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A review by sullivanblack02
Farewell, My Lovely by Raymond Chandler
4.0
The influence of Raymond Chandler’s writing is monumental, as the gritty, maverick detective archetype has been largely defined by his work. This skill is on full display in Farewell, My Lovely, where Chandler’s iconic sleuth, Philip Marlowe, takes to the streets of Los Angeles in search of a missing woman.
As Marlowe navigates his investigation, he uncovers a tangled web of mystery and hidden identities that connect a cast of colorful (or perhaps, in classic noir style, shadowy and colorless) characters. Chandler’s knack for weaving intricate plots and creating atmospheric tension is unparalleled, showcasing his mastery of the noir genre.
However, one glaring flaw in Chandler’s writing is his inconsistent and often deeply offensive depiction of characters, particularly minorities. His work frequently leans on racist stereotypes and slurs, with descriptors such as “Indian,” “Italian,” and a gratuitous use of the N-word standing out in stark contrast to his otherwise vivid prose.
Juxtaposing this problematic aspect is Chandler’s undeniable brilliance in crafting memorable lines, such as this description of a stunning blonde:
“She was a blonde. A blonde to make a bishop kick a hole in a stained glass window.”
This kind of wit—sharp, evocative, and genre-defining—encapsulates what makes Chandler a legend in noir fiction. Yet, when writing about people of color, Chandler’s creativity falters entirely, leaving behind caricatures devoid of depth or humanity.
Despite these significant shortcomings, Farewell, My Lovely remains worth the read for its enduring influence on pop culture and the detective genre. It’s a masterclass in atmosphere and narrative, though readers must grapple with its deeply dated and troubling aspects.
As Marlowe navigates his investigation, he uncovers a tangled web of mystery and hidden identities that connect a cast of colorful (or perhaps, in classic noir style, shadowy and colorless) characters. Chandler’s knack for weaving intricate plots and creating atmospheric tension is unparalleled, showcasing his mastery of the noir genre.
However, one glaring flaw in Chandler’s writing is his inconsistent and often deeply offensive depiction of characters, particularly minorities. His work frequently leans on racist stereotypes and slurs, with descriptors such as “Indian,” “Italian,” and a gratuitous use of the N-word standing out in stark contrast to his otherwise vivid prose.
Juxtaposing this problematic aspect is Chandler’s undeniable brilliance in crafting memorable lines, such as this description of a stunning blonde:
“She was a blonde. A blonde to make a bishop kick a hole in a stained glass window.”
This kind of wit—sharp, evocative, and genre-defining—encapsulates what makes Chandler a legend in noir fiction. Yet, when writing about people of color, Chandler’s creativity falters entirely, leaving behind caricatures devoid of depth or humanity.
Despite these significant shortcomings, Farewell, My Lovely remains worth the read for its enduring influence on pop culture and the detective genre. It’s a masterclass in atmosphere and narrative, though readers must grapple with its deeply dated and troubling aspects.