Raymond Chandler Bibliography Examples

Raymond Thornton Chandler (July 23, 1888 – March 26, 1959) was an American author of crime stories and novels. His influence on modern crime fiction has been immense, particularly in the writing style and attitudes that much of the field has adopted over the last 60 years.


Chandler was born in Chicago, Illinois, in 1888, but moved to Britain in 1895 when his parents divorced. He entered Dulwich College in 1900, and was naturalised as a British citizen in 1907 in order to take the Civil Service exam. He passed the exam and took a job at the Admiralty, where he worked for just over a year. His first poem was published during this time. After leaving the Civil Service, Chandler worked as a jobbing journalist, and continued to write poetry in the late Romantic style.


Chandler returned to the U.S. in 1912 and trained as a bookkeeper and accountant. In 1917, he enlisted in the Canadian Army and fought in France. After the armistice he moved to Los Angeles and began an affair with an older woman (Cissy Pascal), whom he later married. By 1932 Chandler had attained a vice-presidency at Dabney Oil Syndicate in Signal Hill, California but lost this well-paying job as a result of his alcoholism.


He taught himself to write pulp fiction in an effort to draw an income from his creative talents, and his first story was published in Black Mask in 1933. His first novel, The Big Sleep, was published in 1939.


Chandler worked as a Hollywood screenwriter following the success of his novels, working with Billy Wilder on James M. Cain's novel Double Indemnity (1944), and writing his only original screenplay, The Blue Dahlia (1946). Chandler also collaborated, somewhat disastrously, on the screenplay of Alfred Hitchcock's Strangers on a Train (1951).


Cissy died in 1954 and Chandler, heartbroken and suffering from a painful nervous disease, turned once again to drink. His writing suffered in quality and quantity, and he attempted suicide in 1955. He died in 1959 of pneumonia.


Chandler's finely wrought prose was widely admired by critics and writers from the high-brow (W.H. Auden, Evelyn Waugh) to the low-brow (Ian Fleming). Although his swift-moving, hardboiled style was inspired largely by Dashiell Hammett, his use of lyrical similes in this context was quite original. Turns of phrase such as "The minutes went by on tiptoe, with their fingers to their lips" (The Lady in the Lake, 1943), have become characteristic of private eye fiction, and he has given his name to the critical term Chandleresque. His style is also the subject of innumerable parodies and pastiches.


Chandler was also a perceptive critic of pulp fiction, and his essay "The Simple Art of Murder" is a standard academic reference.


All of Chandler's novels concern the cases of a Los Angeles investigator named Philip Marlowe, "a nice clean private detective who wouldn't drop cigar ashes on the floor and never carried more than one gun", as Marlowe describes himself on the first page of The High Window. Farewell, My Lovely, The Big Sleep, and The Long Goodbye are arguably his masterpieces. All have been adapted for film, most notably The Big Sleep (1946), directed by Howard Hawks and starring Humphrey Bogart and Lauren Bacall. Novelist William Faulkner also received a screenwriting credit for this film. The influence of Chandler's screenwriting, as limited as it was, and the adaptation of his novels to screen in the 1940s were important influences on American film noir.


Chandler's short stories typically chronicled the adventures of Philip Marlowe or other down-on-their luck private detectives (John Dalmas, Steve Grayce) or similarly inclined good samaritans (such as Mr. Carmady). Exceptions are the macabre "The Bronze Door" and "English Summer", a self-described Gothic romance set in the English countryside. Interestingly, in the 1950s radio series "The Adventures of Philip Marlowe", which included adaptations from the stories, other protagonists were exchanged for Marlowe (for example, Marlowe for Steve Grayce in the adaptation of "The King in Yellow"). This substitution of the name of the protagonist actually restored the original name used in the earliest published versions of the stories; in fact, it was only in their later republished forms that the name Philip Marlowe was used in any of the stories (with the exception of "The Pencil").


"Down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. The detective must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honor. He talks as the man of his age talks, that is, with rude wit, a lively sense of the grotesque, a disgust for sham, and a contempt for pettiness." — The Simple Art of Murder


"Would you convey my compliments to the purist who reads your proofs and tell him or her that I write 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 stay split and when I interrupt the velvety smoothness of my more or less literate syntax with a few sudden words of bar-room vernacular, that 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." - In a letter to his editor regarding a proofreader that had changed Chandler's split infinitives


Mike Grost on Raymond Chandler


I am not as big a Raymond Chandler fan as are many private eye enthusiasts. His work was undeniably influential: imitations of it form the basis of private eye literature, from the 1940's to the 1990's. And it is mandatory for a review of mystery fiction, such as this one, to include a detailed look at his work. But Chandler's work is so gloomy and downbeat that I find it hard to see how people get so much pleasure out of it.


Of all the really famous classical detective writers, Chandler was the weakest at plotting. He recognized this himself. This especially hurts his longer stories and novels, which tend to ramble on without any real logic or coherence. Nor do Chandler's works develop into coherent meanings or overall logical points. In the 1940's, John Dickson Carr slammed Chandler's work for its "poor construction". I think this phrase has two meanings. It simply refers to Chandler's very bad plotting. It also refers to a lack of any overall plan or structure to Chandler's books.


Chandler's great virtue was his brilliant prose style. He was wonderful with the English language. Whether in his vivid descriptions, the clever dialogue, or his meditations on life, Chandler expressed himself beautifully.


Influences on Chandler


People often talk as if Chandler's main influence as a mystery writer were Dashiell Hammett. Hammett certainly was a pioneer writer of the kind of hard boiled detective stories that Chandler wrote, and the ultimate source of much of Chandler's approach. But I suspect a much more immediate predecessor of Chandler was Frederick Nebel. Nebel's Dick Donahue stories were appearing in Black Mask when Chandler published his first story in that magazine in 1933, whereas most of Hammett's fiction was published in the 1920's.


Chandler's gentle satire of detective stories, "Pearls Are a Nuisance" (1939), seems to me to be in part a spoof of Nebel's "Pearls Are Tears" (1933). In addition to the related titles, both stories have a similar plot about a detective who sticks his neck out to get pearls back that were stolen from an elderly, infirm, kind-hearted dowager. Chandler treated a similar theme seriously, as well, in "Mandarin's Jade" (1937), later used as a basis for Farewell, My Lovely (1940).


The basic game plan of Chandler's detective fiction, in addition, seems to me to be closer to Nebel's early Donovan work than to that of any other writer I know in Black Mask history. Both deal with a solitary, very tough detective, who meets a lot of eccentric criminals on mean streets. Both wisecrack, both get involved with a lot of violence. Neither author pays much attention to plotting or surprise solutions to mysteries. In this they are unlike Hammett, who usually had a puzzle plot with an elaborate surprise ending, and clues scattered through the narrative. (Nebel's later fiction would put a greater emphasis on puzzle plotting.)


