Tag Archives: Raymond Chandler

Life Builds Its Own Fences, and Fond Memories of Louis Armstrong

A few months ago, I watched August Wilson’s Fences on Amazon. The play was first produced in 1985 and won a Pulitzer and a Tony in 1987. When the play returned in 2010, it won another Tony along with awards for the main actors. I watched the 2016 movie adaptation, directed by and starring Denzel Washington along with Viola Davis and Stephen McKinley Henderson. They were compelling and marvelous.

It’s a moving drama about a man, Troy, who was something of a star in baseball’s negro leagues and now works in Pittsburgh as a garbage man. His wife, Rose, asks him to put up a fence around their back lot, and he is a common-sense man who will do a job right, if he doesn’t talk it to death first. The story spans a couple decades, I think, and the fence is incomplete for the majority. It’s a metaphor for the boundaries Rose wants to protect their family and the boundaries Troy wants to exceed as a man who has done something with his life.

I don’t know what viewers of the trailer think of these lines, but coming as they do with the full weight of the story, they had me bawling.

Troy: It’s not easy for me to admit that I’ve been standing in the same place for eighteen years!

Rose: Well, I’ve been standing with you! I gave eighteen years of my life to stand in the same spot as you!

Troy had chosen his ego over his wife. He framed his choices as his ambition struggling against life and society. She framed them as betrayal. Many men take the same stand while making the different choices. That’s what mid-life crises are about. It’s a story that resonates.

Banned Books: It doesn’t resonate with everyone equally, though. In 2020, a mother had good reasons for complaining about her 14-year-old-son being required to read Fences in class as the only black student in eighth grade. She got a little too upset about it, but I think school officials proved to be the thin-skinned ones. They expelled him.

Thriller Writing: Here’s a cool discussion from 1958 between authors Ian Fleming and Raymond Chandler to honor the latter’s 70th birthday. Near the beginning, Fleming notes that he writes thrillers and Chandler does not.

Fleming: I don’t call yours thrillers. Yours are novels.
Chandler: A lot of people call them thrillers.
Fleming: I know. I think it’s wrong.

Memories: What brought life back to tired guitarist Doc Watson? The memory of a tube radio and listening to Louis Armstrong.

New from Bill Watterson: In case you missed the news two weeks ago, the beloved cartoonist Bill Watterson is releasing a new book — The Mysteries, a vibrantly illustrated “fable for grown-ups.”

“From Bill Watterson, bestselling creator of the beloved comic strip Calvin and Hobbes, and John Kascht, one of America’s most renowned caricaturists, comes a mysterious and beautifully illustrated fable about what lies beyond human understanding.”

Photo: Paul’s Market, Franklin, New York. 1976. John Margolies Roadside America photograph archive (1972-2008), Library of Congress, Prints and Photographs Division.

Michael Connelly vs. Raymond Chandler


Below the title on the front cover of Michael Connelly’s new novel is a quote: “‘Connelly is the Raymond Chandler of this generation’—Associated Press.” This is unfair to Chandler and Connelly both. Chandler wrote like “a slumming angel,” as Ross Macdonald said. The  bravura style of The Big Sleep, The Long Goodbye, and the other titles on the Chandler shelf is one of the glories of American literature, influential worldwide. Connelly’s sentences are workmanlike, unremarkable. But Chandler couldn’t plot to save his life, whereas Connelly is a master of the art. Chandler was brilliant, undisciplined, alcoholic, demon-ridden, quick to take offense and quick to sneer; he wrote only a handful of novels. Connelly is disciplined and generous, and he excels at collaborative work (for instance, the Bosch TV series produced by Amazon) as well as solo writing; Fair Warning is his thirty-fourth novel. Chandler’s moral sense, in some ways acute, was often unreliable; Connelly’s is sounder.

John Wilson on Michael Connelly and Fair Warning