Raymond Chandler

"The only exception to his careful planning was plot; the best way to stop the reader guessing the end of a story, he decided, was not to know how it ended yourself."

"Though I don't really understand her I love my sister, her name's Miranda The boys from uptown they can't stand her The more she denies them the more they demand her But she just wants to lay in bed all night Reading Raymond Chandler"

"There was a desert wind blowing that night. It was one of those hot dry Santa Anas that come down through the mountain passes and curl your hair and make your nerves jump and your skin itch. On nights like that every booze party ends in a fight. Meek little wives feel the edge of the carving knife and study their husbands' necks. Anything can happen. You can even get a full glass of beer at a cocktail lounge."

"To the memory of Mr. Stan Phillips. (...) Just another four-flusher."

"He snorted and hit me in the solar plexus. I bent over and took hold of the room with both hands and spun it. When I had it nicely spinning I gave it a full swing and hit myself on the back of the head with the floor."

"The solution, once revealed, must seem to have been inevitable. At least half of all the mystery novels published violate this law."

"Love interest nearly always weakens a mystery because it introduces a type of suspense that is antagonistic to the detective's struggle to solve the problem. It stacks the cards, and in nine cases out of ten, it eliminates at least two useful suspects. The only effective love interest is that which creates a personal hazard for the detective - but which, at the same time, you instinctively feel to be a mere episode. A really good detective never gets married."

"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."

"When you read a story, you accept its implausibilities and extravagances, because they are no more fantastic than the conventions of the medium itself. But when you look at real people, moving against a real background, and hear them speaking real words, your imagination is anaesthetized. You accept what you see and hear, but you do not complement it from the resources of your own imagination. The motion picture is like a picture of a lady in a half-piece bathing suit. If she wore a few more clothes, you might be intrigued. If she wore no clothes at all, you might be shocked. But the way it is, you are occupied with noticing that her knees are too bony and that her toenails are too large. The modern film tries too hard to be real. Its techniques of illusion are so perfect that it requires no contribution from the audience but a mouthful of popcorn."

"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 perfect detective story cannot be written. The type of mind which can evolve the perfect problem is not the type of mind that can produce the artistic job of writing."

"[As a screenwriter] I have a sense of exile from thought, a nostalgia of the quiet room and balanced mind. I am a writer, and there comes a time when that which I write has to belong to me, has to be written alone and in silence, with no one looking over my shoulder, no one telling me a better way to write it. It doesn't have to be great writing, it doesn't even have to be terribly good. It just has to be mine."

"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."

"By the way, would you convey my compliments to the purist who reads your proofs and tell him or her that I write in a sort of broken-down patois which is something like the way a Swiss-waiter talks, and that when I split an infinitive, God damn it, I split it so it will remain split, and when I interrupt the velvety smoothness of my more or less literate syntax with a few sudden words of barroom vernacular, this is done with the eyes wide open and the mind relaxed and attentive. The method may not be perfect, but it is all I have."

"Hollywood is wonderful. Anyone who doesn't like it is either crazy or sober."

"The girl slept on, motionless, in that curled-up looseness achieved by some women and all cats."

"It was about eleven o'clock in the morning, mid October, with the sun not shining and a look of hard wet rain in the clearness of the foothills. I was wearing my powder-blue suit, with dark blue shirt, tie and display handkerchief, black brogues, black wool socks with dark little clocks on them. I was neat, clean, shaved and sober, and I didn't care who knew it. I was everything the well-dressed private detective ought to be. I was calling on four million dollars."

"The main hallway of the Sternwood place was two stories high. Over the entrance doors, which would have let in a troop of Indian elephants, there was a broad stained-glass panel showing a knight in dark armor rescuing a lady who was tied to a tree and didn't have any clothes on but some very long and convenient hair. The knight had pushed the vizor of his helmet back to be sociable, and he was fiddling with the knots on the ropes that tied the lady to the tree and not getting anywhere. I stood there and thought that if I lived in the house, I would sooner or later have to climb up there and help him. He didn't seem to be really trying."

"Tall, aren't you?" she said. "I didn't mean to be."

"The plants filled the place, a forest of them, with nasty meaty leaves and stalks like the newly washed fingers of dead men."

"A few locks of dry white hair clung to his scalp, like wild flowers fighting for life on a bare rock."

"A nice state of affairs when a man has to indulge his vices by proxy."

"The old man nodded, as if his neck was afraid of the weight of his head."

