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To say goodbye is to die a little.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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There is no trap so deadly as the trap you set for yourself.
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Raymond Chandler (Long Goodbye)
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Ability is what you're capable of doing. Motivation determines what you do. Attitude determines how well you do it.
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Raymond Chandler
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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.
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Raymond Chandler (The High Window (Philip Marlowe, #3))
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I was as hollow and empty as the spaces between stars.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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Dead men are heavier than broken hearts.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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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.
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Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
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It seemed like a nice neighborhood to have bad habits in.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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There is no bad whiskey. There are only some whiskeys that aren't as good as others.
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Raymond Chandler
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It was a blonde. A blonde to make a bishop kick a hole in a stained-glass window.
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Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
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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.
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Raymond Chandler
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Throw up into your typewriter every morning. Clean up every noon.
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Raymond Chandler
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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.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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She gave me a smile I could feel in my hip pocket.
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Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
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The girl gave him a look which ought to have stuck at least four inches out of his back.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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The streets were dark with something more than night.
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Raymond Chandler
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You're broke, eh?"
I been shaking two nickels together for a month, trying to get them to mate.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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As honest as you can expect a man to be in a world where its going out of style.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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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.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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You talk too damn much and too damn much of it is about you.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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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.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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I'm an occasional drinker, the kind of guy who goes out for a beer and wakes up in Singapore with a full beard.
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Raymond Chandler (Philip Marlowe's Guide to Life)
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He looked about as inconspicuous as a tarantula on a slice of angel food cake.
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Raymond Chandler
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In writing a novel, when in doubt, have two guys come through the door with guns.
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Raymond Chandler
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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.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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I was neat, clean, shaved and sober and I didn't care who knew it.
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Raymond Chandler
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Under the thinning fog the surf curled and creamed, almost without sound, like a thought trying to form inself on the edge of consciousness.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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A good story cannot be devised; it has to be distilled.
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Raymond Chandler
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Neither of the two people in the room paid any attention to the way I came in, although only one of them was dead.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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Mostly I just kill time," he said, "and it dies hard.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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I donβt mind if you donβt like my manners. Theyβre pretty bad. I grieve over them during the long winter evenings.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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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.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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I like smooth shiny girls, hardboiled and loaded with sin.
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Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
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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.
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Raymond Chandler
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He was a guy who talked with commas, like a heavy novel. Over the phone anyway.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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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.
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Raymond Chandler (Red Wind: A Collection of Short Stories)
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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.
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Raymond Chandler (The Lady in the Lake (Philip Marlowe, #4))
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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.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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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.
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Raymond Chandler
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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.
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Raymond Chandler
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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.
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Raymond Chandler (The High Window (Philip Marlowe, #3))
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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.
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Raymond Chandler
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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...
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Raymond Chandler (The Lady in the Lake (Philip Marlowe, #4))
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Technique alone is never enough. You have to have passion. Technique alone is just an embroidered potholder.
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Raymond Chandler
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He sounded like a man who had slept well and didn't owe too much money.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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You can have a hangover from other things than alcohol. I had one from women.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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She smelled the way the Taj Mahal looks by moonlight.
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Raymond Chandler (The Little Sister (Philip Marlowe, #5))
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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.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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Chess is as elaborate a waste of human intelligence as you can find outside an advertising agency.
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Raymond Chandler
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A writer who is afraid to overreach himself is as useless as a general who is afraid to be wrong.
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Raymond Chandler (Pearls are a Nuisance)
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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.
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Raymond Chandler
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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.
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Raymond Chandler (The Little Sister (Philip Marlowe, #5))
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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.
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Raymond Chandler (Pearls are a Nuisance)
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If I wasn't hard, I wouldn't be alive.
If I couldn't ever be gentle, I wouldn't deserve to be alive.
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Raymond Chandler (Playback (Philip Marlowe, #7))
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Most people go through life using up half their energy trying to protect a dignity they never had
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Raymond Chandler
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The most durable thing in writing is style, and style is the single most valuable investment a writer can make with his time.
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Raymond Chandler
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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.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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The wet air was as cold as the ashes of love.
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Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
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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.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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I went out the kitchen to make coffee - yards of coffee. Rich, strong, bitter, boiling hot, ruthless, depraved. The life blood of tired men.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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The coffee shop smell was strong enough to build a garage on.
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Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
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She had eyes like strange sins.
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Raymond Chandler (The High Window (Philip Marlowe, #3))
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When in doubt, have a man come through the door with a gun in his hand.
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Raymond Chandler
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I'm in a wild mood tonight. I want to go dance in the foam. I hear the banshees calling.
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Raymond Chandler
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Some days I feel like playing it smooth. Some days I feel like playing it like a waffle iron.
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Raymond Chandler (Trouble Is My Business (Philip Marlowe, #8))
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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.
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Raymond Chandler (The Simple Art of Murder)
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I'm killing time and it's dying hard.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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She bent over me again. Blood began to move around in me, like a prospective tenant looking over a house.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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It was a cool day and very clear. You could see a long way-but not as far as Velma had gone.
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Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
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I'm not a young man. I'm old, tired and full of no coffee.
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Raymond Chandler (Playback (Philip Marlowe, #7))
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I belonged in Idle Valley like a pearl onion on a banana split.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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I sat down on the edge of a deep soft chair and looked at Mrs Regan. She was worth a stare. She was trouble.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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The more you reason the less you create.
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Raymond Chandler
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Scarcely anything in literature is worth a damn except what is written between the lines.
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Raymond Chandler
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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.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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Shake your business up and pour it. I don't have all day.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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Time passed again. I don't know how long. I had no watch. They don't make that kind of time in watches anyway.
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Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
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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.
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Raymond Chandler (The Lady in the Lake (Philip Marlowe, #4))
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California, the department store state.
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Raymond Chandler
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The challenge is to write about real things magically.
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Raymond Chandler (Selected Letters)
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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.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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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)
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Raymond Chandler (The Notebooks of Raymond Chandler; and English Summer: A Gothic Romance)
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The actual writing is what you live for. The rest is something you have to get through in order to arrive at the point.
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Raymond Chandler
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She jerked away from me like a startled fawn might,if I had a startled fawn and it jerked away from me.
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Raymond Chandler (The Little Sister (Philip Marlowe, #5))
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[Raymond Chandler] wrote as if pain hurt and life mattered.
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The New Yorker
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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.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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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.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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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.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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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.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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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.
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Raymond Chandler (The Simple Art of Murder)
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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.
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Raymond Chandler (Playback (Philip Marlowe, #7))
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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.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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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.
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Raymond Chandler (The Little Sister (Philip Marlowe, #5))
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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.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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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.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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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.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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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.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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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.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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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.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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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.
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Raymond Chandler