β
To say goodbye is to die a little.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
There is no trap so deadly as the trap you set for yourself.
β
β
Raymond Chandler (Long Goodbye)
β
When you love someone, its never over. You move on, because you have to but you take them with you in your heart
β
β
Elizabeth Chandler (Kissed by an Angel/The Power of Love/Soulmates (Kissed by an Angel, #1-3))
β
Ability is what you're capable of doing. Motivation determines what you do. Attitude determines how well you do it.
β
β
Raymond Chandler
β
From 30 feet away she looked like a lot of class. From 10 feet away she looked like something made up to be seen from 30 feet away.
β
β
Raymond Chandler (The High Window (Philip Marlowe, #3))
β
I was as hollow and empty as the spaces between stars.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
Dead men are heavier than broken hearts.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
I had discovered that there was something more painful than falling in love with someone who hasn't fallen for you; hurting that person-hurting him and not being able to do anything about it.
β
β
Elizabeth Chandler (Dark Secrets 1 (Dark Secrets, #1-2))
β
I needed a drink, I needed a lot of life insurance, I needed a vacation, I needed a home in the country. What I had was a coat, a hat and a gun. I put them on and went out of the room.
β
β
Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
β
When you love someone, it's never over,' Dr. Carruthers replied gently. 'You move on, because you have to, but you bring him in your heart.
β
β
Elizabeth Chandler (Kissed by an Angel (Kissed by an Angel, #1))
β
It seemed like a nice neighborhood to have bad habits in.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
It was a blonde. A blonde to make a bishop kick a hole in a stained-glass window.
β
β
Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
β
There is no bad whiskey. There are only some whiskeys that aren't as good as others.
β
β
Raymond Chandler
β
Without magic, there is no art. Without art, there is no idealism. Without idealism, there is no integrity. Without integrity, there is nothing but production.
β
β
Raymond Chandler
β
Throw up into your typewriter every morning. Clean up every noon.
β
β
Raymond Chandler
β
A man who drinks too much on occasion is still the same man as he was sober. An alcoholic, a real alcoholic, is not the same man at all. You can't predict anything about him for sure except that he will be someone you never met before.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
She gave me a smile I could feel in my hip pocket.
β
β
Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
β
This isn't a game for me. I love you, Ivy, and one day you're going to believe me.
β
β
Elizabeth Chandler (Kissed by an Angel (Kissed by an Angel, #1))
β
The girl gave him a look which ought to have stuck at least four inches out of his back.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
As honest as you can expect a man to be in a world where its going out of style.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
The streets were dark with something more than night.
β
β
Raymond Chandler
β
You're broke, eh?"
I been shaking two nickels together for a month, trying to get them to mate.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
I don't mind your showing me your legs. They're very swell legs and it's a pleasure to make their acquaintace. I don't mind if you don't like my manners. They're pretty bad. I grieve over them during the long winter nights.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
You talk too damn much and too damn much of it is about you.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
The French have a phrase for it. The bastards have a phrase for everything and they are always right. To say goodbye is to die a little.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
I'm an occasional drinker, the kind of guy who goes out for a beer and wakes up in Singapore with a full beard.
β
β
Raymond Chandler (Philip Marlowe's Guide to Life)
β
Do it badly; do it slowly; do it fearfully; do it any way you have to, but do it.
β
β
Steve Chandler (Reinventing Yourself: How to Become the Person You've Always Wanted to Be)
β
He looked about as inconspicuous as a tarantula on a slice of angel food cake.
β
β
Raymond Chandler
β
I agree that it's a shame some books have to suffer ratings that clearly are invalid. However I can't think of a way to prevent it, and I didn't see any ideas in the thread either (I did skim though).
I hope you'll appreciate that if we just start deleting ratings whenever we feel like it, that we've gone down a censorship road that doesn't take us to a good place.
β
β
Otis Y. Chandler
β
In writing a novel, when in doubt, have two guys come through the door with guns.
β
β
Raymond Chandler
β
She lowered her lashes until they almost cuddled her cheeks and slowly raised them again, like a theatre curtain. I was to get to know that trick. That was supposed to make me roll over on my back with all four paws in the air.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
I was neat, clean, shaved and sober and I didn't care who knew it.
β
β
Raymond Chandler
β
I donβt mind if you donβt like my manners. Theyβre pretty bad. I grieve over them during the long winter evenings.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
Tall, aren't you?" she said.
"I didn't mean to be."
Her eyes rounded. She was puzzled. She was thinking. I could see, even on that short acquaintance, that thinking was always going to be a bother to her.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
Under the thinning fog the surf curled and creamed, almost without sound, like a thought trying to form inself on the edge of consciousness.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
Neither of the two people in the room paid any attention to the way I came in, although only one of them was dead.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
Mostly I just kill time," he said, "and it dies hard.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
A good story cannot be devised; it has to be distilled.
β
β
Raymond Chandler
β
I like smooth shiny girls, hardboiled and loaded with sin.
β
β
Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
β
down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. He is the hero; he is everything. He 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 honorβby instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and a good enough man for any world.
βHe will take no manβs money dishonestly and no manβs insolence without a due and dispassionate revenge. He is a lonely man and his pride is that you will treat him as a proud man or be very sorry you ever saw him.
βThe story is this manβs adventure in search of a hidden truth, and it would be no adventure if it did not happen to a man fit for adventure. If there were enough like him, the world would be a very safe place to live in, without becoming too dull to be worth living in.
β
β
Raymond Chandler
β
There was a desert wind blowing that night. It was one of those hot dry Santa Anas that come down through the mountain passes and curl your hair and make your nerves jump and your skin itch. On nights like that every booze party ends in a fight. Meek little wives feel the edge of the carving knife and study their husbands' necks. Anything can happen. You can even get a full glass of beer at a cocktail lounge.
