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the little sister

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The Little Sister is all atmosphere and attitude. Chandler’s protagonist, Phillip Marlowe, more observes the action than drives it forward. He is pessimistic and tired, even as he cracks wise at any opportunity. Women throw themselves at him, but he can’t seem to marshal the energy to do more than kiss them once or twice and keep up the banter. He’s a step behind every murder, and the loosely knit plot keeps the reader feeling even further behind. (I repeatedly found myself looking back in the book to see what I’d missed, only to realize that I didn’t miss anything; the details weren’t there to notice.)

At the same time, having just read The Maltese Falcon, it was hard for me not to notice that many of the plot devices were similar. If, as some commentators suggest, Little Sister is partly a response to Chandler’s experience in the movie business, I think it’s also paying homage to Hammett’s classic.

the maltese falcon

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Dashiell Hammett tells this classic story in terse, punchy sentences that take the reader around San Francisco and through a twisty plot with Sam Spade, private eye. Spade is worldly, jaded, at times childish, and always chauvinistic. Despite his shortcomings, his ability to assess people and their motivations is remarkable, his insights and intuitions not perfect, but close enough to do the job. In the end we see that, for Hammett, Spade’s flaws are reflections of the world in which he lives.

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