"Her hot black eyes looked mad. "I don't see what there is to be cagey about," she snapped. "And I don't like your manners." "I'm not crazy about yours," I said. "I didn't ask to see you. You sent for me. I don't mind your ritzing me or drinking your lunch out of a Scotch bottle. I don't mind your showing me your legs. They're very swell legs and it's a pleasure to make their acquaintance. I don't mind if you don't like my manners. They're pretty bad. I grieve over them during the long winter evenings. But don't waste your time trying to cross-examine me.""

"Neither of the two people in the room paid any attention to the way I came in, although only one of them was dead."

"The registration read: Carmen Sternwood, 3765 Alta Brea Crescent, West Hollywood. I went back to my car again and sat and sat. The top dripped on my knees and my stomach burned from the whiskey. No more cars came up the hill. No lights went on in the house before which I was parked. It seemed like a nice neighborhood to have bad habits in."

"You're broke, eh?"

"Tsk, tsk," I said, not moving at all. "Such a lot of guns around town and so few brains. You're the second guy I've met within hours who seems to think a gat in the hand means a world by the tail."

"You can have a hangover from other things than alcohol. I had one from women. Women made me sick."

"You know what Canino will do---beat my teeth out and then kick me in the stomach for mumbling."

"She bent over me again. Blood began to move around in me, like a prospective tenant looking over a house."

"I looked down at the chessboard. The move with the knight was wrong. I put it back where I had moved it from.Knights had no meaning in this game. It wasn't a game for knights."

"What did it matter where you lay once you were dead? In a dirty sump or in a marble tower on top of a high hill? You were dead, you were sleeping the big sleep, you were not bothered by things like that. Oil and water were the same as wind and air to you. You just slept the big sleep, not caring about the nastiness of how you died or where you fell. Me, I was part of the nastiness now. Far more a part of it than Rusty Regan was. But the old man didn't have to be. He could lie quiet in his canopied bed, with his bloodless hands folded on the sheet, waiting. His heart was a brief, uncertain murmur. His thoughts were as gray as ashes. And in a little while he too, like Rusty Regan, would be sleeping the big sleep."

"On the way downtown I stopped at a bar and had a couple of double Scotches. They didn't do me any good. All they did was make me think of Silver-Wig, and I never saw her again."

"Even on Central Avenue, not the quietest dressed street in the world, he looked about as inconspicuous as a tarantula on a slice of angel food."

"He had a battered face that looked as if it had been hit by everything but the bucket of a dragline. It was scarred, flattened, thickened, checkered, and welted. It was a face that had nothing to fear. Everything had been done to it that anybody could think of."

"A blonde to make a bishop kick a hole in a stained glass window."

"We sneered at each other across the desk for a moment. He sneered better than I did."

"“Who is this Hemingway person at all?” “A guy that keeps saying the same thing over and over until you begin to believe it must be good.” “That must take a hell of a long time,” the big man said."

"...crazy as two waltzing mice."

"They say money don't stink," he said. "I sometimes wonder."

"I needed a drink, I needed a lot of life insurance, I needed a vacation, I needed a home in the country. What I had was a coat, a hat and a gun. I put them on and went out of the room."

"She had a lot of face and chin. She had pewter-colored hair set in a ruthless permanent, a hard beak, and large moist eyes with the sympathetic expression of wet stones."

"He didn't curl his lip because it had been curled when he came in."

"A check girl in peach-bloom Chinese pajamas came over to take my hat and disapprove of my clothes. She had eyes like strange sins."

"'Okay, thees Hench no good, but poor guy, drunk, no job. Pay no rent, but I got lotsa money. So I say, Look, Hench, you make the confess. You sick man. Two three weeks sick. You go into court. I have a lawyer for you. You say to hell with the confess. I was drunk. The damn coppers are stuck. The judge he turn you loose and you come back to me and I take care of you. Okay? So Hench say okay, make the confess. That's all.' I said: 'And after two or three weeks the bad brother is a long way from here and the trail is cold and the cops will likely just write the Phillips killing off as unsolved. Is that it?' 'Si.' He smiled again. A brilliant warm smile, like the kiss of death."

"When I left, Merle was wearing a bungalow apron and rolling pie-crust. She came to the door wiping her hands on the apron and kissed me on the mouth and began to cry and ran back into the house, leaving the doorway empty until her mother came into the space with a broad homely smile on her face to watch me drive away. I had a funny feeling as I saw the house disappear, as though I had written a poem and it was very good and I had lost it and would never remember it again."

"The little blonde at the PBX cocked a shell-like ear and smiled a small fluffy smile. She looked playful and eager, but not quite sure of herself, like a new kitten in a house where they don't care much about kittens."

"'The minutes went by on tiptoe, with their fingers to their lips.'"

"I hung up. It was a step in the right direction, but it didn't go far enough. I ought to have locked the door and hid under the desk."