β
β
Raymond Chandler (Red Wind: A Collection of Short Stories)
β
He was a guy who talked with commas, like a heavy novel. Over the phone anyway.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
The tragedy of life, Howard, is not that the beautiful die young, but that they grow old and mean. It will not happen to me.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
I'm all done with hating you. It's all washed out of me. I hate people hard, but I don't hate them very long.
β
β
Raymond Chandler (The Lady in the Lake (Philip Marlowe, #4))
β
I wouldn't have been sent back to help you," Tristan continued. "I wouldn't have been made an angel if it weren't important that you live, Ivy. I want you to be mine" -Ivy could hear the pain in his voice- "but you're not."
"I am!" she cried out loud.
"We're on different sides of a river," he said, "and it's a river that neither of us can cross. You were meant for somebody else.
β
β
Elizabeth Chandler (Kissed by an Angel/The Power of Love/Soulmates (Kissed by an Angel, #1-3))
β
Love says: Iβve seen the ugly parts of you, and Iβm staying.
β
β
Matt Chandler
β
Alcohol is like love. The first kiss is magic, the second is intimate, the third is routine. After that you take the girl's clothes off.
β
β
Raymond Chandler
β
The faster I write the better my output. If I'm going slow, I'm in trouble. It means I'm pushing the words instead of being pulled by them.
β
β
Raymond Chandler
β
Police business is a hell of a problem. Itβs a good deal like politics. It asks for the highest type of men, and thereβs nothing in it to attract the highest type of men. So we have to work with what we get...
β
β
Raymond Chandler (The Lady in the Lake (Philip Marlowe, #4))
β
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.
β
β
Raymond Chandler (The High Window (Philip Marlowe, #3))
β
How would you feel about sharing your bed?" she asked.
Tristan blinked. "Excuse me?"
"He'd love to!" Gary said.
Tristan shot him a look,
"Good," said Ivy, failing to notice Gary's wink. "Ella can be a pillow hog, but all you have to do is roll over her.
β
β
Elizabeth Chandler (Kissed by an Angel/The Power of Love/Soulmates (Kissed by an Angel, #1-3))
β
Without a heart transformed by the grace of Christ, we just continue to manage external and internal darkness.
β
β
Matt Chandler (The Explicit Gospel (Re: Lit))
β
Everything a writer learns about the art or craft of fiction takes just a little away from his need or desire to write at all. In the end he knows all of the tricks and has nothing to say.
β
β
Raymond Chandler
β
Technique alone is never enough. You have to have passion. Technique alone is just an embroidered potholder.
β
β
Raymond Chandler
β
You can have a hangover from other things than alcohol. I had one from women.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
The problem for me is that I can't ever really see who Gregory is, any more than I can see what a mirror by itself looks like, because he reflects whoever's around him.
β
β
Elizabeth Chandler
β
Write down 10 things you would do in your life if you had absolutely no fear. Then pick one of them and do it.
β
β
Steve Chandler (Reinventing Yourself: How to Become the Person You've Always Wanted to Be)
β
She smelled the way the Taj Mahal looks by moonlight.
β
β
Raymond Chandler (The Little Sister (Philip Marlowe, #5))
β
He sounded like a man who had slept well and didn't owe too much money.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
Chandler wrote like a slumming angel and invested the sun-blinded streets of Los Angeles with a romantic presence.
β
β
Ross Macdonald
β
There was a sad fellow over on a bar stool talking to the bartender, who was polishing a glass and listening with that plastic smile people wear when they are trying not to scream.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
Don't ever write anything you don't like yourself and if you do like it, don't take anyone's advice about changing it. They just don't know.
β
β
Raymond Chandler
β
Everyday, every hour, I have held you close in my heart.
β
β
Elizabeth Chandler (Evercrossed (Kissed by an Angel, #4))
β
I hung up. It was a good start, but it didnβt go far enough. I ought to have locked the door and hidden under the desk.
β
β
Raymond Chandler (The Little Sister (Philip Marlowe, #5))
β
Chess is as elaborate a waste of human intelligence as you can find outside an advertising agency.
β
β
Raymond Chandler
β
Not being excited is to have missed the whole point of life.
β
β
Steve Chandler
β
A writer who is afraid to overreach himself is as useless as a general who is afraid to be wrong.
β
β
Raymond Chandler (Pearls are a Nuisance)
β
You fell in love with me?
β
β
Elizabeth Chandler (Kissed by an Angel/The Power of Love/Soulmates (Kissed by an Angel, #1-3))
β
Hey, does my stupidity give you the right to bruise a tender heart?"
"Yeah, yeah. I'm bruising a heart made of Play-Doh.
β
β
Elizabeth Chandler (Dark Secrets 1 (Dark Secrets, #1-2))
β
If we stay here much longer, I might kiss you.β Chandlerβs warning echoed through my mind, but I shut it down. All bets were off. She was my mate, made for me. Iβd keep her safe.
βThen Iβm not going anywhere,β she whispered.
β
β
Lisa Kessler (Sedona Surrender (Sedona Pack #4))
β
[Raymond Chandler] wrote as if pain hurt and life mattered.
β
β
The New Yorker
β
Most people go through life using up half their energy trying to protect a dignity they never had
β
β
Raymond Chandler
β
He snorted and hit me in the solar plexus. I bent over and took hold of the room with both hands and spun it. When I had it nicely spinning I gave it a full swing and hit myself on the back of the head with the floor.
β
β
Raymond Chandler (Pearls are a Nuisance)
β
If I wasn't hard, I wouldn't be alive.
If I couldn't ever be gentle, I wouldn't deserve to be alive.
β
β
Raymond Chandler (Playback (Philip Marlowe, #7))
β
The most durable thing in writing is style, and style is the single most valuable investment a writer can make with his time.
β
β
Raymond Chandler
β
I looked down at the chessboard. The move with the knight was wrong. I put it back where I had moved it from. Knights had no meaning in this game. It wasn't a game for knights.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
People fear anyone who differs from what is considered normal, and in a small town the idea of normal can be as narrow as the streets.
