Raymond Chandler
Raymond Chandler
Raymond Thornton Chandlerwas a British-American novelist and screenwriter. In 1932, at the age of forty-four, Chandler became a detective fiction writer after losing his job as an oil company executive during the Great Depression. His first short story, "Blackmailers Don't Shoot", was published in 1933 in Black Mask, a popular pulp magazine. His first novel, The Big Sleep, was published in 1939. In addition to his short stories, Chandler published seven novels during his lifetime. All but Playback have been...
NationalityAmerican
ProfessionNovelist
Date of Birth23 July 1888
CityChicago, IL
CountryUnited States of America
Alcohol is like love. The first kiss is magic, the second is intimate, the third is routine. After that you take the girl's clothes off.
Without magic, there is no art. Without art, there is no idealism. Without idealism, there is no integrity. Without integrity, there is nothing but production.
She had eyes like strange sins.
Most people go through life using up half their energy trying to protect a dignity they never had
I was as hollow and empty as the spaces between stars.
The private detective of fiction is a fantastic creation who acts and speaks like a real man. He can be completely realistic in every sense but one, that one sense being that in life as we know it such a man would not be a private detective.
The plants filled the place, a forest of them, with nasty meaty leaves and stalks like the newly washed fingers of dead men.
That's one thing I like about Hollywood. The writer is there revealed in his ultimate corruption. He asks no praise, because his praise comes to him in the form of a salary check. In Hollywood the average writer is not young, not honest, not brave, and a bit overdressed. But he is darn good company, which book writers as a rule are not. He is better than what he writes. Most book writers are not as good.
There is something about the literary life that repels me, all this desperate building of castles on cobwebs, the long-drawn acrimonious struggle to make something important which we all know will be gone forever in a few years, the miasma of failure which is to me almost as offensive as the cheap gaudiness of popular success.
It was a cool day and very clear. You could see a long way-but not as far as Velma had gone.
Writers who get written about become self-conscious. They develop a regrettable habit of looking at themselves through the eyes of other people. They are no longer alone, they have an investment in critical praise, and they think they must protect it. This leads to a diffusion of effort. The writer watches himself as he works. He grows more subtle and he pays for it by loss of organic dash.
The motion picture made in Hollywood, if it is to create art at all, must do so within such strangling limitations of subject and treatment that it is a blind wonder it ever achieves any distinction beyond the purely mechanical slickness of a glass and chromium bathroom.
The dilemma of the critic has always been that if he knows enough to speak with authority, he knows too much to speak with detachment.
The faster I write the better my output. If I'm going slow, I'm in trouble. It means I'm pushing the words instead of being pulled by them.