In both Nebel and Chandler, emphasis is laid on intricate combinations of bad guys all struggling in scene after scene, battling it out with each other and the detective. Neither detective at all plans ahead, unlike Hammett's heroes; the hero just goes along battling it out from episode to episode. Behind both authors stands Carroll John Daly.


Settings and plot elements recur from Nebel's fiction into Chandler's. The nightclub or bar, with a dusty back corridor leading into the manager's office, where a confrontation takes place between hero and manager. The seedy hotel, where shadowing takes place. The heavy drinking of the hero, and detailed accounts of all his meals. The friend who gets in trouble, and needs to be rescued from his difficulties with the law, or criminals. Nebel's big killer Tubba Klem, in "Get a Load of This", seems like a precursor of Moose Molloy in Farewell, My Lovely.


There are stylistic similarities in tone between Nebel and Chandler, as well. Both recount everything that happens, bit by bit. Both use a flat, narrating tone that simply recounts facts.


Chandler was inspired by other authors, too. "Nevada Gas" (1935), a story with a gambler as a hero, and a mob background, seems to be in homage to Paul Cain's Fast One (1932), a novel with a mobster/gambler hero. Fast One was serialized in Black Mask; the novel version was praised by Chandler. The atmosphere and general style of "Nevada Gas" seem to be in imitation of Cain's work.


Chandler's use of a first person detective narrator who makes a lot of wisecracks ultimately comes from Carroll John Daly; Daly's approach influenced such writers as Forrest Rosaire and Robert Leslie Bellem, too.


In his essay, "The Simple Art of Murder", Chandler praises the British author of realist police procedural tales, Freeman Wills Crofts. Crofts' detective techniques were an influence on such Chandler tales as "The Lady in the Lake", and "No Crime in The Mountains", as is discussed in detail below. Crofts was also a major influence on Dashiell Hammett. It has been fashionable in recent years to state that Black Mask writers were "uniquely American", and had nothing in common with either British authors or the Golden Age mystery novel. An examination of their works does not support this idea. Instead it suggests that Hammett and Chandler were American allies of the Crofts-led realist school.


The First Chandler Short Stories


"Blackmailers Don't Shoot" (1933) is Chandler's first story. It is only one of a handful of his works to emphasize the formal intricate plotting so popular in traditional mysteries. Here the emphasis is not on who done it, but on the ever changing status of the hero and the other characters. At first our hero is presented as nothing more than a common blackmailer, but Chandler uses considerable ingenuity in changing our perception of what side of the law he is on, and what strategy he is following. Further ingenuity is expended on the role of various police, and the legal standing of the hero. The story is sometimes hard to follow, but very interesting and creative.


His follow-up, "Smart Aleck Kill", is lousy; so is "Finger Man", although it was one of Chandler's favorite stories. Next comes "Killer in the Rain", one of Chandler's most sexually shocking stories. This piece, which he later expanded into The Big Sleep, still seems excessively lurid and sleazy even by 1990's standards. It is not one of my favorite Chandler tales, but at least he is not asleep at the switch like his last two tales.


Chandler Finds a Voice: The Key Black Mask Tales


Next comes "Nevada Gas" (1935), start of a genuinely creative period for Chandler. This mob tale has a great opening, and a fairly good follow up. It is somewhat sour in its view of human relations. It starts a series of stories all based on some strong idea or central situation. This is a hallmark of this series.


Next come three tales all dealing with civic corruption. These are all good stories: "Spanish Blood" (1935), "Guns at Cyrano's" (1936), "The Man Who Liked Dogs" (1936). "Guns" is the best of the three, and introduces Chandler's series detective Ted Carmady.


"The Man Who Liked Dogs" was later partially incorporated into Farewell, My Lovely (1940), but reads very well as an independent work. Two situations from the story are repeated in the novel, but most of the plot was not used.


"Guns at Cyrano's" and "The Man Who Liked Dogs" both have unifying themes underlying their plot events. "Guns" is focused heavily on clothes, containing a whole world of unusual fashion statements. "The Man Who Liked Dogs" has a central scene of a sinister drying out clinic for drunks and drug users. As a reformed alcoholic himself, Chandler might have known and feared such places. Its sinister prison like aspects are echoed in the dogs held in pens in the veterinary hospital in the early scenes. Later a trip to a gambling ship creates another location of prison like aspect.


Chandler's first period spurt of outstanding stories concluded with "Pickup On Noon Street" (1936) and "Goldfish" (1936). The mirror apartments effect in "Goldfish" is particularly memorable, as is the story's ending. "Goldfish" marks the end of Chandler's first period.


A Period of Longer but Poorer Tales


Chandler's next story, "The Curtain", has interesting personal relationships in its opening, but otherwise is laboriously violence ridden. One shoot out simply follows another without pause. This, and his next story, "Try The Girl", mark a period of decline.


After 1936 Chandler left Black Mask and switched over to Dime Detective. His pieces grew longer, and he created a new series detective, Johnny Dalmas. His stories seem no longer to be based on a central idea, situation or gimmick, as in his early works, and tend to be just "stories", attempts to tell a tale without any gimmicks or central hooks. Generally speaking, Chandler's work from this era is not as good as his earlier work for Black Mask, although it got progressively better as he approached 1939, the last year of his short story writing period. The best pieces from these years are "Red Wind" (1938), a story with a great opening scene and a good follow up, "Bay City Blues" (1938), a not-bad story with wall to wall wisecracks, and Chandler's best (and least typical) short work, "Pearls are a Nuisance" (1939).


"Pearls" is a comic gem. Written partly as a spoof of detective stories, it is both funny and a good detective story in its own right. The story also shows that Chandler in a happy and humorous mood was a better writer than Chandler in the quasi tragic mode he was always affecting. I wish Chandler had done more pieces like this.


Chandler also wrote an excellent shorter piece for the Saturday Evening Post. "I'll be Waiting" (1939) is Chandler's only story for the slicks, and manages to be an excellent mood piece.


Two interesting minor pieces are "The Lady in the Lake" (1939), which was expanded into the novel, and "Trouble is My Business" (1939). Although this entertaining work is fairly minor, it is hard to resist a story containing a vicious elderly millionaire, a predatory golddigger named Miss Harriet Huntress, a spoiled playboy gambler, a mobster, a murderous chauffeur, a 240 pound female detective and a hit man with a psychotic kid brother. Every hard boiled detective story should have a cast like this. Mary Roberts Rinehart used the line "trouble is my business" in a 1934 short story ("The Inside Story" in her 1937 collection Married People), but it has become famous in association with Raymond Chandler.