β
β
Elizabeth Chandler (The Back Door of Midnight (Dark Secrets, #5))
β
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.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
...you canΚΉt
always choose how you love a person. Love isnΚΉt logical or
fair. It just happens.
β
β
Elizabeth Chandler (Evercrossed (Kissed by an Angel, #4))
β
I went out the kitchen to make coffee - yards of coffee. Rich, strong, bitter, boiling hot, ruthless, depraved. The life blood of tired men.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
The wet air was as cold as the ashes of love.
β
β
Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
β
The coffee shop smell was strong enough to build a garage on.
β
β
Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
β
This isn't some kind of game for me. I love you, Ivy Lyons, and one day you're going to believe me.
- Tristan Carruthers -
β
β
Elizabeth Chandler (Kissed by an Angel/The Power of Love/Soulmates (Kissed by an Angel, #1-3))
β
She had eyes like strange sins.
β
β
Raymond Chandler (The High Window (Philip Marlowe, #3))
β
If youβre a church person and not a Jesus person, my heart hurts for you. Itβs like being engaged and never getting married. Itβs miserable.
β
β
Matt Chandler
β
When in doubt, have a man come through the door with a gun in his hand.
β
β
Raymond Chandler
β
I glanced up at him. "I love things that are beautiful when you don't expect them to be.
β
β
Elizabeth Chandler (The Back Door of Midnight (Dark Secrets, #5))
β
I'm in a wild mood tonight. I want to go dance in the foam. I hear the banshees calling.
β
β
Raymond Chandler
β
Hammett gave murder back to the kind of people that commit it for reasons, not just to provide a corpse; and with the means at hand, not hand-wrought dueling pistols, curare and tropical fish.
β
β
Raymond Chandler (The Simple Art of Murder)
β
When a writer looked at an empty computer screen, what did she see? Tristan wondered. A movie screen ready to be lit with faces? A night sky with one small star blinking at the top, a universe ready to be written on? Endless possibilities. Love's endless twists and turns - and all love's impossibilities.
β
β
Elizabeth Chandler (The Power of Love (Kissed by an Angel, #2))
β
I'm not a young man. I'm old, tired and full of no coffee.
β
β
Raymond Chandler (Playback (Philip Marlowe, #7))
β
I sat down on the edge of a deep soft chair and looked at Mrs Regan. She was worth a stare. She was trouble.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
She bent over me again. Blood began to move around in me, like a prospective tenant looking over a house.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
I belonged in Idle Valley like a pearl onion on a banana split.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
Quick, how do you pick up a cat?"
"Buy her a drink.
β
β
Elizabeth Chandler
β
It was a cool day and very clear. You could see a long way-but not as far as Velma had gone.
β
β
Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
β
Some days I feel like playing it smooth. Some days I feel like playing it like a waffle iron.
β
β
Raymond Chandler (Trouble Is My Business (Philip Marlowe, #8))
β
The more you reason the less you create.
β
β
Raymond Chandler
β
I'm killing time and it's dying hard.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
God does not regret saving you. There is no sin which you commit which is beyond the cross of Christ.
β
β
Matt Chandler
β
Time passed again. I don't know how long. I had no watch. They don't make that kind of time in watches anyway.
β
β
Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
β
Shake your business up and pour it. I don't have all day.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
Who's that little brunette?" Suzanne asked. "I hate little petite types. Gregory doesn't look right with someone petite. Little face, little hands, little dainty feet."
"Big boobs," Beth said, glancing up.
β
β
Elizabeth Chandler (Kissed by an Angel/The Power of Love/Soulmates (Kissed by an Angel, #1-3))
β
What did it matter where you lay once you were dead? In a dirty sump or in a marble tower on the 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.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
Scarcely anything in literature is worth a damn except what is written between the lines.
β
β
Raymond Chandler
β
She looked playful and eager, but not quite sure of herself, like a new kitten in a house where they don't care much about kittens.
β
β
Raymond Chandler (The Lady in the Lake (Philip Marlowe, #4))
β
Trying to figure out God is like trying to catch a fish in the Pacific Ocean with an inch of dental floss.
β
β
Matt Chandler (The Explicit Gospel (Re: Lit))
β
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."
(Great Thought, February 19, 1938)
β
β
Raymond Chandler (The Notebooks of Raymond Chandler; and English Summer: A Gothic Romance)
β
The marker of those who understand the gospel of Jesus Christ is that, when they stumble and fall, when they screw up, they run to God and not from him, because they clearly understand that their acceptance before God is not predicated upon their behavior but on the righteous life of Jesus Christ and his sacrificial death.
β
β
Matt Chandler (The Explicit Gospel (Re: Lit))
β
Love can fuel hate.
β
β
Elizabeth Chandler (Evercrossed (Kissed by an Angel, #4))
β
California, the department store state.
β
β
Raymond Chandler
β
Her joy with him was like nothing she had ever experienced. His love for her felt like a miracle.
β
β
Elizabeth Chandler (Evercrossed (Kissed by an Angel, #4))
β
The idolatry the exists in a man's heart always wants to lead him away from his Savior and back to self-reliance no matter how pitiful that self-reliance is or how many times it has betrayed him.
β
β
Matt Chandler (The Explicit Gospel (Re: Lit))
β
I like bars just after they open for the evening. When the air inside is still cool and clean and everything is shiny and the barkeep is giving himself that last look in the mirror to see if his tie is straight and his hair is smooth. I like the neat bottles on the bar back and the lovely shining glasses and the anticipation. I like to watch the man mix the first one of the evening and put it down on a crisp mat and put the little folded napkin beside it. I like to taste it slowly. The first quiet drink of the evening in a quiet barβthat's wonderful.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
The actual writing is what you live for. The rest is something you have to get through in order to arrive at the point.
β
β
Raymond Chandler
β
I love you, Ivy. I'll never stop loving you."
She leaned against the winsow, looking out on a pale and glittering night. She looked through tears.
I prayed for one more chance to reach you," he said, "to tell you how much I love you and to tell you to keep on loving. Someone else was meant for you, Ivy, and you were meant for someone else."
