Philip Marlowe Quotes

We've searched our database for all the quotes and captions related to Philip Marlowe. Here they are! All 100 of them:

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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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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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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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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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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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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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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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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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I don’t mind if you don’t like my manners. They’re 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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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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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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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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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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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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Police business is a hell of a problem. It’s a good deal like politics. It asks for the highest type of men, and there’s 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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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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I hung up. It was a good start, but it didn’t 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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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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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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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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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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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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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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She had eyes like strange sins.
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Raymond Chandler (The High Window (Philip Marlowe, #3))
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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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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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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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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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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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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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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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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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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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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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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 barβ€”that's wonderful.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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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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Such a lot of guns around town and so few brains. You’re the second guy I’ve met within hours who seems to think a gat in the hand means a world by the tail.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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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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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.
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Raymond Chandler (The High Window (Philip Marlowe, #3))
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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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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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One would think a writer would be happy here -- if a writer is ever happy anywhere.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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She was thinking. i could see, even on that short acquaintance, that thinking was always going to be a bother for her.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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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.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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A dead man is the best fall guy in the world. He never talks back.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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It’s so hard for womenβ€”even nice womenβ€”to realize that their bodies are not irresistible.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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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.
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Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
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Tall, aren't you? I didn't mean to be.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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That's the difference between crime and business. For business you gotta have capital. Sometimes I think it's the only difference.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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I decided I could lose nothing by the soft approach. If that didn't produce for meβ€”and I didn't think it wouldβ€”nature could take its course and we could bust up the furniture.
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Raymond Chandler (The Lady in the Lake (Philip Marlowe, #4))
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Even on Central Avenue, not the quietest dressed street in the world, he looked about as inconspicuous as a tarantula on a slice of angel food.
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Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
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And the commercials would have sickened a goat raised on barbed wire and broken beer bottles.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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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.
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Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
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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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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.
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Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
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On the smooth brown hair was a hat that had been taken from its mother too young.
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Raymond Chandler (The Little Sister (Philip Marlowe, #5))
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However hard I try to be nice I always end up with my nose in the dirt and my thumb feeling for somebody’s eye.
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Raymond Chandler (The Lady in the Lake (Philip Marlowe, #4))
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It's a swell theory," I said. "Marriott socked me, took the money, then he got sorry and beat his brains out, after first burying the money under a bush.
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Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
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That's the trouble with cops. You're all set to hate their guts and then you meet one that goes human on you.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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Hair like steel wool grew far back on his head and gave him a domed brown forehead that might at careless glance seemed a dwelling place for brains.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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I think you are a very stupid person. You look stupid. You are in a stupid business. And you came here on a stupid mission.” β€œI get it,” I said. β€œI’m stupid. It sank in after a while.
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Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
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He turned and walked across the floor and out. I watched the door close. I listened to his steps going away down the imitation marble corridor. After a while they got faint, then they got silent. I kept on listening anyway.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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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 mayβ€”until 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.
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Raymond Chandler (The High Window (Philip Marlowe, #3))
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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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Man has always been a venal animal. The growth of populations, the huge costs of war, the incessant pressure of confiscatory taxation – all these things make him more and more venal. The average man is tired and scared, and a tired, scared man can’t 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 can’t expect quality from people whose lives are a subjection to a lack of quality. You can’t have quality with mass production. You don’t want it because it lasts too long. So you substitute styling, which is a commercial swindle intended to produce artificial obsolescence. Mass production couldn’t 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] can’t 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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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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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 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 didn’t 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 didn’t seem to be really trying.
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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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I smelled of gin. Not just casually, as if I had taken four or five drinks of a winter morning to get out of bed on, but as if the Pacific Ocean was pure gin and I had nosedived off the boat deck. The gin was in my hair and eyebrows, on my chin and under my chin. It was on my shirt. I smelled like dead toads.
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Raymond Chandler (The Lady in the Lake (Philip Marlowe, #4))
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Then she laughed. It was almost a racking laugh. It shook her as the wind shakes a tree. I thought there was puzzlement in it, not exactly surprise, but as if a new idea had been added to something already known and it didn't fit. Then I thought that was too much to get out of a laugh.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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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 bravo’s rapier or Lucrezia’s poison vial. There is the soft and willing and alcoholic blonde who doesn’t 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 can’t lay a finger on her because in the first place you don’t 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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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.
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Raymond Chandler (The Little Sister (Philip Marlowe, #5))
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We have the whitest kitchens and the most shining bathrooms in the world. But in the lovely white kitchen the average [person] can’t 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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Maybe I can quit drinking one of these days. They all say that, don't they?" "It takes about three years." "Three years?" He looked shocked. "Usually it does. It's a different world. You have to get used to a paler set of colors, a quieter lot of sounds. You have to allow for relapses. All the people you used to know well will get to be just a little strange. You won't even like most of them, and they won't like you too well.
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Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
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Nobody yelled or ran out of the door. Nobody blew a police whistle. Everything was quiet and sunny and calm. No cause for excitement whatever. It's only Marlowe, finding another body. He does it rather well by now. Murder-a-day Marlowe, they call him. They have the meat wagon following him around to follow up on the business he finds. A nice enough fellow, in an ingenuous sort of way.
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Raymond Chandler (The Lady in the Lake (Philip Marlowe, #4))
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I looked at my watch. Nine fifty-four. Time to go home and get your slippers on and play over a game of chess. Time for a tall cool drink and a long quiet pipe. Time to sit with your feet up and think of nothing. Time to start yawning over your magazine. Time to be a human being, a householder, a man with nothing to do but rest and suck in the night air and rebuild the brain for tomorrow.
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Raymond Chandler (The Lady in the Lake (Philip Marlowe, #4))
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I didn't mind what she called me, what anybody called me. But this was the room I had to live in. It was all I had in the way of a home. In it was everything that was mine, that had any association for me, any past, anything that took the place of a family. Not much: a few books, pictures, radio, chessmen, old letters, stuff like that. Nothing. Such as they were, they had all my memories.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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When I left Merle was wearing a bungalow apron and rolling pie crust. She came to the door wiping her hands on the apron and kissed me on the mouth and began to cry and ran back into the house, leaving the doorway empty [...] 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. (p. 262)
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Raymond Chandler (The High Window (Philip Marlowe, #3))
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The book was not new. Dates were stamped on the front endpaper, in and out dates. A rent book. A lending library of elaborate smut. I rewrapped the book and locked it up behind the seat. A racket like that, out in the open on the boulevard, seemed to mean plenty of protection. I sat there and poisoned myself with cigarette smoke and listened to the rain and thought about it.
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Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
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Her eyes were wide-set and there was thinking room between them. Their color was lapis-lazuli blue and the color of her hair was dusky red, like a fire under control but still dangerous. She was too tall to be cute. She wore plenty of make-up in the right places and the cigarette she was poking at me had a built-on mouthpiece about three inches long. She didn't look hard, but she looked as if she had heard all the answers and remembered the ones she thought she might be able to use sometime.
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Raymond Chandler (Trouble Is My Business (Philip Marlowe, #8))