Product Description

When a dying millionaire hires Philip Marlowe to handle the blackmailer of one of his two troublesome daughters, Marlowe finds himself involved with more than extortion. Kidnapping, pornography, seduction, and murder are just a few of the complications he gets caught up in.

"Chandler [writes] like a slumming angel and invest[s] the sun-blinded streets of Los Angelos with a romantic presence."
--Ross Macdonald

Product Details

• Amazon Sales Rank: #13601 in Books
• Published on: 1988-07-12
• Released on: 1988-07-12
• Original language: English
• Number of items: 1
• Binding: Paperback
• 234 pages

Amazon.com Review
"His thin, claw-like hands were folded loosely on the rug, purple-nailed. A few locks of dry white hair clung to his scalp, like wild flowers fighting for life on a bare rock." Published in 1939, when Raymond Chandler was 50, this is the first of the Philip Marlowe novels. Its bursts of sex, violence, and explosively direct prose changed detective fiction forever. "She was trouble. She was tall and rangy and strong-looking. Her hair was black and wiry and parted in the middle. She had a good mouth and a good chin. There was a sulky droop to her lips and the lower lip was full."

From Library Journal
Chandler is not only the best writer of hardboiled PI stories, he's one of the 20th century's top scribes, period. His full canon of novels and short stories is reprinted in trade paper featuring uniform covers in Black Lizard's signature style. A handsome set for a reasonable price.
Copyright 2002 Reed Business Information, Inc.

From AudioFile
Elliot Gould's voice is perfect for hard-boiled detective Philip Marlowe--clear and resonant with pauses to heighten the suspense. Called in to deal with a blackmailer, Marlowe follows a trail littered with murder and deception. The story evokes the essence of Southern California in the 30's, and the reading adds to the deadly but romantic image of the strange Sternwood family. This presentation will revive Chandler's popularity as listeners demand more. S.C.A. (c)AudioFile, Portland, Maine

Customer Reviews

A Must Read
What more can or needs to be said about Raymond Chandler and The Big Sleep? Not much. The Big Sleep was his first novel, introduced Philip Marlowe, and is often considered his best work. The Big Sleep is a good whodunit, but Chandler shines when he examines the corruption that bubble up from the underworld of pornography, drugs, and illegal gambling. Chandler also takes the reader on a tour of a now-long gone Los Angeles.

Is Chandler's work `literature'? Chandler thought so. Here's how Chandler defined literature: "When a book, any sort of book, reaches a certain intensity of artistic performance it becomes literature. That intensity may be a matter of style, situation, character, emotional tone, or idea, or half a dozen other things. It may also be a perfection of control over the movement of a story similar to the control a great pitcher has over the ball."

If you've ever enjoyed a detective story, a crime story, any kind of noir fiction, then you owe it to yourself to read Chandler and there's no better place to start than here at the beginning. The book is only about 150-230 pages long, depending on the edition, so trying it out for yourself will not long detain you. Highest recommendation.

A masterpiece not merely of hardboiled fiction but of the English language
THE BIG SLEEP is one of the great books of American Literature, not merely of hardboiled fiction. It is far from a perfect book. There are passages that are so over-the-top that they border on self-parody. The scenes in which women can't help themselves in the presence of Philip Marlowe are generally appalling. But the book's virtues are difficult to overstate. The prose frequently veers into the realm of genius. The characters -- even minor characters -- are brilliantly and unforgettably sketched. The L.A. of the late 1930s captures the time and place as perfectly as Berenice Abbott's photos of thirties New York. For many individuals, Raymond Chandler in this and subsequent novels created the L.A. that haunted film noir in the next two decades.

Chandler's prose both thrills and infuriates me. His brilliance at negotiating English sentences makes me about as mad as when I read the first page of Nabokov's LOLITA. In both cases I read sentences that I know I could not emulate if given a lifetime to ape. In both instances the words go far beyond brilliance to something ineffable. What is amazing is that Chandler, though born in Chicago, was raised in Ireland and educated in English public (i.e., private) schools. He did move to the U.S. as an adult and resubmerged himself in the country of his birth, but just as no one wrote English prose better than the Russian born and raised Nabokov, no one wrote more cutting and hard-edged in the American vein than did the Anglicized Chandler.

THE BIG SLEEP is famous for its convoluted plot, but I have to say that even in my first reading I did not have this experience. Certainly it makes more sense than the famous movie version with Humphrey Bogart, which was hampered by extensive censorship (there are simply too many lines to read between to make grasping the plot an easy undertaking). But really, you don't read Chandler for plot. Of the big three hardboiled writers -- Hammett and Ross MacDonald being the other two -- only MacDonald can profitably be read for the story. You read Hammett and Chandler for the impossible to resist one-liners, the vivid ragged guys and treacherous woman who litter their stories, and for the way they evoke the San Francisco and Los Angeles that they write about. If you start getting hung up on plot, you've already missed the point.

One thing that is striking is how closely the movie -- hampered as it is by censorship -- hews to the book. Most of the book's major scenes can be found more or less intact in the film. Most of the great lines are in both, though the famous horse racing conversation between Bogart and Lauren Bacall was unique to the film. The one huge difference is the ending. The movie scraps the last 15 or so pages of the book and ends with an exhilarating and violent confrontation between Marlowe and Eddie Mars. All in all I actually prefer the movie's ending, helped in part by the brilliant dialogue written by William Faulkner and Leigh Brackett. But the Chandler ending makes far more sense of the plot.

This was Chandler's first full length novel. The most remarkable thing about that is that he was fifty years old when it was published. He wrote his first story when he was forty-five. There are few if any stories of such a brilliant writer getting started so late in life. And he did it despite an on and off very serious drinking problem, in which he drank not to be mildly inebriated, but drank to the point of getting DT's. But he illustrates better than anyone that it is never too late to start. He remains an inspiration of all of us aging potential authors.

Nope, sorry ...
I tried with this "classic" ... two times, then a third ... and as much as the first few chapters (the exchanges between Marlowe and the daughter) were brilliant, I couldn't finish the thing. Just couldn't. I have an issue with private eye books anyway, but this one (between the several characters and all the confusion) just didn't take hold. I thought the exchanges between Marlowe and the kid (who killed the guy who killed his boyfriend) were great also, but immediately after that scene, I folded. It's probably my issue with private eye novels anyway, but aside from the wonderful dialogue, I had a hard time swallowing and ultimately couldn't/didn't finish The Big Sleep ... i became too anxious to read what was waiting in the bin (The Leopard). This is just the 2nd novel I couldn't finish this year (2008).

For my money, the James Cain novels were pure gold by comparison.