She stood up straight. "No."
Yes, love," he said, softly but firmly.
No!"
Promise me, Ivy-"
I'll promise you nothing but that I love you," she cried.
Listen to me," Tristan pleaded. "You know I can't stay any longer."
The pale, glittering night was raining now, and fresh tears gleamed on her cheeks, but he had to leave.
I love you," he said. "I love you. Love him.
- Tristan Carruthers -
β
β
Elizabeth Chandler (Kissed by an Angel/The Power of Love/Soulmates (Kissed by an Angel, #1-3))
β
I turned back to the television. After a while what I was staring at registered. βHey, this is The Long Goodbye."
Jake opened his eyes. βWhat?"
"This movie. It's Robert Altman's take on Chandler's The Long Goodbye. βNothing says good-bye like a bullet.ββ
"I don't know,β said Jake. βSometimes the words are enough.
β
β
Josh Lanyon (The Dark Tide (The Adrien English Mysteries, #5))
β
Your approval before God is woven into the life and sacrifice of Jesus Christ on the cross, not what other men and women think about you.
β
β
Matt Chandler (Creature of the Word: The Jesus-Centered Church)
β
The challenge is to write about real things magically.
β
β
Raymond Chandler (Selected Letters)
β
She jerked away from me like a startled fawn might,if I had a startled fawn and it jerked away from me.
β
β
Raymond Chandler (The Little Sister (Philip Marlowe, #5))
β
I'll never stop wanting to kiss you," he whispered.
β
β
Elizabeth Chandler (No Time to Die & The Deep End of Fear (Dark Secrets, #3-4))
β
Endings are beginnings, and beginnings are ours to turn into something good.
β
β
Elizabeth Chandler (Everlasting (Kissed by an Angel, #5))
β
Such a lot of guns around town and so few brains. Youβre the second guy Iβve met within hours who seems to think a gat in the hand means a world by the tail.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
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.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
I stopped walking and wrapped my arms tightly around him. "You know I can hear your heart."
"Could you hear it breaking when I accused you of getting my cartoon pulled?" he asked.
I held my head back so I could look him directly in the eye. "I didn't pull it."
"You couldn't have," he replied, "because I did.
β
β
Elizabeth Chandler (Dark Secrets 1 (Dark Secrets, #1-2))
β
Am I getting braver, or just getting accustomed to being terrified?
β
β
Randy Alcorn (Deadline (Ollie Chandler #1))
β
dreams are shadows cast by truth shining on our darkest secrets
β
β
Elizabeth Chandler (Dark Secrets 1 (Dark Secrets, #1-2))
β
When I split an infinitive, God damn it, I split it so it will stay split.
β
β
Raymond Chandler
β
Americans will eat anything if it is toasted and held together with a couple of toothpicks and has lettuce sticking out of the sides, preferably a little wilted.
β
β
Raymond Chandler (The Long Goodbye)
β
Change can be good. It just depends on what we make of it.
β
β
Elizabeth Chandler (Summer in the City)
β
To hell with the rich, they make me sick.
β
β
Raymond Chandler
β
You've changed," he said. "You're-uh-"
"Yes?"
"Taller."
"I hope so. I was ten the last time you saw me."
"And your hair's really dark now-and short," he added.
β
β
Elizabeth Chandler (Don't Tell (Dark Secrets, #2))
β
Some people fall head over heels. Other people begin to fall without even knowing itβlove grows like a spring flower beneath last autumnβs leaves and catches them by surprise.
β
β
Elizabeth Chandler (Summer in the City)
β
As it is she will probably turn out to be one of these acid-faced virgins that sit behind little desks in public libraries and stamp dates in books.
β
β
Raymond Chandler
β
It was a smooth silvery voice that matched her hair. It had a tiny tinkle in it, like bells in a doll's house. I thought that was silly as soon as I thought of it.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
Marian exhaled. 'Because God made me a woman is no reason to be such a woman as men wish to make me.
β
β
A.E. Chandler, The Scarlet Forest: A Tale of Robin Hood
β
There ain't no clean way to make a hundred million bucks.... Somewhere along the line guys got pushed to the wall, nice little businesses got the ground cut out from under them... Decent people lost their jobs.... Big money is big power and big power gets used wrong. It's the system.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
i love you Ivy. I'll never stop loving you."
"I prayed for one more chance to reach you," he said, "to tell you how much I love you and to tell you to keep on loving. Someone else was meant for you,Ivy, and you were meant for someone else.
β
β
Elizabeth Chandler (Kissed by an Angel/The Power of Love/Soulmates (Kissed by an Angel, #1-3))
β
It probably started in poetry; almost everything does.
β
β
Raymond Chandler
β
A check girl in peach-bloom Chinese pajamas came over to take my hat and disapprove of my clothes. She had eyes like strange sins.
β
β
Raymond Chandler (The High Window (Philip Marlowe, #3))
β
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.
β
β
Raymond Chandler
β
A good title is the title of a successful book.
β
β
Raymond Chandler
β
What chilled my blood was a felt marker outline of a woman on the wall. Hands above the head, where there was a hook, then below the shape of the head, a neck strap. Then a waist strap, and two ankle clamps. The silhouette gave me no doubt that Gina had been confined here. But where was she now?
β
β
Grahame Shannon (Tiger and the Robot (Chandler Gray, #1))
β
People donβt like love, they like that flittery flirty feeling. They donβt love love - love is sacrificial, love is ferocious, itβs not emotive. Our culture doesnβt love love, it loves the idea of love. It wants the emotion without paying anything for it.
β
β
Matt Chandler
β
There's always something to do if you don't have to work or consider the cost. It's no real fun but the rich don't know that. They never had any. They never want anything very hard except maybe somebody else's wife and that's a pretty pale desire compared with the way a plumber's wife wants new curtains for the living room.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
Fix yourself something to drink," she said. "I don't have any Mr. Pepper."
"You mean Dr. Pepper?"
