Maria Wejman Wejman itibaren Sungur Köyü, 31550 Sungur Köyü/Yayladağı/Hatay, Türkiye
It is always a pleasure to revisit a good book and find it even better than you remember. But it is humbling to discover that what you once thought was its most obvious defect is instead one of its great strengths. That was my recent experience with Raymond Chandler's The Big Sleep. I had read it twice before—once twenty years, once forty years ago—and have admired it ever since for its striking metaphors, vivid scenes, and tough dialogue. Above all, I love it for its hero, Philip Marlowe, the closest thing to a shining knight in a tarnished, unchivalrous world. But even though I recalled Chandler's metaphors with pleasure, I also tended to disparage them as baroque and excessive. Having read too many Chandler imitations and watched too many Chandler parodies, I had come to view his images as exotic, overripe things which could survive only in a hothouse—corrupt things like the orchids the aged General Sternwood raises as an excuse for the heat. This time through, I refused to let individual metaphors distract me, but instead allowed the totality of the imagery—including the detailed description of the settings—do its work. When I did so, I was not only pleased by the aptness of the descriptive passages but also surprised by the restraint of most of the metaphors. True, there are a few outrageous similes, but they are always used deliberately, for humor or shock, and often refer to the General's daughter Carmen, who deserves everything she gets. Overall, the sustained effect of the imagery is to evoke vividly and atmospherically the beauty and corruption of Los Angeles. But, first and foremost, the author's imagery is the narrator Marlowe's too—as is also the case with Joseph Conrad's narrator Marlow—and because of this it reveals to us the heart of Marlowe's personal darkness: his place in the world, the person he wishes to be, and the profound distance between the two. Chandler introduces us to Marlowe at the Sternwood's palatial mansion, a medieval gothic structure within sight of—but mercifully upwind from—the stinking detritus of Sternwood's first oil well, the foundation of the family fortune. Over the hallway entrance, a stained-glass window depicts a knight who is awkwardly—Marlowe thinks unsuccessfully—trying to free a captive maiden (her nakedness concealed only by her long cascading hair) from the ropes that bind her. Marlowe's initial impulse? He wants to climb up there and help. He doesn't think the guy is really trying. Thus, from the first, the despoliation of L.A., the corruption of big money, and a vision of chivalric romance complicated by sexuality—a vision which encompasses both the urgency and impotence of knight-errantry--reflect Philip Marlowe's character and concerns. As the book proceeds, the ghost of Rusty Reagan, an embodiment of modern day romance (Irish rebel soldier, rum-runner, crack shot), becomes not only part of Marlowe's quest but also his double, another young man with “a soldier's eye” doing General Sternwood's bidding, lost in the polluted world of L.A. At the climax of the novel, everything that can be resolved is resolved, as Marlowe, the ghost of Reagan and one of the Sternwoods meet amidst the stench of the family's abandoned oil well. Afterwards, though, all Marlowe can think about is Eddie Mars' wife, the captive "maiden" who cut off all of her once-long hair to prove she didn't mind being confined (“Silver-Wig” Marlowe calls her), who rescued him from killers by cutting his ropes with a knife, but who is still so in love with her corrupt gambler husband that Marlowe cannot begin to save her.