Agree, somewhat, about disconnecting Chandler from Marlow in The Long Goodbye. But all that mouthing off, all those "talk radio" speeches about crime being the dark side of what is so great about America, about Mexicans, about you-name-it, all those opinions that make The Long Goodbye so, uh, long, surely sound like an author who doesn't mind making his main character less laconic or terse than he previously was for personal reasons. [The speeches sound like his essays; and Bernie Ohls' speech bits sound like Marlow too.] The Terry Lennox connection is harder to hold, but Marlow's unaccountable fidelity to Terry that he holds to for so long is curious. When I've done library discussion programs on The Long Goodbye, that's the one thing that troubles readers most. And I confess that I am not wholly satisfied by it either, since it seems obvious early on that he is getting his lumps for someone who is weak and unreliable. Hence, I was interested to find that Chandler, like Terry, was at one time in a unit that was almost completely wiped out. ["Ann Melvin" hits this note also.] So we have an author's tolerance, via Marlow's, based on what such a trauma might do to one. - # RARA-AVIS: To unsubscribe, say "unsubscribe rara-avis" # to majordomo@icomm.ca