Raymond Thornton Chandler started his career as a crime novelist relatively late in 1933 at the age of 45 (Widdicombe, xvi). With the foundation of the Black Mask Magazine, Chandler, as well as many other writers, got the chance to test his talent as a crime novelist and simultaneously to raise some money. His first stories were miniature novels which were strongly influenced by his British sophistication and education (Phillips, 17). But he was aware of the fact that he had to veil his style of writing in order to make it acceptable to the American readers, especially the Black Mask readers (Phillips, 17). During 1933 and 1939 Chandler published 20 detective stories in several “pulp magazines” until he wrote his first novel The Big Sleep (Neumeyer, 329). By writing longer fiction Chandler had to portray his characters fully and give an authentic sense of the world, whereas the short story allowed him to rely on action (MacShane, 63).
Chandler’s ambition was to mark off from the English detectives of Agatha Christie and Dorothy Sayers, i.e. to create a reliable character that would “leave scars” and transfer what he calls a “’half-poetical emotion’ that is the heart of the work” (MacShane, 69). This kind of reliability became one of Chandler’s dogmas and occurs not only in his creation of characters and plot but also in the historical background of the stories. In the following paper I’m going to analyze the origin and development of the private-eye in general. I will focus my analysis on the development of the detective in American “hard-boiled” fiction with reference to Philip Marlowe in Raymond Chandler’s “The Curtain”, “Killer in the Rain”, and the novel The Big Sleep. The choice relies on the fact that The Big Sleep and its character Philip Marlowe evolved from the two short stories. The question also includes how Marlowe is characterized throughout the stories.
Table of Contents
1. Introduction
2. The way to American “hard-boiled” fiction
2.1. The origins
2.2. “The Golden Age of the Detective Novel”
2.3. American “hard-boiled” fiction
2.3.1. The “tough guy”
3. The creation of Philip Marlowe
3.1. The Metamorphosis
3.2.1. The sleuth’s moral
3.2.2. The chivalrous knight
3.2.3. Protection of the client
3.2.4. Women
4. Conclusion
5. Works Cited
Research Objectives and Themes
This academic paper examines the evolution of the detective figure within the American "hard-boiled" literary genre, specifically tracing the development of Raymond Chandler's protagonist, Philip Marlowe, from his early iterations in the short stories "Killer in the Rain" and "The Curtain" to his definitive appearance in the novel The Big Sleep.
- The transition from classic English detective tropes to the American "hard-boiled" school.
- The sociological and historical context of the 1920s and 30s crime fiction.
- Character archetypes, specifically the "tough guy" and the "chivalrous knight".
- The evolution of the detective’s moral code and sense of duty toward clients.
- The changing depiction of women and sexuality in Chandler's narratives.
Excerpt from the Book
3.2.2. The chivalrous knight
The completely selfless and loyal behaviour of Philip Marlowe is strengthened by Chandler by using recurring motives. In the introductory chapters of “The Curtain“ Carmady comes into the hall where his eye is caught by an oil painting that shows an armed soldier with full regimentals. We find the same scene and picture in The Big Sleep, but it’s located in the back of the hall. Marlowe’s eye is caught by another painting.
There was a broad stained-glass panel showing a knight in dark armour 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 visor 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 trying. (Chandler, BS 3-4).
Marlowe’s chivalrous behaviour and code of honour is supported by this motif. He is called by the General to help him with the blackmail and in the course of time not asked to investigate on the disappearance of Rusty Regan. Although the General already tried to find him on his own with the help of the police, he is not getting anywhere. Marlowe is motivated to help him that is to come undone with the knots. The fact that the knight picture is missing in “The Curtain” would support the aforementioned assumption that Marlowe’s chivalrous behaviour is evolving. The soldier motif on the other hand, can somehow be seen as a metaphor for the private-eye.
Summary of Chapters
1. Introduction: Presents the professional background of Raymond Chandler and outlines the scope of the analysis, focusing on the transition from short pulp fiction to the complex characterization found in The Big Sleep.
2. The way to American “hard-boiled” fiction: Discusses the roots of the genre in Edgar Allan Poe’s "tales of ratiocination" and the subsequent development of the "tough guy" archetype as a reaction against British literary gentility.
3. The creation of Philip Marlowe: Analyzes the structural and character-based metamorphosis of Chandler’s detectives, highlighting the shift toward a knightly quest for justice, internal moral conflicts, and evolving interpersonal relationships.
4. Conclusion: Summarizes how the "tough guy" evolved into a socio-critical figure, reflecting the complexities of American urban life and the eventual humanity and vulnerability underlying the hard-boiled exterior.
5. Works Cited: Lists the primary novels and short stories used as well as secondary critical literature for the theoretical framework.
Keywords
American hard-boiled fiction, Raymond Chandler, Philip Marlowe, The Big Sleep, Killer in the Rain, The Curtain, detective novel, literary evolution, pulp magazines, tough guy, chivalry, moral code, urban violence, private eye, literary criticism.
Frequently Asked Questions
What is the core subject of this research paper?
The paper explores the development of the detective archetype in American hard-boiled fiction, with a specific focus on how Raymond Chandler refined his protagonist, Philip Marlowe.
What are the primary themes discussed in the work?
Central themes include the contrast between English and American detective styles, the concept of the detective as a "chivalrous knight" in a corrupt world, and the socio-historical influences of the 1920s and 30s.
What is the main objective or research question?
The study aims to analyze the origin and development of the private-eye in Chandler's work, specifically investigating how character traits and morals evolved from earlier short stories to the novel The Big Sleep.
Which scientific methodology does the author use?
The author utilizes a comparative textual analysis, contrasting the character development, narrative structure, and dialogue across different primary sources to track changes in the detective's personality.
What is examined in the main section of the paper?
The main section investigates the transition of the detective figure through thematic lenses: the evolution of a moral code, the knightly quest for justice, client relationships, and the portrayal of women.
How would one characterize the key terms for this paper?
Key terms include "hard-boiled fiction," "Philip Marlowe," "The Big Sleep," and "chivalry," all of which point to the evolution of a distinct American literary hero.
Why does the author consider the knight motif crucial in The Big Sleep?
The knight motif acts as a turning point; it represents Marlowe's realization that his idealistic moral code struggles to survive within a corrupt, decaying society.
How does the author interpret the relationship between Marlowe and his clients?
The author notes a shift from the superficial, transactional relationships in early short stories to a deeper, more personal, and protective connection in The Big Sleep.
- Quote paper
- Katrin Gischler (Author), 2004, The Development of the Detective in American "hard-boiled" Fiction with Reference to Philip Marlowe in Raymond Chandler’s "The Curtain", "Killer in the Rain" and "The Big Sleep", Munich, GRIN Verlag, https://www.grin.com/document/47130
