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• W57211108 abstract "You cannot value him alone; you must set him, for contrast comparison, among dead. --T. S. Eliot (1919) In The Long Goodbye (1953), Philip Marlowe finds himself investigating murder of a woman whose own father, reclusive, Hearst-like newspaper mogul Harlan Potter, wishes thwart investigation. Marlowe arrives for his interview with Potter in a Cadillac driven by Amos, the middle-aged, colored chauffeur employed by millionaire's other daughter (Chandler 606). Later, when Marlowe leaves Potter estate after a strained frustrating interrogation, Amos drives Marlowe back Hollywood. Marlowe offers him a dollar tip, but when Amos declines it, then dryly offers to buy him poems of T. S. Amos, however, assures Marlowe that he already had them (614). This exchange, significant enough for Amos recall later in novel is doubly remarkable for its replication of longer conversation with Potter that has just taken place. Let us turn this conversation for a moment. To Marlowe's surprise, millionaire's efforts frustrate his investigation did not rely upon strong-arm tactics expected, but capitalized instead upon a cynicism that finds its witty, though morally defeatist, refrain in his later interaction with Amos. Potter's for Marlowe begins as a meditation on his own political influence that subtly gestures toward a choice between bribery or discreditation: am not a public character do not intend be. have always gone a great deal of trouble avoid any kind of publicity. have influence but don't abuse it. The District Attorney of Los Angeles County is an ambitious man who has too much good sense wreck his career for notoriety of moment see a glint in your eye, Marlowe. Get rid of it. (611) Yet Potter soon digresses, justifying his desire block Marlowe's investigation as a need buy protection against shocking decline in both public private morals that modern democracy, mass production, scandal-mongering of his own newspaper empire have created. Marlowe, trying match wits with Potter, refuses take initial hint. Instead, satirizes Potter's desire escape very same materialism that has made him rich in first place. Potter's isolationist desire, itself crass hypocritical, betrays his overestimation of his entitlement as a millionaire: You've got a hundred million dollars Marlowe argues, and all has bought you is a pain in neck (613). Once Potter reiterates threat of depriving Marlowe of his license, though, can then patronize his quaint line of business satirize Marlowe's own position of moral superiority in turn: I think you're a pretty honest sort of fellow. Don't be a hero, young man. There's no percentage in it (614). Exasperated by millionaire's power gain upper hand as Mr. Big, winner, everything under control, Marlowe is rankled by Potter's privileged access fiction that is not his money that buys Marlowe's silence, but his sense of values: his desire for privacy, his elitist disdain for capitalism. Perhaps is because of his contempt for this privilege that Marlowe is destined reproduce it. Thus, when Amos waves off Marlowe's dollar, his gesture unwittingly appropriates moral superiority for which detective has just been chastened. Marlowe's joke, then, is offer him instead a token of more lasting value intellectual uplift: poems of T. S. Eliot. Yet this incident is complicated by two additional factors. As a professional servant, Amos's refusal of tip suggests less a noble refusal of payment than a rejection of its implicit insult. Marlowe's dollar would literally patronize Amos, implicitly securing temporary ownership of services for which, presumably, is already paid under private contract as a chauffeur. …" @default.
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• W57211108 date "2003-09-22" @default.
• W57211108 modified "2023-09-28" @default.
• W57211108 title "Chandler's waste land" @default.
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