The High Window [Abridged] [Audio Cassette]

Raymond Chandler (Author), Elliot Gould (Performer)

Book Description

Publication Date: April 2003

Raymond Chandler, the master of mystery, has created another potboiler that enthralls everyone who loves mysteries. Performed by Elliott Gould, the consummate Philip Marlow, the gritty detective breaks the case again.

Editorial Reviews

From Library Journal

Chandler is not only the best writer of hardboiled PI stories, he's one of the 20th century's top scribes, period. His full canon of novels and short stories is reprinted in trade paper featuring uniform covers in Black Lizard's signature style. A handsome set for a reasonable price.
Copyright 2002 Reed Business Information, Inc. --This text refers to the Paperback edition.

Review

"Raymond Chandler is a master." --The New York Times

“[Chandler] wrote as if pain hurt and life mattered.” --The New Yorker

“Chandler seems to have created the culminating American hero: wised up, hopeful, thoughtful, adventurous, sentimental, cynical and rebellious.” --Robert B. Parker, The New York Times Book Review

“Philip Marlowe remains the quintessential urban private eye.” --Los Angeles Times

“Nobody can write like Chandler on his home turf, not even Faulkner. . . . An original. . . . A great artist.” —The Boston Book Review

“Raymond Chandler was one of the finest prose writers of the twentieth century. . . . Age does not wither Chandler’s prose. . . . He wrote like an angel.” --Literary Review

“[T]he prose rises to heights of unselfconscious eloquence, and we realize with a jolt of excitement that we are in the presence of not a mere action tale teller, but a stylist, a writer with a vision.” --Joyce Carol Oates, The New York Review of Books

“Chandler wrote like a slumming angel and invested the sun-blinded streets of Los Angeles with a romantic presence.” —Ross Macdonald

“Raymond Chandler is a star of the first magnitude.” --Erle Stanley Gardner

“Raymond Chandler invented a new way of talking about America, and America has never looked the same to us since.” --Paul Auster

“[Chandler]’s the perfect novelist for our times. He takes us into a different world, a world that’s like ours, but isn’t. ” --Carolyn See

--This text refers to the Paperback edition.

See all Editorial Reviews

Product Details

• Audio Cassette
• Publisher: New Millennium Audio; Abridged edition (April 2003)
• Language: English
• ISBN-10: 1590071018
• ISBN-13: 978-1590071014
• Product Dimensions: 7.4 x 4.5 x 0.7 inches
• Shipping Weight: 3.2 ounces
• Average Customer Review: 4.2 out of 5 stars  See all reviews (25 customer reviews)
• Amazon Best Sellers Rank: #4,381,503 in Books (See Top 100 in Books)
  • #14 in Books > Books on Cassette > Authors, A-Z > ( C ) > Chandler, Raymond

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Customer Reviews

Most Helpful Customer Reviews

26 of 26 people found the following review helpful:

5.0 out of 5 stars Best sledgehammer around, April 27, 1998

By 

sandra mckinnon shelley (Richmond, Virginia) - See all my reviews

This review is from: The High Window (Paperback)

The High Window
by Raymond Chandler

The "High
Window" begins one hot day in Pasadena, when "everything
that grew was perfectly still in the breathless air they get over
there on what they call a nice cool day." If we don't know we are
in a Philip Marlowe novel yet, we do as soon as we meet his new
client--a wealthy, obese widow named Mrs. Murdock. From the
overgrown, dimly-lit sun room where she holds court, she gives Marlowe
his latest p.i. assignment. He's to find a rare coin, the Brasher
Doubloon, that was stolen from her possession. He's also to find her
daughter-in-law, a former nightclub singer named Linda Conquest, who
disappeared at the same time as the coin. "A charming girl--and
tough as an oak board," Mrs. Murdock tells him, through sips of
her port.

Marlowe's search for the pair leads to a tale more dense
and tangled than the thick foliage of his client's sun porch. He
quickly finds himself enmeshed with a rich gambler and his
philandering, showgirl wife; a thug with a frozen eye; and a mortician
who delves into politics. Marlowe also has to contend with the police
and a man in a sand-colored coupé who keeps tailing him. Then there
are the corpses that keep piling up in his path. There's also his
client, who has her own share of tightly-bound secrets. A
near-invalid who spends her days lying on a reed chaise lounge,
Mrs. Murdock still holds an iron grip on her effeminate son and the
fragile woman who works as her secretary.

The plot is fast-paced
and engrossing, but the real power of the novel lies in the snappy
dialogue and beautifully conveyed atmosphere. Chandler's style has
been copied endlessly by other writers over the past fifty years, but
no one can touch him. Marlowe's is a world filled with hard-eyed
Filipinos answering doors, nightclubs named the Tigertail Bar, and
women who are "all cigarettes and arched eyebrows and go-to-hell
expressions." Even his butterflies take off heavily and stagger
away "through the motionless hot scented air."

As with
the other Marlowe novels, there's the usual gratuitous wisecracks
exchanged with minor characters--the sourpuss maid; the streetwise
chauffeur; the old, watery-eyed elevator operator who breathed hard,
"as if he was carrying the elevator on his back." Despite his
cynical words, Marlowe holds a special place in his heart for the
losers in the world. He sends cash to a pitiful handwriting expert
and takes an inept detective under his wing. "The shop-soiled
Galahad," an associate calls him.

