‘..A
man of honour, by instinct, by inevitability, without thought
of it, and certainly without saying it.’
I
have studied two novels featuring detectives whose work is based
upon a personal code of honour, integrity and morality. ‘The
Big Sleep’ by Raymond Chandler is set in Los Angeles in 1938,
while ‘Spirit House’ by Christopher G Moore is set in
Bangkok in 1992. Both novels, to some extent, reflect the statement
of the title in that the detectives are so committed to their
honour and integrity that they are often left exhausted and physically
and emotionally isolated.
Chandler
creates Marlowe as an honest man with old-fashioned pride and
honour in a world with few noble values; ‘His values are of another
age, amid the relative valuelessness of the present.’ [1] Marlowe
assumes the anachronistic status of a chivalrous knight in several
different ways throughout the novel. We first begin to see the
imagery of Marlowe’s knight figure in the opening chapter reflected
in the Sternwood mansion window; ‘...There was a broad stained-glass
panel showing a knight in dark armour rescuing a lady...’ (Chapter
1, Page 1). The knight in this description represents Marlowe,
where the lady represents Carmen Sternwood, showing Marlowe’s
role of nobly carrying out the order and his job, given by General
Sternwood, to protect his daughter.
Another
key aspect of ‘The Big Sleep’ which highlights Marlowe’s character
as a chivalrous knight is through the logical game of chess. Marlowe
plays chess alone, recognising that he is a man ‘out of time’;
’Knights had no meaning in this game. It wasn’t a game for knights..’
(Chapter 24, Page 170). At Geiger’s, Marlowe is again required
to act on his chivalry to dress Carmen and take her home. This
line also portrays the society Marlowe had to face, a world dominated
by criminal ‘kings’ and ‘queens’, highlighting the corruption
within Los Angeles. Only a man of honour can contemplate such
a challenge.
The
character of Calvino is shown to actively need and seek the help
of his best friend Colonel Pratt, his assistant Ratana and an
ex-lover, Kiko. Despite this need, Calvino does demonstrate a
sense of loneliness; ‘-you can cling to the edge of life alone,
but it is impossible to reaffirm it alone.’ (Chapter 13, Page
162). Calvino faces loneliness through his personal emotions,
especially living within the corruption of Bangkok, but also as
a foreigner where he encounters several problems that Marlowe
does not. However, unlike Marlowe, Calvino approaches and deals
with his orders and problems with the help of allies; Calvino
also admits that he is not able to retain his job as a private
detective without the help of Colonel Pratt. His honour is therefore
an attribute dependent upon others, much more so than Marlowe.
In
contrast, the chivalrous knight that emerges through the character
of Marlowe is also demonstrated by Marlowe’s own independence.
Marlowe always tackles any problem on his own, because he is cynical
and not able to trust anyone; everyone is considered a potential
criminal. Marlowe is a strict man with integrity, which is portrayed
within his personal life, towards society and also towards his
clients. This results in his isolation, both physical and emotional;
‘I see him always in a lonely street, in lonely rooms, puzzled
but never quite defeated.’ (Ian Rankin – Page VI). Marlowe therefore
isolates himself in the corrupt society of Los Angeles and fiercely
upholds his own moral conduct as part of this integrity. This
means that he must lead a lonely life because he is not able to
find a companion that he can trust. He accepts it as part of his
existential existence; it is unavoidable, even when he is in need
of advice, support and reinforcement. His instinctive sense of
honour is at the heart of this.
Nevertheless,
Christopher Moore also creates the character of Calvino as a wise
man, who has a degree of integrity, with, or without the assistance
of others. Calvino is aware of the corruption that surrounds him
and the danger he encounters; ‘I’ve been hired to take that risk.’
(Chapter 13, Page 168). Calvino is committed to his job as a private
investigator, but also towards his clients, retaining his honour
and admiration as a character, and is determined to follow through
his orders, despite the consequences. However, admiring the great
work of Chandler, Moore admits; ‘The idea of a private investigator
searching for justice in a system corrupted by wealth and power
is something that I must confess owes a debt to Chandler.’ (Christopher
G Moore, contacted via email). From this we can begin to understand
the similarities between the two detectives, but also the key
characteristics which Chandler believes creates a true detective
from ‘The Simple Art of Murder’
The
location of each novel can also be seen almost as another character
that helps shape the novel. Both, Bangkok and Los Angeles can
be translated as ‘City of angels’, which is ironically subverted
through both novels. Marlowe faces the world of Los Angeles as
an alienating environment in which he does not belong, a society
filled with criminals. 1930’s America was a period of the Great
Depression, which Chandler continuously portrays; ‘The most striking
development of the great depression of 1929 is a profound scepticism
of the future of contemporary society among large sections of
the American people.’ (C.L.R. James). [2] We begin to understand
Chandler’s motif in the opening page of the novel where despite
his integrity and contempt for corrupt wealth, Marlowe needs to
be ‘dressed up’ having to visit the opulent Sternwood Mansion.