In 1939 Chandler largely stopped writing pulp short stories, and turned to novels instead. I don't think any of his early novels are as good as his shorter pieces. Their greatest virtue is their prose style, which reaches its height in the second book, Farewell, My Lovely.


Chandler followed Farewell with a long short story, "No Crime in the Mountains" (1941). This is one his most smoothly written works. Filled with humor and an exciting plot, it is one of his most entertaining tales. It has a rich atmosphere describing the mountain resorts where the crime takes place. Less poetic than Farewell, it is still full of mountains of vividly realized descriptive detail.


"No Crime in the Mountains" seems like a conscious attempt to write a mystery in the style of Freeman Wills Crofts. We know that Chandler was a great admirer of Freeman and Crofts, and his literary model Hammett also seems influenced by Croftsian ideas of realistic detection. The mountain resort setting of "Mountains" is described with the same level of detail one finds in the Backgrounds of the realist school of fiction. So is the Pacific Northwest setting of "Goldfish". "Mountains" has other Croftsian features. There are police detectives. Tracking bad guys from physical trails plays an important part in the detection. And the criminal enterprise in the story (unnamed here to avoid spoiling the tale!) seems especially Croftsian.


"Mountains" also follows Nebel like traditions. The bad guys are up to some criminal enterprise. Innocent bystanders accidentally tumble into it. This leads to their being murdered. The detective tracks them down, figuring out along the way what scheme the criminals are up to.




The Big Sleep (1939)

Farewell, My Lovely (1940)

The High Window (1942)

The Lady in the Lake (1943)

The Little Sister (1949)

The Long Goodbye (1953)

Playback (1958)

Poodle Springs (1959) - incomplete; completed by Robert B. Parker in 1989


Short Stories


Stories Featuring Philip Marlowe


  • Finger Man (1934)
  • Goldfish (1936)
  • Red Wind (1938)
  • Trouble is My Business (1939)
  • The Pencil (1961; originally Marlowe Takes on the Syndicate)


Other Short Stories


  • Blackmailers Don't Shoot (1933)
  • Smart-Aleck Kill (1934)
  • Killer in the Rain (1935)
  • Nevada Gas (1935)
  • Spanish Blood (1935)
  • Guns at Cyrano's (1936)
  • The Man Who Liked Dogs (1936)
  • Pickup on Noon Street (1936; originally published as Noon Street Nemesis)
  • The Curtain (1936)
  • Try the Girl (1937)
  • Mandarin's Jade (1937)
  • The King in Yellow (1938)
  • Bay City Blues (1938)
  • Pearls are a Nuisance (1939)
  • I'll be Waiting (1939)
  • The Bronze Door (1939)
  • No Crime in the Mountains (1941)
  • Professor Bingo's Snuff (1951)
  • English Summer (1976; published posthumously)


Raymond Chandler


"Chandler wrote as if pain hurt and life mattered."

-- The New Yorker on The Long Goodbye

"I have romantic notions of drinking gimlets with Raymond Chandler, waiting out the Santa Ana winds together in some dim bar."

-- Megan Abbott, July 24, 2016, The New York Times Book Review

Raymond Chandler was one of the foremost authors (not merely one of the foremost mystery authors) of the 20th century.

Without him, what we know today as the hard-boiled crime tale might be quite different--probably less literary in aim, if not always in execution. Chandler took the raw, realistic intrigue style that Dashiell Hammett, James M. Cain, and others had begun cooking up in post-World War I America, and gave it an artistic bent, filling his fiction with evocative metaphors and sentences that refuse to shed their cleverness with age (“It was a blonde. A blonde to make a bishop kick a hole in a stained glass window”; “She sat in front of her princess dresser trying to paint the suitcases out from under her eyes.”).

Like Ernest Hemingway, Chandler had an idiosyncratic prose “voice” that is often imitated but rarely duplicated. “He wrote like a slumming angel and invested the sun-blinded streets of Los Angeles with a wonderful gusto and imaginative flair,” opined Ross Macdonald, who was among those influenced by Chandler's work, and who would go on--in novels such as The Chill (1964) and The Underground Man (1971)--to further elevate crime fiction's reputation.

Although he was born in Chicago on July 23, 1888, Raymond Thornton Chandler moved with his divorced mother, Florence, to England in 1895. After attending preparatory school in London, he studied international law in France and Germany before returning to Britain and embarking on a literary career that produced, early on, mostly book reviews and bad poetry. However, he did manage to publish 27 of his poems, as well as a short story called “The Rose-Leaf Romance,” before returning to the States in 1912. He then labored at a variety of jobs (including as a tennis-racket stringer and as a bookkeeper for a creamery in Los Angeles) until 1917, when he enlisted as a private in the Canadian Army and was sent to the French front lines during World War I. Discharged at Vancouver, Canada, in 1919, he moved back to L.A., and in 1924, wed Pearl Eugenie “Cissy” Pascal. Already twice married and divorced, she was also 18 years older than the future novelist, yet “was a lively, original, intelligent, mature, youthful-looking woman who seemed precisely right for a man of Chandler's age and experience ...,” according to biographer Jerry Speir. By this time, Chandler was on the payroll of a Southern California oil syndicate, just as the oil industry around L.A. was starting to, well, gush. He originally signed on with that syndicate as a bookkeeper, but--despite his distaste for an industry he believed was dominated by corrupt opportunists--eventually rose to the position of vice president.

However, as business pressures intensified during the Depression, and Cissy's health began to fail with age, Chandler commenced drinking heavily and engaging in affairs with office secretaries. In 1932, he was fired from his job with the oil syndicate. To ease the consequent drain on his savings, he turned back to writing, and in 1933 saw his first short story published in Black Mask, the most noteworthy of America's cheap, mass-market “pulp magazines.” Speir explains:

It was an 18,000-word story called “Blackmailers Don't Shoot” and caused the editorial staff to wonder if this unknown man were a genius or crazy. The story was so well polished that not a phrase could be cut, thus the praise for his “genius.” But in his compulsive drive for perfection, [Chandler] had also tried to “justify” the right margin, as printers say. He had tried to make the typed page appear with even margins on both the left and right, like a printed page--thus the concern for his possible “craziness.”

Chandler relished mystery writing because it seemed to lack pretension, and the pulps' restrictions on word length and subject matter compelled him to master the art of storytelling. Never a past master of plotting, Chandler found his own strengths instead in creating emotion through description and dialogue, and in presenting a prose idiom that melded the precision of his prep-school English with the vigor of American vernacular speech.

His first novel, The Big Sleep (which he wrote in three months), hit bookstores in 1939 and introduced the character who would come to be synonymous with, and long outlive, his creator: wisecracking, chess-playing, late-30s L.A. private eye Philip Marlowe. Marlowe embodied the author's conception (spelled out in his classic 1944 essay, “The Simple Art of Murder”) of the gumshoe as “a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honor--by instinct, by inevitability, without thought of it and certainly without saying it. He must be the best man in his world and good enough for any world. I do not care much about his private life; he is neither a eunuch nor a satyr; I think he might seduce a duchess and I am quite sure he would not spoil a virgin; if he is a man of honor in one thing, he is that in all things.”

