Raymond Chandler Quotes

Source: The Long Goodbye

Source: The Big Sleep (1939), Chapter 32, Phillip Marlowe
Context: 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.

The Long Goodbye (1954)

Source: Farewell, My Lovely

Source: The High Window

Source: The Little Sister

Source: The Big Sleep (1939), chapter 6

Source: Farewell, My Lovely

"A Qualified Farewell" (essay, early 1950's), published in The Notebooks of Raymond Chandler (1976)

Introduction
The Simple Art of Murder (1950)

Source: The Big Sleep (1939)

The Long Goodbye (1954)

Source: Long Goodbye

Source: The Big Sleep (1939), Chapter 1
Context: 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.

"About the screenplay for Strangers on a Train" (notes, 1950), first published in Raymond Chandler Speaking (1962), section "Chandler on the Film World and Television", p. 134
Context: 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.

"Great Thought" (19 February 1938), published in The Notebooks of Raymond Chandler (1976)
Context: There are two kinds of truth: the truth that lights the way and the truth that warms the heart. The first of these is science, and the second is art. Neither is independent of the other or more important than the other. Without art, science would be as useless as a pair of high forceps in the hands of a plumber. Without science, art would become a crude mess of folklore and emotional quackery. The truth of art keeps science from becoming inhuman, and the truth of science keeps art from becoming ridiculous.

Source: The Big Sleep

Source: Farewell, My Lovely (1940), chapter 34

Source: The Long Goodbye

Source: Farewell, My Lovely (1940), chapter 13

Source: The Big Sleep (1939), Chapter 6
Context: 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.

Source: The Long Goodbye

Source: The Long Goodbye

Source: The Big Sleep

Source: The Long Goodbye

Source: The Big Sleep

Variant: When in doubt, have a man come through the door with a gun in his hand.

opening paragraph, chapter 1
The Big Sleep (1939)
Context: 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.

Source: The Simple Art of Murder

Source: The Big Sleep

Source: Farewell, My Lovely

Source: The Big Sleep

Source: The Big Sleep

Source: The Long Goodbye

Source: The Lady in the Lake

"Pearls Are a Nuisance" (short story, 1939)
Source: Pearls are a Nuisance

Source: Pearls are a Nuisance

Source: The Lady in the Lake

Source: The Little Sister (1949), chapter 1

Source: The Big Sleep (1939), Chapter 25

Source: The Long Goodbye

Source: The Long Goodbye

Source: The High Window (1942), chapter 36
Context: 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.

Source: The Big Sleep

Source: Farewell, My Lovely

Source: The High Window