"For the love of God!" She exploded. "People expect everything from a psychic! 'Doctor,' 'mister,' I was close enough. I didn't call it 'Mrs. Salt,' did I?
β
β
Elizabeth Chandler (The Back Door of Midnight (Dark Secrets, #5))
β
Things change when someone special comes into your life. Both sides have to give up things. The one thing you don't give up in a good relationship is you--whatever makes you most you. - Jim Olsten (Jane's Grandpa)
β
β
Elizabeth Chandler (I Do (Love Stories For Young Adults, #35))
β
God is more interested in declaring than explaining.
β
β
Matt Chandler (The Explicit Gospel (Re: Lit))
β
There should be a rule against people trying to be funny before the sun comes up.
β
β
Kristen Chandler (Girls Don't Fly)
β
Down these mean streets a man must go who is neither tarnished nor afraid
β
β
Raymond Chandler
β
She was thinking. i could see, even on that short acquaintance, that thinking was always going to be a bother for her.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
The most durable thing in writing is
style. It is a projection of personality and you have
to have a personality before you can project it. It
is the product of emotion and perception.
β
β
Raymond Chandler
β
One would think a writer would be happy here -- if a writer is ever happy anywhere.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
I'm sorry that you're still hurting.
β
β
Elizabeth Chandler (Evercrossed (Kissed by an Angel, #4))
β
There is something brutal and wonderful about not having a clue who you are.
β
β
Kristen Chandler
β
I needed a drink, I needed a lot of life insurance, I needed a vacation, I needed a home in the country. What I had was a coat, a hat and a gun.
β
β
Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
β
A really good detective never gets married.
β
β
Raymond Chandler
β
Are you lost?"
I turned around. "Excuse me?"
Two guys were sprawled on a bench close to the sidewalk. The one who had spoken wore tattered shorts and a colonial three-cornered hat-nothing else. He had wide shoulders and long, muscular legs. He stretched dramatically, then lay his tanned arm along the back of the bench. "You look lost," he said. "Can I help you find something?"
"Uh, no, thanks. I was just looking."
He grinned. "Me too."
"Oh?" I glanced around, thinking I'd missed something. "At what?"
He and his friend burst out laughing.
Way to go, Lauren, I thought. He had been looking at me!
β
β
Elizabeth Chandler (Dark Secrets 1 (Dark Secrets, #1-2))
β
I felt mocked. "That's what I get for trusting you."
He took a step back. "Excuse me! Trust doesn't mean you get the response you want from someone, but that you'll get an honest response, and that the other person will stick by you even when you can't agree."
Stick by you for how long, through how much? I wondered. What is the expiration date on trust?
β
β
Elizabeth Chandler (The Deep End of Fear (Dark Secrets, #4))
β
Whatever goal you want to reach, you can reach it 10 times faster if
you are happy
β
β
Steve Chandler (100 Ways to Motivate Yourself: Change Your Life Forever)
β
A dead man is the best fall guy in the world. He never talks back.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
He leaned over her, the sun behind his head making a halo of gold, his face lit by the reflections off the water.
β
β
Elizabeth Chandler (Evercrossed (Kissed by an Angel, #4))
β
Words are precious things meant to create, to imagine, to dream with.
β
β
Elizabeth Chandler (Summer in the City)
β
So what don't you get?"
"The way people talk and act like they're crazy in love, and then, ding, suddenly they're
not. It's like it was all just pretend. Like it's just a game."
He crunched on an ice cube. "Well, sometimes it is just a game."
"Then how are you supposed to believe someone when it isn't?
β
β
Elizabeth Chandler (Love at First Click (First Kisses, #6))
β
Leaning her silly, beautiful, drunken head on my shoulder, she said, "Oh, Esther, I don't want to be a feminist. I don't enjoy it. It's no fun."
"I know," I said. "I don't either." People think you decide to be a "radical," for God's sake, like deciding to be a librarian or a ship's chandler. You "make up your mind," you "commit yourself" (sounds like a mental hospital, doesn't it?).
I said Don't worry, we could be buried together and have engraved on our tombstone the awful truth, which some day somebody will understand:
WE WUZ PUSHED.
β
β
Joanna Russ (On Strike Against God)
β
After a little while I felt a little better, but very little. I needed a drink, I needed a lot of life insurance, I needed a vacation, I needed a home in the country. What I had was a coat, a hat and a gun. I put them on and went out of the room.
β
β
Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
β
I envisaged a perfect detectiveβs assistant. Sheβd have long, wavy blonde hair, a short skirt, and curves in all the right places. Sheβd have a genius IQ, know how to hack and code, and be available at all hours. Now, make her into a robot. Sadly, I mentally removed her body, leaving a phone app.
β
β
Grahame Shannon (Tiger and the Robot (Chandler Gray, #1))
β
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.
β
β
Raymond Chandler
β
He can heal me. I believe He will. I believe I'm going to be an old surely Baptist preacher. And even if He doesn't...that's the thing: I've read Philippians 1. I know what Paul says. I'm here let's work, if I go home? That's better. I understand that.
β
β
Matt Chandler
β
You can crab over the morning paper and kick the shins of the guy in the next seat at the movies and feel mean and discouraged and sneer at the politicians but there are a lot of nice people in the world just the same.
β
β
Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
β
Perhaps this is the purpose of detective investigations, real and fictional -- to transform sensation, horror and grief into a puzzle, and then to solve the puzzle, to make it go away. 'The detective story,' observed Raymond Chandler in 1949, 'is a tragedy with a happy ending.' A storybook detective starts by confronting us with a murder and ends by absolving us of it. He clears us of guilt. He relieves us of uncertainty. He removes us from the presence of death.
β
β
Kate Summerscale (The Suspicions of Mr. Whicher: Murder and the Undoing of a Great Victorian Detective)
β
Sometimes I think that love is one big fairy tale. I wonder if people who say they are in love, if β really β theyβve just talked themselves into it. They want it so badly, they kind of make it happen. They fake it until they start believing their own story. Maybe thatβs just sour grapes or something. Maybe because it doesnβt happen to me, I donβt want to think it happens to anyone else.
