There's no denying the mythic catchiness of Raymond Chandler's Philip Marlowe. And there's no admitting his possibility. Just where would a glib dumb prissy pushy tall dark handsome breast-beating alcoholic intellectual low-brow heterosexual urban nostalgic two-fisted prose stylist idealist spring from? Los Angeles? Regretfully, no. And how would he make a living? As a private detective? I think not. Marlowe can only be explained as a self-loathing writer's pastless futureless power fantasy, who springs only from a book and makes a living only in books.

Which entices moviemakers into a dried river bank surrounded by giant ants, n'est-ce pas, cherie? Movies are supposed to be able to handle detectives; it says so right here in my Popular Culture Handbook. But how can the movies straightfacedly present such an unjustifiable character? ("With Cary Grant" is the best answer, but Chandler didn't manage to talk the studio into it.)

The first successful Chandler adaptations saved themselves by keeping some snappy lines and imagery and ditching the leading man: Edward Dmytryk's "Marlowe" reverts to sleazy Hammett-style professionalism and Howard Hawks's "Marlowe" anticipates James Bond's irresistable aplomb.

Less successful as film but more interesting as critique, two later adaptations tossed out the easy stuff like Chandler's dialog in favor of Chandler's essential oddity. Proving again that hostility towards one's source material is the healthiest stance for a director, Robert Altman's attempt to destroy Marlowe is cinema's first real tribute to the character. The Elliott Gould "Marlowe" could be an aging trust-fund kid who's retreated into fantasy, but there's no way of knowing for sure; the movie preserves his inexplicability while giving it a believable presentation (this Marlowe is as passive, inarticulate, threadbare, and isolated as most self-deluded personalities) and environment (this Los Angeles is too universally self-absorbed to take notice of any particular citizen's delusions). And Sterling Hayden's towering and toppling "Roger Wade" is just the self-loathing powerful writer to shove the Chandler subtext explicitly into our face and down our throats where it belongs.

The only movie ever influenced by The Long Goodbye was The Big Lebowski, a hoot-and-a-half in which Altman's ego-gored hostility is replaced by the Coen Bros.' aimless playing around. Since Jeff Bridges' character pretty much shares their attitude, the result is the most warm-heartedly engaged take on "Philip Marlowe" yet, even if there's not much Brotherly affection left over for any of the other characters....

For a long time -- like, a really long time, let's not even go there -- I've dreamt about my own fully explicated version of a Chandler detective: he's a paranoid schizophrenic who's assigned cases by the voices in his head and whose secretary / leg-man is his pet parakeet. But I have a hard time writing fiction so I've never committed this dream to print. Probably just as well.

Perhaps a similar dream prodded at young Jonathan Lethem, who came up with an admirably tailored science-fiction-y explanation for the Chandleresque narrator of Motherless Brooklyn: Tourette's syndrome. The gap between the narrator's careful prose style and his hit-me-harder banter? Tourette's syndrome affects speech and not writing. The narrator's weirdly monastic dedication to the case? Tourette's syndrome is associated with obsessive-compulsive behavior. His inability to sustain a sexual relationship? Say no more. If anything, it's too well-tailored: even the narrator eventually notices the snug fit, but, of course, is able to explain that explaining his every trait as a symptom of Tourette's syndrome is actually just another symptom of Tourette's syndrome. Clothes make the man if you're selling clothes, syndromes make the character if you're selling pop psychology, but a novel's air gets kind of stuffy by the end....

Which also counts as a Chandleresque effect: Chandler's The Long Goodbye was more like The Long Squirm in a Pinching Suit (but in an interesting way, if you know what I mean), and I could never spend more than a couple of minutes in Playback without rushing back outside for a breather....

What it corresponds to

Some writers are recognizable in their correspondence and some aren't. (Recognizable to readers, that is; their recognizability as the animals previously encountered by fleshy intimates is an unrelated matter.)

Those writers whose letters cozily nestle alongside their oeuvre -- Henry Adams, Raymond Chandler, Samuel R. Delany, among many others -- rely on a "micro" verbal impulse as well as a "macro"-building one: an impulse to respond to the world and its inhabitants by producing paragraphs, whether those paragraphs are meant to fit into a larger structure or not. Their books may seem colder or crueler or wiser than their letters, but the material comes from the same source. (And, not all that paradoxically, their letters may sometimes seem a bit impersonal: the sausage meat grinds on in a steady stream, regardless who gets the individual link....)

