to perturb us. Peace between people is an achievement, a state of affairs we put together effortfully in the face of competing interests, and primate dominance dynamics, and our evolved tendency to cease our sympathies at the boundaries of our tribe.
After six long hours of driving and three rest stops, Tiger pulls up to a snow-topped, metal speaker box just outside the State Penitentiary's first gate in Walla Walla. As he rolls down his window and snow flies in his face, Joshua starts begging for a Happy Meal. I turn around, snapping at him. "This ISN'T MCDONALDS and YOU AREN'T HUNGRY. NOW SHUT UP BRAT." A loud scratchy masculine voice blasts out of the speaker. "CAN I HELP YOU?" Tiger leans out the window, as he answers- We're here to visit Raven Chandler. "HAVE YOU BEEN HERE BEFORE?" "Yes sir. I've been here A LOT." "WHERE'S HIS MOTHER?" "I don't know.. I haven't seen her in months." "NOT THE PRISONER'S MOTHER. THE BRAT IN THE BACK SEAT OF YOUR JEEP." "Oh- HIM-" As he turns, smiling and sticking his tongue out at Joshua, I lean towards his window to answer the guard's question. "SHE'S IN VEGAS, SIR. I'M BABYSITTING. HE'S MY GODSON." When the speaker remains disturbingly silent for far too long, I continue. "HE'S A GOOD BOY SIR. HE WON'T BE ANY TROUBLE- I SWEAR." "THAT'S RIGHT, " Tiger said. "HE SWEARS ON THE LITTLE BRAT'S MOTHER'S GRAVE.