Money is a constant factor in Los Angeles that leads many characters
to corruption and criminality. Chandler’s cynicism towards this
society is made clear. No character, not even a man of the law,
is exempt as the police can also be bought; ‘I dare say the Grand
Jury would like to know what those reasons are.’ (Chapter 18,
Page 122). From this we can understand that Geiger’s bookstore
was allowed to operate by the police for their own immoral and
unethical reasons. Marlowe’s immorality disapproves, but his sense
of integrity to his client is further evidence of his sense of
honour.
Calvino’s
cynicism is also exemplified predominantly through the novel’s
location, with the felony and corruption that is embodied within.
Bangkok is also seen as a pivotal character shaping the novel.
Christopher Moore admits that the location in which Calvino exists
is purposely set to be able to portray the hard-boiled detective
character; the deception and misdeed that surrounds Bangkok is
always apparent; ‘Asking if there is corruption in Thailand is
like asking if there is dough inside a bakery.’ (Chapter 3, Page
40). Calvino’s character is therefore shaped by the society he
has to exist in, a world of drugs, murder, dope dealers and high-class
call girls. Subverting normal issues of morality, Calvino, like
Marlowe, is unwillingly forced to act within these illegal parameters,
mirroring such crimes of murder, enabling him to fulfil his duty;
‘Calvino used both hands to drive the ball-point pen through his
eye.’ (Chapter 8, Page 104). In both novels, we begin to see that
a new ambiguous morality exists in such cities, where characters
with integrity will often break the law to do what is morally
‘right’. However, even though both detectives exist in a world
they do not belong in, this is part of their integrity and honour;
‘He must be the best man in his world and a good enough man for
any world.’(Simple Art of Murder). [3] Marlowe is one of the few
exceptions within the corruption of Los Angeles, yet still finds
a way to retain his integrity and admiration. Unlike Marlowe,
Calvino faces a new society and culture, and consequently is regarded
as a foreigner. Nevertheless, Calvino is still able to obey his
moral conduct and codes of honour.
As
the novel progresses, Calvino is more susceptible to the cruel
actions of other characters, where we begin to unveil the side
of redemption enclosed within Calvino, such as the ‘Katoey’ for
his own safety, although he feels that is his downfall. Marlowe’s
integrity is such that like Calvino, he feels he has failed; ‘Me,
I was part of the nastiness now.’ (Chapter 32, Page 250). After
‘saving’ Carmen, Marlowe believes he is now part of the corruption
Los Angeles faces, however we as readers, disagree and believe
that he has gained redemption by breaking the law for the benefit
of Carmen, and his loyalty towards General Sternwood. His honour
is naturally embodied within, Marlowe shows no sense of being
proud in what he does and why, it is just his role in life.
We
can see a similar level of honour through Calvino towards his
family, but also Kiko; ‘It’s too dangerous..’(Chapter 12). Calvino
is aware of the dangers he may encounter, but does not allow Kiko
to also have to face the risk; ‘if he is a man of honour in one
thing, he is that in all things.’ (The Simple Art of Murder).
[3] Calvino portrays his honour in several ways, despite the order
he has been given, he is not able to let the dangers reach elsewhere,
his honour and credibility acts upon this; ‘Hewn from the hard-boiled
Dashiell Hammett/Raymond Chandler model, Calvino is a tough, somewhat
tarnished hero with a heart of gold.’ (Mark Schreiber). [4]
Chandler’s proficiency in creating an ideal mood of both surroundings
and character is illustrated largely through his writing style.
Chandler is continuously providing individual and imaginative
descriptions of locality, primarily with the use of weather; ‘The
rain drummed hard on the roof of the car... In spite of the rain,
or perhaps even because of it, there was business done at Geiger’s.’
(Chapter 6, Page 32). From this we can understand Chandler uses
such the pathetic fallacy in these descriptions and techniques
enabling him to foreshadow situations. This technique is widely
used within other texts of Chandler’s mirroring the same intention;
‘It was a cool day and very clear. You could see a long way--but
not as far as Velma had gone.’ (Farewell, My Lovely. Chapter 41.)