Chandler hadn't intended to write mysteries for the rest of his life, but that's exactly what he did. Thank goodness. After The Big Sleep, he penned six more Marlowe adventures, including what are arguably two undeniable classics: Farewell, My Lovely (1940) and The Long Goodbye (1953). He also took a turn in the early '40s as a Hollywood scriptwriter, adapting James M. Cain's Double Indemnity (1943) and writing the original screenplay for The Blue Dahlia (1946). Both garnered Oscar nominations for Chandler, and both (and Double Indemnity in particular) are well worth watching, be it on the silver screen or on televisions.

In 1954, just a year after The Long Goodbye was published, Cissy died from fibrosis of the lungs, sending her then 66-year-old husband into a “long nightmare” of mourning that left him with severe depression and resulted in at least one suicide attempt. Biographers like Frank McShane (The Life of Raymond Chandler, 1976) have remarked on the mixture in Chandler's stories of toughness and sentimentality, and how “the emotional sensitivity that made [Chandler's] literary achievement possible also made him miserable as a human being.” That miserableness was much in evidence during the last five years of Chandler's life. He survived it, in part, through the ministrations of Helga Greene, his London literary agent and friend (and, in the months prior to his death, his fiancée), and went on to compose Playback, which was based on a screenplay he'd written in 1947. That novel reached bookstore shelves just 16 months before he passed away, on March 26, 1959.

When Raymond Chandler died, he left behind an unfinished manuscript titled The Poodle Springs Story, which Robert B. Parker (a novelist who shows distinctive Chandlerian influences in his own novels, featuring a Boston P.I. named Spenser) would complete and see published, as simply Poodle Springs, in 1989.

The author left in his wake, too, a stylistic legacy that has inspired successive generations of detective novelists; without Chandler (along with Hammett and Macdonald) having shown them the way, people such as Parker, Michael Connelly, Timothy Harris, Arthur Lyons, Max Allan Collins, Robert Crais, Walter Mosley, Sara Paretsky, Paco Ignacio Taibo II and Loren D. Estleman might never have found their way into writing crime fiction. The success of movies made from Chandler's stories (especially Humphrey Bogart's 1946 The Big Sleep and James Garner's Marlowe, a 1969 flick based on The Little Sister), as well as radio shows, TV series, and even comic books based on his work makes us forget that he only ever published seven novels and 24 short stories during his lifetime.

The impact of his legacy has far exceeded the limits of his artistic fabrication. He gave the world an indelible image of mid-20th-century Los Angeles as a city where lawlessness and luxury were old drinking buddies, and trust was a rare commodity--a rather different place from what Chandler himself had encountered during his first, pre-World War I foray to Southern California. (In The Little Sister, he has Marlowe say, “I used to like this town. A long time ago. ... [It] was just a big dry sunny place with ugly homes and no style, but goodhearted and peaceful.”) This author also bequeathed us an archetype of the fictional private eye as a tired latter-day knight who, though he has traded his helmet for a fedora, still knows how to rescue a damsel in distress. That archetype has been altered in the decades since Chandler's demise, but its shadow can still be seen behind many of the crime-novel protagonists working today.

As McShane put it in his introduction to the wonderful 1988 anthology, Raymond Chandler's Philip Marlowe: A Centennial Celebration, “Chandler was a real artist. He created a character who has become a part of American folk mythology, and in writing about Los Angeles, he depicted a world of great beauty and seamy corruption--the American reality. He made words dance, and readers continue to respond to his magic.”

So, let us drink a toast to Raymond Chandler: an unusual man, but one of the best writers in his own world and good enough for any world.

Respectfully submitted byJ. Kingston Pierce. An earlier version of this piece appeared on his blog, Limbo.


  • "Chandler did not write "funny" in a Donald Westlake-goofy humorous way. But, for me, (his work) consists of one drawing-room comedy scene after another. In The Long Goodbye, not his larkiest book by a long shot, Marlowe comes upon a thug who has just been worked over by a sadistic cop by the name of (I think but am too lazy to look up) McGoon. The thug says, "That McGoon thinks he's tough." Marlowe looks at the guy's bloody and mangled body and says, "You mean he's not sure?" In The Little Sister, Marlowe finds himself sharing a patio with the head of a movie studio whose only joy in life is watching his dogs urinate in order of their age. Marlowe's first novel finds him engaged in fast-paced patter with a wealthy and spoiled young woman that ends with the detective telling the family butler, "You ought to wean her. She looks old enough." In his last, Playback, there are numerous little sequences that yield witty and nasty and, yes, bitter quips. In effect Chandler's novels seem to me to be the hardboiled equivalent to Noel Coward's theater comedies."

-- Dick Lochte

  • "Dashiell Hammett may have shown how mean those streets could be, but Raymond Chandler imagined a man who could go down those streets who was not himself mean."

-- Kevin Burton Smith



The original incomplete draft by Chandler posthumously published in Raymond Chandler Speaking, 1984.

  • The Blue Dahlia (1976; screenplay)
  • Raymond Chandler's Unknown Thriller: The Screenplay of Playback (1985; reworked as the 1958 Marlowe novel)


NOTE: Chandler would often cannabilize earlier short stories for novels, which all featured Philip Marlowe. As well, several of his short stories originally featured protagonists other than Marlowe, but became Marlowe stories (or, in a few cases, John Dalmas stories) when they were collected, notably in The Simple Art of Murder. In all cases, the original detective is shown in this list.
The first Marlowe novel, The Big Sleep, uses "The Curtain" and "Killer in the Rain." Farewell, My Lovely uses "The Man Who Liked Dogs," "Try the Girl," and "Mandarin's Jade." The Lady in the Lake uses "Bay City Blues," "The Lady in the Lake" and "No Crime in the Mountains." Chandler didn't allow these stories to be collected and printed in his lifetime, but they were collected in 1964's Killer in the Rain, published after his death.