For the rest of the
characters, however, he has nothing but contempt. A tough man in a
tough world, Marlowe doesn't hide his true feelings under a bushel.
He describes the gambler's wife: "From thirty feet away she
looked like a lot of class. From ten feet away she looked like
something made up to be seen from thirty feet away." His
instructions to the portly Mrs. Murdock: "Tell her to jump in the
lake...Tell her to jump in two lakes, if one won't hold her."

Chandler's master stroke as a writer is hyperbole. Even his silences
are "as loud as a ton of coal going down a chute." He may
write with a sledgehammer, but it's the best sledgehammer around.

21 of 24 people found the following review helpful:

3.0 out of 5 stars Vintage Marlowe -- But a Boring Story & a Mediocre Book, March 3, 2002

By 

Hayford Peirce (Tucson, AZ United States) - See all my reviews
(REAL NAME)   

This review is from: The High Window (Paperback)

Raymond Chandler wrote 4 noir novels in the late 30s and early 40s that defined the Southern California hardboiled thriller forever after. I first discovered them 41 years ago and instantly fell in love with them. The High Window, though, I thought at the time, and through several subsequent rereadings, was by far the least of the four. I hadn't reread it in at least 20 years now, but, based on some of the favorable Amazon comments, I read it again yesterday. My opinion of it, I'm sorry to say, hasn't changed in 41 years....

Why do I think it's only a mediocre book? Forty-one years ago I couldn't have articulated it. Now, however, it's obvious:

Because, basically, it's a boring story.

As an earlier reviewer in these columns told us, The High Window was the only one of the first 4 Chandler books that was plotted as an entirety and not cobbled together from earlier short stories that Chandler had written for the pulp magazines. This, however, instead of being a virtue, actually turns out to be the major fault in the book.

Philip Marlowe, the first-person narrator and hero, is as beguiling as ever but the story he tells -- basically the search for a missing coin of great value -- is dull and listless. Each individual character is nicely sketched, as only Chandler could do at the height of his powers, and the writing sparkles and pops. But -- and this sounds strange but is absolutely true -- the story itself could equally well have been written by Agatha Christie with Hercule Poirot as the main character. An investigation is mounted; the detective moves from one character to the next; a couple of bodies are discovered; the detective exchanges banter with the police; he talks with a few more characters; he wraps up the case and tells us who murdered whom -- probably.

There is no menace directed at Marlowe, there is no suspense, there is no interest in finding out what is going to happen to any of the other characters, there is no action at all (unless you can call finding a couple of bodies action), and the plot itself is pretty dull if you stop and think about it for a few moments.

Why is this?

The short stories that Chandler wrote in the 30s for the pulp magazines (mostly Black Mask, I believe) were just that: pulp stories. They had action, violence, movement. Things happened to Marlowe (in his various incarnations) and Marlowe made things happen to other people. Guns went off, Marlowe got bopped on the head, he -- and other people -- were frequently in danger for their lives.

When Chandler cobbled these stories together into three of his first four novels, he brought all of these elements into the freshly created books. Guns fired, Marlowe was bashed on the head, locked up in padded cells, beaten up by crooked cops, menaced by *real* gangsters. There was danger and suspense -- even if you (and Chandler) didn't always know exactly what was happening or who was doing what to whom -- or why. Chandler's exquisite writing and marvelous evocation of Los Angeles of that time was laid over these pulpish elements and transformed these gothically plotted books into literature. But literature that was exciting and impossible to put down. What *is* going to happen next in The Lady in the Lake? And why? And how is Marlowe going to get out of *this* predicament? In these three books you really want to know.

In High Window there are none of these elements and the only reason you turn the pages is because of the wizardry of Chandler's writing and the picture he draws of 1941 Los Angeles and Pasadena during a few hot summer days. Here the cops are more friendly than threatening, all violence is off-page, the semi-gangster nightclub owner and his supposedly deadly bodyguard are minor characters who manifest nothing more than a few lines of tough-guy dialogue -- which then disappears when Marlowe is hired by them to do a job....

The transportation back to this vanished era of South California is well worth reading this book for (at least for me); but as a thriller up to the standards of the other early Chandlers it is simply a non-starter.

Beware....

10 of 10 people found the following review helpful:

5.0 out of 5 stars Marlowe is Maturing, July 13, 2003

By 

Lisa Shea "medieval swordfighting enthusiast" - See all my reviews
(HALL OF FAME REVIEWER)    (VINE VOICE)    (TOP 50 REVIEWER)   

Amazon Verified Purchase

This review is from: The High Window (Paperback)

In Chandler's third novel, Philip Marlowe is hitting his stride. He's getting his life under control, he's right on top of the bad guys, and his honorable intentions save the day.

In this outing, Chandler is hired by a rich woman to track down a missing coin. The woman assumes that a misbehaving family member has run off with it, but of course the story ends up far more complex than that and Marlowe wends his way through gritty LA streets in search of the truth.

Marlowe's penchant for doing the right thing is even more in evidence here, as he works to help out characters that many times don't realize they need help. He does it not for fame or fortune, but because it's the right thing to do.

Chandler's writing style shines with its usual brilliance, and he crafts his characters with an easy hand. He has brought Marlowe along from his initial hard-drinking despair into a detective who - buoyed with past successes - is now more comfortable with himself and taking better care of himself. The wit crackles, and the novel is as enjoyable and entertaining as anything Chandler has written.