In this novel, Marlowe is in search for a lady named ‘Velma’,
an order given by Moose Malloy. Chandler again uses the weather
as a tool to be able to create and predict the situation he encounters.
This has a substantial effect on us as readers, being able to
gain a deeper understanding of Chandler’s intentions through the
power of his imagination and vocabulary; ‘Readers care little
for action. What they care about is the creation of emotion through
dialogue and description’ (Raymond Chandler, 1949) [5]
The
writing style of Christopher Moore can also be largely compared
to Chandler’s in shaping his novel. The cynicism and ironic wit
is present throughout Moore’s writing style to reinforce and reflect
Bangkok’s corruption, but also the personalities of characters;
‘He threw them something they hadn’t expected. Vulnerability,
honesty, and blind, stupid truth-telling.’ (Chapter 6, Page 69).
Like Chandler, Moore is continuously playing on ambiguous sarcasm,
yet still keeping the reader aware of what he intends to portray.;
‘It’s easy to see why Moore’s books are popular: While seasoned
with a spicy mixture of humor and realism, they stand out as model
studies in East-West encounters, as satisfying for their cultural
insights as they are for their hardboiled action.’ (Mark Schreiber,
The Japan Times) [6] Moore’s writing style is such that, largely,
he creates the realism of Bangkok through the wit and intelligence
of Calvino.
Chandler’s
most apparent and, ultimately, effective writing style is his
approach towards language; ‘Neither of the two people in the room
paid attention to the way I came in, although only one of them
was dead.’(Chapter 6, Page 36). Immediately we begin to understand
Chandler and his use of vernacular to unveil the irony and derision
which exists throughout the novel, largely reflecting Marlowe’s
contempt for his opponents. Chandler is driven by clever wit,
creating the character of Marlowe to be ‘a man with words’ constantly
playing on sarcasm; ‘You’re not careful enough, I said. That play
with Geiger’s books was terrible.’(Chapter 14, Page 86). Here
Marlowe demoralizes- rather than fights- Joe Brody; Marlowe’s
only battle is verbal and mental. This is one of Marlowe’s key
strengths- to be able to endure the society and crime of Los Angeles
by rising above violence and defeating his enemies with his wit
alone. It is not unreasonable to guess that Marlowe represents
much of how Raymond Chandler wished he himself could be.
Marlowe
is not driven by money, then but honour. He takes a minimum wage,
and does not seek to join in the capitalist scramble for power,
wealth and status. As a result he cannot be exploited and does
not seek to exploit other in a Marxist way, i.e. to gain prestige
and control; ‘I’d like to offer you your money back. It may mean
nothing to you. It might mean something to me.’ (Chapter 30).
Calvino reflects this too only using the wealth that he gains
in order to be able to obtain information towards his order given.
Where it is also believed that being able to exist in Bangkok
is to be able to ‘purchase’ your way around. Both detective’s
honour and integrity is predominantly shown through this, where
they are the only exceptions that are present in two societies
that face an economic destruction and citizens have become corrupt
criminals.
Both
detectives are to an extent ‘..men of honour, by instinct, by
inevitability, without thought of it, and certainly without saying
it.’ Marlow’s integrity is so strong that he is incapable of behaving
otherwise; this is established by Chandler’s style of providing
him with the most powerful, creative and hard-hitting language,
a vernacular which sets him above all others. Calvino certainly
has these qualities but less so; modern society is harder to live
in, and Calvino is forced to compromise to exist within society,
and this is reflected in the voice Moore gives him. Marlowe sets
himself outside society by rejecting wealth and influence. Calvino
does not ‘say it’, yet Marlowe goes further, ‘saying’ that his
honour has in fact failed, and that he is ‘part of the nastiness
now’. As readers we know that he is being far too hard on himself.
Bibliography;
[1]-
Jerry Speir “Raymond Chandler”, Ungar, 1980 – Pg 143
[2]
- Great depression; BookRags Media Network
http://www.brainyquote.com/quotes/keywords/great_depression.html
[3]
- Simple Art of Murder;
http://www.goodreads.com/work/quotes/1165594-the-simple-art-of-murder
[4]-
Mark Schreiber;
http://en.wikipedia.org/wiki/Christopher_G._Moore
[5]
- RC 1949
[6]
- Mark Schreiber;
http://www.cgmoore.com/reviews/index.htm
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