  • "Blackmailers Don't Shoot" (December 1933, Black Mask; Mallory)
  • "Smart-Aleck Kill" (July 1934, Black Mask; Mallory)
  • "Finger Man" (October 1934, Black Mask; Carmady)
  • "Killer in the Rain" (January 1935, Black Mask; Carmady)
  • "Nevada Gas" (June 1935, Black Mask)
  • "Spanish Blood" (November 1935, Black Mask)
  • "Guns at Cyrano's" (January 1936, Black Mask; Ted Malvern)
  • "The Man Who Liked Dogs" (March 1936, Black Mask; Carmady)
  • "Noon Street Nemesis" (May 30, 1936, Detective Fiction Weekly; aka "Pick-up on Noon Street")
  • "Goldfish" (June 1936, Black Mask; Carmady)
  • "The Curtain" (September 1936, Black Mask; Carmady)
  • "Try the Girl" (January 1937, Black Mask; Carmady)
  • "Mandarin's Jade" (November 1937, Dime Detective Magazine; John Dalmas)
  • "Red Wind" (January 1938, Dime Detective Magazine; John Dalmas)
  • "The King in Yellow" (March 1938, Dime Detective Magazine)
  • "Bay City Blues" (June 1938; Dime Detective Magazine; John Dalmas)
  • "The Lady in the Lake" (January 1939, Dime Detective Magazine; John Dalmas)
  • "Pearls Are a Nuisance" (April 1939, Dime Detective Magazine)
  • "Trouble Is My Business" (August 1939, Dime Detective Magazine; John Dalmas)
  • "I'll Be Waiting" (October 14, 1939, Saturday Evening Post; Tony Resick)
  • "The Bronze Door" (November 1939, Unknown Worlds)
  • "No Crime in the Mountains" (September 1941, Detective Story; John Evans)
  • "Professor Bingo's Snuff" (June-August 1951, Park East Magazine)
  • "English Summer" (1957; first printed in 1976, The Notebooks of Raymond Chandler)
  • "Marlowe Takes on the Syndicate" (April 6-10, 1959, London Daily Mail; aka "Philip Marlowe's Last Case" in January 1962, EQMM; aka "The Pencil" in September 1965, Argosy; as "Wrong Pidgeon" in February 1969, Manhunt; Philip Marlowe)
  • "It's Alright -- He Only Died" (October 2017-February 2018, The Strand)


  • Five Murderers (1944)
  • Five Sinister Characters (1945)
  • The Finger Man and Other Stories (1946)
  • Spanish Blood (1946)
  • Red Wind (1946)
  • The Simple Art of Murder (1950)...Buy this book
  • Trouble is My Business (1950)...Buy this book
  • Pick-Up On Noon Street (1953)
  • Killer in the Rain (1964)
  • Raymond Chandler: Stories and Early Novels (1995)...Buy this book

Library of America edition includes The Big Sleep, Farewell, My Lovely and The High Window, plus selected early stories.

  • Raymond Chandler: Later Novels and Other Writings (1995) ..Buy this book

Second Library of America edition includes The Lady in the Lake, The Little Sister, The Long Goodbye, Playback, the Double Indemnity screenplay, plus selected essays and letters.

This Everyman's Library Edition is a whopping 1344 pages, and includes ALL of Chandler's short fiction.

  • Raymond Chandler: The Library of America Edition (2014)...Buy this book

Deluxe collector's box of two previous Library of America editions.


  • "The Simple Art of Murder" (December 1944, The Atlantic Monthly)
  • "Writers in Hollywood" (November 1945, The Atlantic Monthly)
  • "Critical Notes." (July 1947, Screen Writer)
  • "Oscar Night in Hollywood" (March 1948, The Atlantic Monthly)
  • "The Simple Art of Murder." (April 15, 1950, Saturday Review of Literature; revised version of the December 1944 Atlantic Monthly article)
  • "Ten Per Cent of Your Life" (February 1952, Atlantic Monthly)
  • "A Couple of Writers" (1951; first published in 1984, Raymond Chandler Speaking)
  • "Ten Per Cent of Your Life" (February 1952, The Atlantic Monthly)


    (1942, RKO)
    Release date: May 29, 1942
    Based on characters created by Michael Arlen and Farewell, My Lovely by Raymond Chandler
    Adapted by Lynn Root and Frank Fenton
    Directed by Irving Reis
    Starring George Sanders as GAY LAWRENCE, THE FALCON

The first film adaptation of a Chandler novel, although the detective is Michael Arlen's The Falcon, not Philip Marlowe.

    (1942, 20th Century Fox)
    Release date: January 22, 1943
    Based on characters created by Brett Halliday and The High Window by Raymond Chandler
    Screenplay by Clarence Upsom Young
    Directed by Herbert I. Leeds
    Produced by Sol M. Wurtzel
    Starring Lloyd Nolan as MICHAEL SHAYNE

The second film adaptation of a Chandler novel, but once again the hero is not Marlowe. This time it's Brett Halliday's Michael Shayne.

  • DOUBLE INDEMNITY....Buy this video...Buy the DVD...Buy the Blu-Ray
    (1944, Paramount)
    107 minutes
    Based on the novel by James M. Cain
    Screenplay by Billy Wilder and Raymond Chandler
    Directed by Billy Wilder
    Starring Fred MacMurray as Walter Neff
    Barbara Stanwyck as Phyllis Dietrichson
    and Edward G. Robinson as BARTON KEYES

Nominated for seven Academy Awards, including Best Picture.

    (1944, Paramount)
    86 minutes
    Based on the novel by Rachel Field
    Screenplay by Raymond Chandler and Frank Partos
    Directed by Irving Pichel
    Costumes by Edith Head
    Starring Alan Ladd, Loretta Young, Susan Hayward, Barry Sullivan

Handsome but poor doctor falls in love with a rich, beautiful deaf patient. No wonder Chandler drank.

  • MURDER MY SWEET....Buy this video...Buy on DVD
    (UK title: Farewell, My Lovely)
    (1944, RKO)
    Based onFarewell My Lovely by Raymond Chandler
    Screenplay by John Paxton
    Directed by Edward Dmytryk
    Starring Dick Powell as PHILIP MARLOWE

My favourite Marlowe, in my favourite Marlowe film.

    (1945, Paramount)
    82 minutes
    Based on the novel Her Heart in Her Throat by Ethel Lina White
    Screenplay by Hagar Wilde and Raymond Chandler
    Directed by Lewis Allen
    Starring Joel McCrea, Gail Russell, Herbert Marshall, Phyllis Brooks

A governess is haunted by a ghost, or possibly her past. Pass the scotch.

  • THE BLUE DAHLIA....Buy this video)..Buy the DVD
    (1946, Paramount)
    100 minutes
    Original screenplay by Raymond Chandler
    Directed by George Marshall
    Produced by John Houseman
    Starring Alan Ladd as Johnny Morrison
    Also starring Veronica Lake, William Bendix, Howard DaSylva, Tom Powers, Hugh Beaumont

A soldier comes home from the war to discover his wife's a tramp. She's also dead, and he's the prime suspect. A pretty good flick, despite numerous production snafus, studio squabbles and Chandler being crocked to the gills during most of the writing.