β
β
Elizabeth Chandler (Summer in the City)
β
As the boat filled and capsized, the aluminum boom flew across the cockpit and hit the side of Tigerβs head.
The world was cold, blue, and shimmering. Thoughts swam through her mind like a school of tropical fish, moving in unison then darting off in all directions.
β
β
Grahame Shannon (Tiger and the Robot (Chandler Gray, #1))
β
Good dog," Nick said. "That's one of the tricks I've taught him, shaking water on girls so they back into my arms."
"Really! How smart of Rocky - and you, of course."
"That's another thing I've been wanting to tell you," he said, turning me to face him. "I'm tired of getting jealous of my dog. I mean, he has nice eyes, but so do I."
I looked from Rocky's golden eyes to Nick's laughing green ones.
"I didn't enjoy the way Rocky got to stick close to you while I played Holly's boyfriend. He's going to have some competition from now on."
"Oh, yeah? Are you good at retrieving sticks?"
"I'm good at stealing kisses," Nick said, then proved it.
β
β
Elizabeth Chandler (Dark Secrets 1 (Dark Secrets, #1-2))
β
Mr Cobb was my escort. Such a nice escort, Mr Cobb. So attentive. You should see him sober. I should see him sober. Somebody should see him sober. I mean, just for the record. So it could become a part of history, that brief flashing moment, soon buried in time, but never forgotten - when Larry Cobb was sober.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
Jane: "Look, Dave Chandler left me on the ninth floor of our university research library without my panties after we lost our virginity together. He never called me again and actually turned on his heel and walked in the opposite direction whenever he saw me on campus. Unless you're going to do that, I don't think were gonna have a problem. Gabriel?"
Gabriel: "Sorry. Something strange happened inside my head when you said the word "panties". The overwhelming urge to kill Dave Chandler combined with a simultaneous loss of blood to the brain.
β
β
Molly Harper (Nice Girls Don't Have Fangs (Jane Jameson, #1))
β
More often than not, we want him to have fairy wings and spread fairy dust and shine like a precious little star, dispensing nothing but good times on everyone, like some kind of hybrid of Tinker Bell and Aladdinβs Genie. But the God of the Bible, this God of Abraham and Isaac and Jacob, is a pillar of fire and a column of smoke.
β
β
Matt Chandler
β
The universe shudders in horror that we have this infinitely valuable, infinitely deep, infinitely rich, infinitely wise, infinitely loving God, and instead of pursuing him with steadfast passion and enthralled fury β instead of loving him with all our heart, soul, mind, and strength; instead of attributing to him glory and honor and praise and power and wisdom and strength β we just try to take his toys and run. It is still idolatry to want God for his benefits but not for himself.
β
β
Matt Chandler (The Explicit Gospel (Re: Lit))
β
A storm was brewing. The wind has picked up and a mass of purple clouds was coming in from the West. It felt good to have my hair whipping around my head. I thought it might feel good to have hail beat down on me. Sometimes storms outside are the only relief for storms inside...
β
β
Elizabeth Chandler (Love at First Click (First Kisses, #6))
β
In everything that can be called art there is a quality of redemption. It may be pure tragedy, if it is high tragedy, and it may be pity and irony, and it may be the raucous laughter of the strong man. But down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid.
The detective in this kind of story must be such a man. He is the hero; he is everything. He 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 -- by instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and a good enough man 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.
He is a relatively poor man, or he would not be a detective at all. He is a common man or he could not go among common people. He has a sense of character, or he would not know his job. He will take no man's money dishonestly and no man's insolence without due and dispassionate revenge. He is a lonely man and his pride is that you will treat him as a proud man or be very sorry you ever saw him. 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 story is the man's adventure in search of a hidden truth, and it would be no adventure if it did not happen to a man fit for adventure. He has a range of awareness that startles you, but it belongs to him by right, because it belongs to the world he lives in. If there were enough like him, the world would be a very safe place to live in, without becoming too dull to be worth living in.
β
β
Raymond Chandler (The Simple Art of Murder)
β
Common sense is the guy who tells you that you ought to have had your brakes relined last week before you smashed a front end this week. Common sense is the Monday morning quarterback who could have won the ball game if he had been on the team. But he never is. He's high up in the stands with a flask on his hip. Common sense is the little man in a grey suit who never makes a mistake in addition. But it's always someone else's money he's adding up.
β
β
Raymond Chandler (Playback (Philip Marlowe, #7))
β
Until you guys own your own souls you don't own mine. Until you guys can be trusted every time and always, in all times and conditions, to seek the truth out and find it and let the chips fall where they mayβuntil that time comes, I have the right to listen to my conscience, and protect my client the best way I can. Until I'm sure you won't do him more harm than you'll do the truth good. Or until I'm hauled before somebody that can make me talk.
β
β
Raymond Chandler (The High Window (Philip Marlowe, #3))
β
Man has always been a venal animal. The growth of populations, the huge costs of war, the incessant pressure of confiscatory taxation β all these things make him more and more venal. The average man is tired and scared, and a tired, scared man canβt afford ideals. He has to buy food for his family. In our time we have seen a shocking decline in both public and private morals. You canβt expect quality from people whose lives are a subjection to a lack of quality. You canβt have quality with mass production. You donβt want it because it lasts too long. So you substitute styling, which is a commercial swindle intended to produce artificial obsolescence. Mass production couldnβt sell its goods next year unless it made what is sold this year look unfashionable a year from now. We have the whitest kitchens and the most shining bathrooms in the world. But in the lovely white kitchen the average [person] canβt produce a meal fit to eat, and the lovely shining bathroom is mostly a receptacle for deodorants, laxatives, sleeping pills, and the products of that confidence racket called the cosmetic industry. We make the finest packages in the world, Mr Marlowe. The stuff inside is mostly junk.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
I'm a licensed private investigator and have been for quite a while. I'm a lone wolf, unmarried, getting middle-aged, and not rich. I've been in jail more than once and I don't do divorce business. I like liquor and women and chess and a few other things. The cops don't like me too well, but I know a couple I get along with. I'm a native son, born in Santa Rosa, both parents dead, no brothers or sisters, and when I get knocked off in a dark alley sometime, if it happens, as it could to anyone in my business, nobody will feel that the bottom has dropped out of his or her life.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
Do you know what it was like kissing Holly and looking up to see you?"