Whereas Dashiell Hammett's letters, like James Joyce's, are purely practical objects (even when their practical purpose is to give their recipients a sense of personal connection), springing from completely different impulses than the writer's book-objects, constructed along completely different lines, and not of much interest except to the addressed or the biographer. For the enthusiastic reader? Well, from one letter where Hammett uses full-out "Hammett style" to describe a day of Army life, I learned that lapidary prose can be a very dull thing outside a structural context; e.g., you can't polish dust. That's about it.

Having now trudged through a Alaskan-sized mud stretch of these letters, I feel the need to revisit some flashier gewgaws, such as those of John Wilmot, the Earl of Rochester. And, look, since they're out of print anyway, how about I pass a few past you as well?

The Customer Review that they don't want you to see

The Library of America did an excellent job with its Raymond Chandler volumes, which lacked only the stories that Chandler had "cannibalized" into novels, but I can't say the same for its second (and final) volume of Dashiell Hammett, edited by Steven Marcus.

Of the three Hammett short story collections on my shelves, this $35 book replaces one: The Continental Op, edited by the same Steven Marcus. It includes only 5 of the 20 selections in the recent Nightmare Town repackaging; from The Big Knockover it leaves out "The Gatewood Caper," "Corkscrew" (the Continental Op goes cowboy), and, most unforgivably, "Tulip," an autobiographical meditation on storytelling which is the only sizable chunk of Hammett's postwar writing ever to surface. It does include "Woman in the Dark," currently in print as a thin single volume, dropping its subtitle ("A Novel of Dangerous Romance"); there may be good textual reasons for that decision, but they aren't described in this edition's notes.

Nice to get this work on acid-free paper, but the Library of America is intended to produce authoritative editions. It's unfortunate if predictable that this goal is forgotten when the series takes on the genre writers who need such attention most.

Make the voices stop

At a similar literary salon about, oh, maybe seven or eight years ago, the favorite first lines game was played, and I quickly realized that I didn't have any.

Partly that's because so much of my favorite writing occurred before the late-twentieth-century vogue for hooky opening sentences; partly it's because I dislike that vogue, which will seem as eccentically simplistic to future readers as an earlier era's focus on moments of moral sublimity seems to us. Grabbing the reader by her arm and yanking seems a rude way to initiate a conversation, and when I remember particularly enthralling beginnings, I remember their structural effects rather than the wording of sentence one: the early and peculiar disappearance of Madame Bovary's initial narrator, for example. (Back at that salon, the only opening line I could recall right off was a condensed version of the Bovary gambit, as played by Beckett in Mercier and Camier: "The journey of Mercier and Camier is one I can tell, if I will, for I was with them all the time." The rest of the book being I-less.)

On the other extremity, I'm a sucker for endings that snap close with a satisfying click, and I recall (and re-read) a good many last lines, with special fondness for those whose persistent startle ripples backward through the entire work, restructuring it retrospectively into something far richer than one had even dared to hope for as one kicked joyfully up surfacewards holding one's perfectly timed-to-the-last-page breath.

(Oddly, few of the examples I'm about to offer really count as "spoilers": to understand their defiance of expectations, one must have developed those expectations in the first place. The truly itchy can feel free to request story-wrecking explanations from me.)

Such an ending is more likely to speed the traveller on with a slamming of the door than with a gentle swinging to, treating readerly expectations so aggressively that they could almost be called rebuttals to their own books. (Ulysses is one such rebuff after another.) Closure is, after and above all, a refusal of further story.

[The first remains the most chill-enducing and daringly experimental ending I've ever read, as befits Charlotte Brontë's Villette, the pinnacle, in English literature, of characterization through narrative voice: The plot is resolved in the imperative! or, more accurately, via the narrator's very use of the imperative! Aided by the unemphasized selectivity of her seemingly conventional last paragraph wrap-up! (I think we can agree that exclamation marks are called for here, given the tightrope-acrobat precision of the performance.)

The second concludes Flaubert's most brilliant closing movement: that of the infinitely self-undermining Sentimental Education -- whose influence can be clearly seen in my third entry, from M. John Harrison's The Course of the Heart, and perhaps also in Mavis Gallant's "The Moslem Wife" (as cited in Eclogues).