  • THE BIG SLEEP....Buy this video ...Buy this DVD
    (1946, Warner Brothers)
    Based on the novel by Raymond Chandler
    Screenplay by William Faulkner, Jules Furthman and Leigh Brackett
    Directed by Howard Hawks
    Starring Humphrey Bogart as PHILIP MARLOWE

A great and much beloved film, but it ain't Chandler's Marlowe.

Director and star couldn't even spell "Phillip" correctly, but his idea of filming the entire thing using the subjective camera was what really sank this turkey. Not that the acting was any help. Kiss my lens, baby!

    (UK title: The High Window)
    (1947, 20th Century Fox)
    Based onThe High Window by Raymond Chandler
    Screenplay by Dorothy Hannah
    Adaptation by Leonard Praskins
    Directed by John Brahm
    Starring George Montgomery as PHILIP MARLOWE

Long considered the redheaded stepchild of Marlowe films, it's usually dismissed as inconsequential, and certainly stills from the film, depicting George Montgomery as a Marlowe who sports a chessy mustache don't hold much promise. But the film, only recently made widely available, while slight, is a pleasant surprise. Some very effective camera work and some great character bits go a long way to making this quickie B-flick an enjoyably satisfying piece of film.

  • STRANGERS ON A TRAIN....Buy this video...Buy the DVD
    (1951, Warner Brothers)
    100 minutes
    Based on the novel by Patricia Highsmith
    Adapted by Whitfield Cook
    Screenplay by Raymond Chandler and Czenzi Ormonde
    Directed by Alfred Hitchcock
    Produced by Alfred Hitchcock
    Starring Farley Granger, Ruth Roman, Robert Walker, Leo G. Carroll

By most accounts, Chandler's final screenplay for this psychological thriller was completely trashed by director/producer Hitchcock, and never used. Ormonde, though, was forced to share the credit with Chandler, due to studio politics.

  • MARLOWE....Buy this video... Buy the DVD
    (1969, Metrocolor/MGM)
    Based onThe Little Sister by Raymond Chandler
    Screenplay by Stirling Silliphant
    Directed by Paul Bogart
    Starring James Garner as PHILIP MARLOWE

This 1969 adaptation is well worth a look, even if Garner is a little stiff, caught somewhere between the hard-boiled dicks of 40s detective films and his future incarnation as easy-going Jim Rockford. Not essential, maybe, and too groovy for its own good, but fun nonetheless.

  • THE LONG GOODBYE... Buy the video... Buy the DVD
    (1973, United Artists)
    Based on the novel by Raymond Chandler
    Screenplay by Leigh Brackett
    Directed by Robert Altman
    Starring Elliot Gould as PHILIP MARLOWE

Robert Altman's quirky, rabble-rousing 1973 revisionist ode to Chandler and Marlowe is either a grievous insult, or a perfect update, depending on where you stand. You hate it, or you love it -- that's all there is to it. Elliot Gould stars, though Leigh (The Big Sleep) Brackett's script is the real draw here.
And the funny thing is that, despite the howls of the alleged "purists," The Long Goodbye is probably truer to Chandler's Marlowe than Hawks' much more celebrated version, which swaps the essential loneliness of the character and the tragedy of crushed ideals of Chandler's character for a Marlowe who's more horny fratboy than doomed knight. In Altman's vision, Marlowe is truly and undeniably part of the nastiness by the finale. No romantic clinches with the babe as the credits roll in this one.

  • FAREWELL, MY LOVELY...Buy this video....Buy this DVD
    (1975, EK Corporation/ITC)
    95 minutes
    Based on the novel by Raymond Chandler
    Screenplay by David Zelag Goodman
    Directed by Dick Richards
    Starring Robert Mitchum as PHILIP MARLOWE

A solid flick, marred by the fact Mitchum is about 30 or so years late in playing the role. But there's something quite engaging in seeing Marlowe as a tired, aging bruiser plowing his way through a faithfully reproduced 1940s Los Angeles of mean streets and "shine bars."

Mitchum again, but even older and more tired, and for some reason transported to London. There's a solid cast, and in some ways it's more faithful than Hawks' classic (they restore the soliloquy, for example, and Candy Clark reclaims much of the disturbing, off-kilter sexuality of Carmen's character) but it's at best a curiosity, for die-hard fans only. It also underscores the fact they should have cast Mitchum as Marlowe thirty or so years earlier.

  • THE LITTLE SISTER...Watch it on You Tube
    (2015, Brooklyn Multimedia)
    103 minutes
    Based on the novel by Raymond Chandler
    Grafted over the PC game Private Eye (1996, Simon & Schuster Interactive and Byron Preiss Multimedia)
    Directed and scripted by Josh Buckland

An animated gem of a bootleg, using elements of the old PC game Private Eye (which itself borrowed heavily from Chandler's The Little Sister). Definitely worth investigating. FanFic taken to a whole new level.



    (June 11, 1945)
    Based onFarewell My Lovely by Raymond Chandler
    Starring Dick Powell as PHILIP MARLOWE
    Also starring Claire Trevor, Mike Mazursky, June Dupré

    (1947, NBC)
    13 30-minute episodes
    Adapted from short stories by Raymond Chandler
    Starring Van Hefflin as PHILIP MARLOWE

    (June 8, 1948)
    Based on characters created by Raymond Chandler
    Starring Dick Powell as PHILIP MARLOWE
    Also starring Mary Astor, Mike Mazurki, Arthur Wentworth, Lauren Tuttle

    (1948-51, CBS)
    Based on the character created by Raymond Chandler
    Starring Gerald Mohr as PHILIP MARLOWE

    (April 20, 1950)
    Based on the short story by Raymond Chandler
    Starring Ray Milland

    (1977-88, BBC4)
    Based on the novels by Raymond Chandler
    Dramatised by Bill Morrison
    Produced by John Tydeman
    Starring Ed Bishop as PHILIP MARLOWE

    (2011, BBC4)
    Eight episodes
    Each episode 60-90 minutes
    First broadcast: February 5, 2011 (BBC Radio 4)
    Based on the novels by Raymond Chandler (and Robert B. Parker, for Poodle Springs)
    Dramatised by Robin Brooks, Stephen Wyatt
    Directors: Claire Grove, Mary Peate, Sasha Yevtushenko
    Starring Toby Stephens as PHILIP MARLOWE


    (October 7, 1954)
    Aired as an episode of drama anthology Climax! (1954-58, CBS)
    Based on the novel by Raymond Chandler
    Starring Dick Powell as PHILIP MARLOWE

    (1959-60, ABC)
    26 30-minute B&W episodes
    Based on characters created by Raymond Chandler
    Starring Philip Carey as PHILIP MARLOWE

    (1984, London Weekend Television)
    5 60-minute episodes
    Based on stories by Raymond Chandler
    Starring Powers Boothe as PHILIP MARLOWE

    (1986, Canada)
    6 60-minute episodes
    Based on stories by Raymond Chandler
    Starring Powers Boothe as PHILIP MARLOWE

    (1993, Showetime)
    Aired as an episode of Showtime's Fallen Angels.
    Based on the short story by Raymond Chandler
    Teleplay by C. Gaby Mitchell
    Directed by Tom Hanks
    Starring Bruno Kirby as TONY RESICIK
    Also starring Dan Hedaya, Marg Helgenberger, Jon Polito, Dick Miller, Peter Scolari

    (1995, Showtime)
    Aired as an episode of Showtime's Fallen Angels.
    Based on the short story by Raymond Chandler
    Starring Danny Glover as PHILIP MARLOWE
    Also starring Valeria Golino
    Glover was nominated for a 1996 Outstanding Guest Actor in a Drama Series Emmy for his portrayal of Marlowe in this episode.