"What?"
"You said to begin anywhere."
But I hadn't expected that as a beginning, middle or end. I felt my cheeks getting warm. "I guess it was pretty embarrassing for both of us," I said, and walked ahead of him so he wouldn't see my face. "I know, I just kept staring at you."
"What were you thinking?"
"I don't remember."
"Don't you start using that line," he chided.
"Then don't ask me, Nick." Did he suspect how I felt.
He caught me and turned me around to face him. I focused on his shirt.
"Okay," he said quietly, "I'll tell you what I was thinking. I couldn't believe that I, who was never going to get hooked, had fallen in love with a girl who didn't want to date, and she was watching me kiss somebody else."
I glanced up.
"Your turn, brave girl. What were you thinking?"
"That Holly looked beautiful in your arms and that you didn't pull away from her the way you had pulled away from me when I kissed you."
He drew me to him. "I'm not pulling away again," he said holding me close.
β
β
Elizabeth Chandler (Dark Secrets 1 (Dark Secrets, #1-2))
β
God ultimately raises up leaders for one primary reason: His glory. He shows His power in our weakness. He demonstrates His wisdom in our folly. We are all like a turtle on a fence post. If you walk by a fence post and see a turtle on top of it, then you know someone came by and put it there. In the same way, God gives leadership according to His good pleasure.
β
β
Matt Chandler (Creature of the Word: The Jesus-Centered Church)
β
You go in through double swing doors. Inside the double doors there is a combination PBX and information desk at which sits one of those ageless women you see around municipal offices everywhere in the world. They were never young and will never be old. They have no beauty, no charm, no style. They don't have to please anybody. They are safe. They are civil without ever quite being polite and intelligent and knowledgeable without any real interest in anything. They are what human beings turn into when they trade life for existence and ambition for security.
β
β
Raymond Chandler (The Little Sister (Philip Marlowe, #5))
β
Being a copper I like to see the law win. I'd like to see the flashy well-dressed mugs like Eddie Mars spoiling their manicures in the rock quarry at Folsom, alongside of the poor little slum-bred guys that got knocked over on their first caper amd never had a break since. That's what I'd like. You and me both lived too long to think I'm likely to see it happen. Not in this town, not in any town half this size, in any part of this wide, green and beautiful U.S.A. We just don't run our country that way.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
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 didnβt 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 didnβt seem to be really trying.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
The other part of me wanted to get out and stay out, but this was the part I never listened to. Because if I ever had I would have stayed in the town where I was born and worked in the hardware store and married the boss's daughter and had five kids and read them the funny paper on Sunday morning and smacked their heads when they got out of line and squabbled with the wife about how much spending money they were to get and what programs they could have on the radio or TV set. I might even get rich - small-town rich, an eight-room house, two cars in the garage, chicken every Sunday and the Reader's Digest on the living room table, the wife with a cast-iron permanent and me with a brain like a sack of Portland cement. You take it, friend. I'll take the big sordid dirty crooked city.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
Wonderful what Hollywood will do to a nobody. It will make a radiant glamour queen out of a drab little wench who ought to be ironing a truck driver's shirts, a he-man hero with shining eyes and brilliant smile reeking of sexual charm out of some overgrown kid who was meant to go to work with a lunch-box. Out of a Texas car hop with the literacy of a character in a comic strip it will make an international courtesan, married six times to six millionaires and so blasΓ© and decadent at the end of it that her idea of a thrill is to seduce a furniture-mover in a sweaty undershirt.
β
β
Raymond Chandler (The Little Sister (Philip Marlowe, #5))
β
When I got home I mixed a stiff one and stood by the open window in the living room and sipped it and listened to the groundswell of traffic on Laurel Canyon Boulevard and looked at the glare of the big angry city hanging over the shoulder of the hills through which the boulevard had been cut. Far off the banshee wail of police or fire sirens rose and fell, never for very long completely silent. Twenty four hours a day somebody is running, somebody else is trying to catch him. Out there in the night of a thousand crimes, people were dying, being maimed, cut by flying glass, crushed against steering wheels or under heavy tires. People were being beaten, robbed, strangled, raped, and murdered. People were hungry, sick; bored, desperate with loneliness or remorse or fear, angry, cruel, feverish, shaken by sobs. A city no worse than others, a city rich and vigorous and full of pride, a city lost and beaten and full of emptiness. It all depends on where you sit and what your own private score is. I didn't have one. I didn't care. I finished the drink and went to bed.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
Television's perfect. You turn a few knobs, a few of those mechanical adjustments at which the higher apes are so proficient, and lean back and drain your mind of all thought. And there you are watching the bubbles in the primeval ooze. You don't have to concentrate. You don't have to react. You don't have to remember. You don't miss your brain because you don't need it. Your heart and liver and lungs continue to function normally. Apart from that, all is peace and quiet. You are in the man's nirvana. And if some poor nasty minded person comes along and says you look like a fly on a can of garbage, pay him no mind. He probably hasn't got the price of a television set.