Next, and speaking of characterization through narrative voice, the befuddled detective of Henry James's The Sacred Fount finally manages to reach a conclusion. Fifth is Dashiell Hammett's last word on the murder mystery genre (or perhaps on fiction in general) in The Thin Man, and lastly Patricia Highsmith's The Cry of the Owl abruptly becomes non-Highsmithian -- and freezes.]

[Janet Frame's Faces in the Water throws mental health into our eyes like vitriol; Virginia Woolf's Orlando shoots its arrows of desire right through the temporal barrier; Jack Womack's Going, Going, Gone goes home; Raymond Chandler's The High Window gives everyone a fucking break.]

[Carol Emshwiller's Carmen Dog; Barbara Comyns's Mr Fox; Herman Melville's The Confidence Man; and the devastating final sentence of John Crowley's Engine Summer, whose subject (in several senses) might be said to be the tragicomedy of incompletion.]

[Robert Musil's Young Törless enters sentimental grad school; Djuna Barnes's Nightwood pays tribute to Aphrodite; Karen Joy Fowler's Sister Noon lights out for the hills.]

2015-06-21 : Guy Lionel Slingsby kindly directed my attention to this trimmer and more Twitter-friendly approach.

Induction of Intent

Phew. I'm glad that's over. Aren't you?

Serialization helps, but still the time it takes for me to finish any piece of writing increases exponenentially with the piece's projected length. That's why I had to give up fiction. All my ideas were for novels, and none would have been drafted before my great-great-grandniece's wedding.

During the month-long harrowing of Graceland, I solaced myself misty-eyed at One Pot Meal, Ftrain, and Fireland, which have all recently indulged in navel-gazing on the positive tip. A pleasant trick of nostalgia, since back in the olden "home page" times I didn't have much in common with Ftrain or Fireland.

My own models for the reversed-chronology many-entries-per-page form were Alamut (a professional artist's notebook) and Robot Wisdom (the "What's New" list of a reclusive crank). For those I quickly grew to think of as my compeers, the web was an adjunct to a more established career or, for the younger writers, a projected adjunct to a hoped-for career. Among them, my distinguishing trait (if any) was bovine rectus acceptance of the web as my primary medium and serial self-publishing as my primary work.

That wasn't the result of community values or allegiance to the cutting edge, but merely of crabbèd age. Insofar as I displayed confidence, it was the confidence that no other path was left to explore.

At thirty, I'd found it necessary to begin writing. By forty, I still found it necessary, but I had even less notion what to do about it. I'd made the mistake of believing that skill and intention were equivalent to capability: that a writer writes what they choose to write rather than what they're capable of writing. (This seems laughably naive to me now, but it's been a common enough naivete even among those I respect: think of Dashiell Hammett starting [and starting] his mainstream novel or Raymond Chandler finally getting the chance to work on that historical romance....)

• There were editors who wanted to see my fiction, but I was unable to finish new fiction. (Hyponotherapy was suggested but I just couldn't talk myself into it.)
• There were editors who wanted to see my essays, but I was unable to finish new essays. (Generalist essayist is a tough gig. I feel for Donald Phelps, for example. He writes about theater, about 1930s and 1940s movies, about novels, about comics, popping up once in a while in a specialty journal -- not all the time, since he wants to write about other specialties too; not often enough to gain a readership, just often enough for the editors to remember him -- getting one generalist collection in, what?, 1969, boom, out of print and never reprinted, and then eventually getting his comics criticism collected by Fantagraphics, so now he's known as an eccentric comics critic instead of as what he is. If I ever meet Donald Phelps, boy, I'm gonna say two words: "Two words, Mr. Phelps: Web Site.")
• There were editors who wanted my reviews, but I was unable to start new reviews. (I was told I might become the American John Clute if I worked hard and liked a lot more science fiction than I do.)
• There were editors who wanted my commercial writing, but commercial writing is back-and-wrist-and-brain breaking labor for very little money and it had nothing to do with what I found necessary anyway.

Boy meets form. "For good or for bad," as one mildly disapproving friend said.

Three-and-a-half-years in, the compeers swarm and I grow ever more grateful to the form. Which is saying something, since it started pretty much saving my life from the get go.

Even the "vanity publishing" label comforts me, much as a fetishist might take comfort in wearing the fetished object, no matter how despised by the mob. Virtually all my writerly heroes enjoy only mild-to-imperceptable popularity. And so, if I had somehow managed to succeed in my ambitions for my own work, I was certain that I wouldn't have helped the financials of those nice editors in the slightest.