    (1998, HBO)
    Based on characters created by Raymond Chandler and the novel Poodle Springs, completed by Robert B. Parker
    Teleplay by Tom Stoppard
    Directed by Bob Rafaelson
    Starring James Caan as PHILIP MARLOWE


Ted Benoit, who adapted the novel, also created retro-cool private eye Ray Banana, who appeared in several bandes déssinées


    (1995, Lodestone Media/ Otherworld Media
    60 minute audio cassette
    Produced by David Ossman (Firesign Theatre)
    Starring Harris Yulin and Harry Anderson


Arranged chronologically...

  • Pollock, Wilson,
    "Man with a Toy Gun."
    May 7, 1962, New Republic.

  • Durham, Philip,
    Down These Mean Streets a Man Must Go: Raymond Chandler's Knight... Buy this book
    Chapel Hill: University of North Carolina Press, 1963.

The first serious biography on Chandler; pivotal and essential.

  • Bruccoli, Matthew J.
    Raymond Chandler: A Check List ... Buy this book
    Kent State University Press, 1968.

This 35-page chapbook was possibly the first major bibliographical list devoted to Chandler.

  • Ruhm, Herbert,
    "Raymond Chandler: From Bloomsbury to the Jungleand Beyond."
    From Tough Guy Writers of the Thirties, edited by David Madden
    Carbondale: Southern Illinois University Press, 1968.

  • Jameson, Fredric,
    "On Raymond Chandler."
    1970, Southern Review.

  • Beekman, E. M.
    "Raymond Chandler and an American Genre"
    Winter 1973, Massachusetts Review.

  • Porter, J. C.,
    "End of the Trail: The American West of Dashiell Hammett and Raymond Chandler"
    October 1975, Western Historical Quarterly.

  • Reck, T. S.,
    "Raymond Chandler's Los Angeles"
    December 20, 1975, Nation.

  • MacShane, Frank.
    The Life of Raymond Chandler... Buy this book
    New York: Dutton, 1976.

  • Pendo, Stephen,
    Raymond Chandler on Screen: His Novels into Film... Buy this book
    Metuchen, N.J.: Scarecrow, 1976.

  • Gardiner, Dorothy and Kathrine Sorley Walker, editors.
    Raymond Chandler Speaking.. Buy this book
    Houghton-Mifflin, 1977.

A collection of Chandler's personal correspondence, articles and other bits and pieces. Petty, nasty, cranky, cynical and at times surprisingly touching.

  • Gross, Miriam, ed.
    The World of Raymond Chandler.. Buy this book
    New York: A & W, 1978.

  • Pepper, James, editor,
    Letters: Raymond Chandler and James M. Fox.. Buy this book
    Neville Publishing, 1978.

Fascinating collection of letters from 1950-56 between Chandler and fellow mystery writer Fox, creator of the Johnny & Suzy Marshall detective series. An unlikely friendship, but there ya go. They apparently met at a party at mystery collector Ned Guymon's house, and Fox eventually dedicated his book Dark Crusade to Chandler. Fox was obviously in awe of Chandler and Chandler, of course, could always write a mean letter.

  • Zolotow, Maurice,
    "Through a Shot Glass, Darkly: How Raymond Chandler Screwed Hollywood"
    Buy this book
    1978, Action Magazine.

  • Bruccoli, Matthew J.
    Raymond Chandler: A Descriptive Bibliography.. Buy this book
    Pittsburgh: University of Pittsburgh Press, 1979.

  • MacShane, Frank, editor.
    Selected Letters of Raymond Chandler.. Buy this book
    Colombia University Press, 1981.

What happens when a lonely, cranky drunk man decides to write a few letters. But this man could write a damn good letter.

  • Speir, Jerry,
    Raymond Chandler.. Buy this book
    New York: Ungar, 1981.

Part of Ungar's "Recognitions" series.

  • Clark, Al
    Chandler in Hollywood.. Buy this book
    New York: Proteus, 1982.

Revised edition, "Raymond Chandler in Hollywood," 1996.

  • Luhr, William.
    Raymond Chandler and Film.. Buy this book
    Frederick Hungar, 1982.

  • Thorpe, Edward.
    Chandlertown: The Los Angeles of Philip Marlowe.. Buy this book
    London: Vermilion, 1983.

Quite similiar to the above Raymond Chandler's Los Angeles, this slender volume (just over 100 pages) is more text-oriented, and offers a lot more contextual information.

  • Newlin, Keith,
    Hardboiled Burlesque: Raymond Chandler's Comic Style...Buy this book
    New York: Brownstone, 1984.

  • Wolfe, Peter,
    Something More Than Night: The Case of Raymond Chandler...Buy this book
    Bowling Green, Ohio: Bowling Green State University Press, 1985.

  • Silver, Alain and Elizabeth Ward.
    Raymond Chandler's Los Angeles...Buy this book
    Overlook Press, 1987.

Very interesting, especially for Chandler readers (like me) who've never been to LA. It consists of over 100 photographs (taken mostly in the 1980s), and accompanied by snippets from Chandler's novels and stories.

  • Hiney, Tom,
    Raymond Chandler: A Biography...Buy this book
    U.K.: Chatto & Windus, 1997.

A major new biography, updating and rivalling Frank McShane's seminal The Life of Raymond Chandler.

  • Phillips, Gene D.,
    Creatures of Darkness: Raymond Chandler, Detective Fiction, and Film Noir
    Buy this book
    Kentucky, University Press of Kentucky; 2000.

The first in-depth study of Chandler and his work in film in years. Phillips zigs and zags all over the place here, throwing in an anecdote here, a little gossip there, and another Cliff's Notes synopsis over there, but he has some interesting ideas worth checking out. And some of those bits and pieces are just great stuff. Phillips tosses in a preface by Billy Wilder, a prologue, an introduction, and a brief biography of Chandler, but he's at his best when he relates how Chandler's screenplays, including Double Indemnity (directed by Billy Wilder) and Strangers on a Train (directed by Alfred Hitchcock), slammed him right up against the Hollywood elite, with whom he had a serious love/hate thing going on. And there's some truly great behind-the-scenes stuff any movie buff would enjoy, plus a fascinating look at the unpublished Lady of the Lake screenplay, the never actually produced Playback script and an intriguing comparison of the original version of Howard Hawks The Big Sleep, and the version most of us got to see.