β
β
Raymond Chandler
β
There are blondes and blondes and it is almost a joke word nowadays. All blondes have their points, except perhaps the metallic ones who are as blond as a Zulu under the bleach and as to disposition as soft as a sidewalk. There is the small cute blonde who cheeps and twitters, and the big statuesque blonde who straight-arms you with an ice-blue glare. There is the blonde who gives you the up-from-under look and smells lovely and shimmers and hangs on your arm and is always very tired when you take her home. She makes that helpless gesture and has that goddamned headache and you would like to slug her except that you are glad you found out about the headache before you invested too much time and money and hope in her. Because the headache will always be there, a weapon that never wears out and is as deadly as the bravoβs rapier or Lucreziaβs poison vial. There is the soft and willing and alcoholic blonde who doesnβt care what she wears as long as it is mink or where she goes as long as it is the Starlight Roof and there is plenty of dry champagne. There is the small perky blonde who is a little pal and wants to pay her own way and is full of sunshine and common sense and knows judo from the ground up and can toss a truck driver over her shoulder without missing more than one sentence out of the editorial in the Saturday Review. There is the pale, pale blonde with anemia of some non-fatal but incurable type. She is very languid and very shadowy and she speaks softly out of nowhere and you canβt lay a finger on her because in the first place you donβt want to and in the second place she is reading The Waste Land or Dante in the original, or Kafka or Kierkegaard or studying ProvenΓ§al. She adores music and when the New York Philharmonic is playing Hindemith she can tell you which one of the six bass viols came in a quarter of a beat too late. I hear Toscanini can also. That makes two of them. And lastly there is the gorgeous show piece who will outlast three kingpin racketeers and then marry a couple of millionaires at a million a head and end up with a pale rose villa at Cap Antibes, an Alfa-Romeo town car complete with pilot and co-pilot, and a stable of shopworn aristocrats, all of whom she will treat with the affectionate absent-mindedness of an elderly duke saying goodnight to his butler.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
Nobody ever got started on a career as a writer by exercising good judgment, and no one ever will, either, so the sooner you break the habit of relying on yours, the faster you will advance. People with good judgment weigh the assurance of a comfortable living represented by the marinersβ certificates that declare them masters of all ships, whether steam or sail, and masters of all oceans and all navigable rivers, and do not forsake such work in order to learn English and write books signed Joseph Conrad. People who have had hard lives but somehow found themselves fetched up in executive positions with prosperous West Coast oil firms do not drink and wench themselves out of such comfy billets in order in their middle age to write books as Raymond Chandler; that would be poor judgment. No one on the payroll of a New York newspaper would get drunk and chuck it all to become a free-lance writer, so there was no John OβHara. When you have at last progressed to the junction that enforces the decision of whether to proceed further, by sending your stuff out, and refusing to remain a wistful urchin too afraid to beg, and you have sent the stuff, it is time to pause and rejoice.
β
β
George V. Higgins
β
Ladies, if youβre single there is nothing wrong, sinful or wicked about desiring a husband, nothing. Anyone who would say otherwise is absolutely lying to you. God wired you for it, He built you for it. Men, there is nothing wrong, wicked, or evil about wanting a wife. I donβt know when that happened, I donβt, now listen I do think that you need to be content where you are today, alright, but listen Iβm content with what Christ is doing in me today but I donβt want to be who I am today, Iβm hoping Christ will complete what He began. Itβs okay, itβs alright, who made it so complicated? itβs okay, itβs okay to want a wife, itβs okay to want a husband, those are good things, theyβre really good things. Itβs okay, itβs okay to want.
β
β
Matt Chandler
β
We had guilt of every flavor: We had working-mom guilt, childless guilt, guilt because weβd turned down a social obligation, guilt because weβd accepted an invitation we knew we didnβt have time for, guilt for turning away work and for not turning it down when we felt we were already being taken advantage of. We had guilt for asking for more and for not asking for enough, guilt for working from home, guilt for eating a bagel, Catholic guilt and Presbyterian guilt and Jewish guilt, none of which tasted quite the same. We felt guilty if we werenβt feeling guilty enough, so much so that we began to take pride in this ability to function under moral conflict.
β
β
Chandler Baker (Whisper Network)
β
I believe...that to be very poor and very beautiful is most probably a moral failure more than an artistic success. Shakespeare would have done well in any generation because he would have refused to die in a corner; he would have taken the false gods and made them over; he would have taken the current formulae and forced them into something lesser men thought them incapable of. Alive today he would undoubtedly have written and directed motion pictures, plays, and God knows what. Instead of saying, "This medium is not good," he would have used it and made it good. If some people called some his work cheap (which some of it was), he wouldn't have cared a rap, because he would know that without some vulgarity there is no complete man. He would have hated refinement, as such, because it is always a withdrawal, and he was too tough to shrink from anything.
β
β
Raymond Chandler (Raymond Chandler Speaking)
β
Worship gatherings are not always spectacular, but they are always supernatural. And if a church looks for or works for the spectacular, she may miss the supernatural. If a person enters a gathering to be wowed with something impressive, with a style that fits him just right, with an order of service and song selection designed just the right way, that person may miss the supernatural presence of God. Worship is supernatural whenever people come hungry to respond, react, and receive from God for who He is and what He has done. A church worshipping as a Creature of the Word doesn't show up to perform or be entertained; she comes desperate and needy, thirsty for grace, receiving from the Lord and the body of Christ, and then gratefully receiving what she needs as she offers her praise-the only proper response to the God who saves us.
β
β
Matt Chandler (Creature of the Word: The Jesus-Centered Church)
β
We never understood the tendency to underestimate us, we who had been baptized and delivered through pain, who grinned and bore agonies while managing to draw on wing-tipped eyeliner with a surgically steady hand. We plucked our eyebrows, waxed our upper lips, got razor burn on our crotches, held blades to the cups of our armpits. Shoes tore holes in the skin of our heels and crippled the balls of our feet. We endured labor and childbirth and C-sections, during which doctors literally set our intestines on a table next to our bodies while we were awake. We got acid facials. We punctured our foreheads with Botox and filled our lips and our breasts. We pierced our ears and wore pants that were too tight. We got too much sun. We punished our bodies in spin class. All these tiny sacrifices to make us appear more lithe and ladylikeβthe female of the species. The weaker sex. Secretly, they toughened our hides, sharpened our edges. We were tougher than we looked. The only difference was that now we were finally letting on.
β
β
Chandler Baker (Whisper Network)