The acclaimed novelist shares the passage from The Long Goodbye that turned him from a 16-year-old consumer of the printed word into a creator: “He was looking at me and neither his eyes nor his gun moved. He was as calm as an adobe wall in the moonlight.”
Chandler’s style reminds of Biggie Smalls circa ”Life After Death”, with all the attendant merits and demerits. I read Marlowe and think of Biggie’s Frank White from “Niggas Bleed.”
Ta-Nehisi Coates watched “To Catch A Thief” and “Rear Window”. His conclusion: something runs through all of these movies and the work of Raymond Chandler that is amazing to behold–a really coarse, and unconcealed misogyny.
The London Times hailed Tom Williams as the “best biographer” of one of America’s foremost detective novelists, and described his book as “packed, insightful, entertaining.” Critics are calling him ebut study of Raymond Chandler a definitive work.
There never was a private detective like Philip Marlowe. As his creator Raymond Chandler (1888-1959) once wrote: “The real-life private eye is a sleazy little drudge …He has about as much moral stature as a stop-and-go sign.”
Crime writers need not have an inferiority complex when they have an exponent as good as Raymond Chandler.
Drawing on new interviews, previously unpublished letters and archives on both sides of the Atlantic, literary gumshoe Tom Williams casts light Raymond Chandler, this most mysterious of writers.