  • Chandler, Raymond,
    The Raymond Chandler Papers: Selected Letters & Non-fiction, 1909-1959....Buy this book
    New York: Atlantic Monthly Press, 2001.

Selected tidbits by the master, edited by Chandler biographers Frank MacShane and Tom Hiney, expanding on MacShane's previous Selected Letters of Raymond Chandler.

  • Olson, Brian and Bonnie,
    Tailing Philip Marlowe ..Buy this book
    Burlwrite LLC, 2003.

This handy-dandy trade paperback features three single-day ours of Los Angeles, visiting over forty locations referred to by Raymond Chandler in his novels: Marlowe's Hollywood, Marlowe's Downtown, and Marlowe's Drive. Includes b&w photo illustrations, color maps, local colour and more historical trivia than you can shake a gimlet at. For a new Los Angeleno like myself, or just someone contemplating killing a few days in the City of Angels, this is one righteous read.

  • Moss, Robert F., editor,
    Raymond Chandler: A Literary Reference ..Buy this book
    Carroll & Graf, 2003.

Private correspondence, previously uncollected essays (both by and about Chandler) and associated material shed greater light on his triumphs and troubles. Well illustrated, with classic book jackets and photographs.

  • Chandler, Raymond (edited by Marty Asher)
    Philip Marlowe's Guide to Life....Buy this book
    New York: Knopf, 2005.

What took 'em so long? This is a no-brainer -- a pocket-sized collection of the wit and wisdom culled from the greatest series of private eye novels ever, offering the "rude wit," two-fisted wisecracks and bruised romanticism Marlowe was known for. A tip of the fedora to Marty Asher for finally doing what needed to be done.

It's a shame about Ray, or at least that's what the author of this alternately trashy and insightful biograghy seems to want to imply. Freeman sniffs through the flotsam and jetsam of Chandler's personal life and particularly his marriage to Cissy, a much older woman. Freeman pawed through his papers and letters, interviewed some of the people who actually knew them, and tracked down over thirty of the California homes and apartments the Chandlers lived in, all in an effort to figure out what made Chandler tick, but the result is still inconclusive, and alternately intriguing and more than a little creepy. Plus, it doesn't change one iota the work Chandler left behind. Or how I feel about it.

  • Athanasourelis, John Paul,
    Raymond Chandler's Philip Marlowe: The Hard-Boiled Detective Transformed
    Buy this book. .Kindle it!
    McFarland, 2011.

Bronx English prof holds Marlowe up to the light, and suggests that his "feeling for community and willingness to compromise radically changed the genre's vigilantism and violence," and compares Chandler's work to his contemporaries, and considers his impact on the genre as a whole.

  • Williams, Tom,
    A Mysterious Something in the Light: The Life of Raymond Chandler
    Buy this book.. Kindle it!
    Chicago, IL: Chicago Review Press, 2013.

After The Long Embrace, you've got to wonder at this point what's left to find out or to insinuate -- but this compelling study by rookie author Williams digs up all sorts of dirt, from child abuse to alcoholism, and tries to back it up with footnotes, interviews, quotes, letters and articles, that will have Chandler disciples fascinated -- and non-fans wondering what the fuss is about. For those unfortunates, just give them a drink and hand them a copy of The Big Sleep.

  • Cooper, Kim,
    The Raymond Chandler Map of Los Angeles...Buy the map
    Herb Lester Associates; 2014.

Yep, an actual map, spotlighting actual locations taken from Chandler's works (including the films) and his life. But mostly, it's just beautifully designed and illustrated.

  • Day, Barry, editor, and Raymond Chandler,
    The World of Raymond Chandler: In His Own Words.. Buy this book . Kindle it!
    New York, NY: Knopf, 2014.

Day cobbles together the autobiography Chandler never wrote, using excerpts from the man's letters, essays, interviews and fiction to tell the story. A compelling fascinating look at Chandler, his life and times, and how he saw them. It's all speculation, in a way, but it''s fascinating nonetheless.

In this brief volume, culled from numerous essays over the years, one of America's leading Marxist literary critics takes on Chandler yet again, arguing that his work "reconstructs both the context in which it was written and the social world or totality it projects." No, seriously. A sharp incisive look that -- whether you agree with Frederic's conclusions or not -- is worth reading for its punchy prose style and big balls thinking.


  • Department of Special Collections, Research Library, University of California at Los Angeles (UCLA). Contains manuscripts, notebooks, translations, memorabilia, and Chandleriana.


Robert Altman's "The Long Goodbye" remembered by Thomas Pluck.

A great-looking site, unfortunately overloaded with graphics, scripts, and sound files. Almost worth visiting, if you've got a lot of patience. Check out Who is Philip Marlowe? by Bill Henkin.

More a spoof of hardboiled cliches in general, than Chandler specifically, but still fun. And winner, apparently, of an Honorable Mention in the 1995 International Imitation Raymond Chandler Competition.

Gary Nordell's Chandler page has a brief bio and a list of books, audiobooks, films and posters for sale.

Stephen Blackmoore's tribute to the master.

A fascinating romp (with photos) through one man's Chandler obsession, featuring first American and first British editions, vintage paperbacks, foreign editions, magazine appearances, various reprints, limited editions, movie related items, reference works, bibliographies, student editions and some ephemera. Sadly, Al will not tell me when he plans to be out of town for a few days, or where he hides his spare key.

A short, short story; more a spoof of hardboiled cliches in general, than Chandler specifically, but still fun. Winner of Honorable Mention in the 1995 International Imitation Raymond Chandler Competition.

A tribute to Chandler from the celebrated horror/fantasy writer, of all people. Excellent!

Directives from Chairman Chandler

Ignore these at your peril.

Choice nuggets from letters, interviews, essays and articles.

The man could put words together. Quotes from his fiction.

A March 2017 review by The Guardian's Brian Dillon of Frederic Jameson's Raymond Chandler: The Detections of Totality may be well worth reading all by itself.

Kim Cooper relates her discovery of this long-lost piece of work, its history, and her wrangles with the Chandler estate over the rights to stage it. Sign the petition.

Respectfully submitted by J. Kingston Pierce. Additional information compiled by Kevin Burton Smith. Thanks to Ted Fitzgerald, Chris Mills, Henry Cabot Beck, Barry Ergang, Steven Ardron and Marc LaViolette for their additional help with this page.

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