Rating: 
Summary: Another great read from Raymond Chandler
Review: "The Little Sister" was my introduction to Raymond Chandler and his immortal private detective, Philip Marlowe. I opened it up for the first time four years ago and have read it twice more since then. I had never read a hard-boiled mystery before, and "The Little Sister" exceeded my expectations. The punchy dialogue, the terrific characters, Chandler's trademark similies, Marlowe's toughness interlaced with a penchant for justice, the contemporary view into the Hollywood of the late 1940's. "The Little Sister" electrified me and sparked an insatiable appetite for more Chandler. I read his remaining novels in rapid succession, always buying the next one before reaching the end of the novel at hand so I could immediately plunged back into Marlowe's long-vanished world. I have since read all of Chandler's novels and short stories, and "The Little Sister" still remains my favorite, closely followed by "Farewell, My Lovely."
Rating: 
Summary: Chandler is Great, But do not Start Here!
Review: As always, Raymond Chandler's writing technique is excellent in "The Little Sister." And while the premise is good--- a woman from Kansas coming to Philip Marlowe in hopes of locating her missing brother--- the story and its characters dissolve into eccentricity by the end of the book.
Chandler was such an excellent story teller, and part of his appeal was writing colorful mysteries that had the right mix of gritty reality and just a few dashes of improbable situations. The characters in this book start off well, but become more cartoonish as the story moves along.
In my opinion, there is no terrible Raymond Chandler book, but this does come close. If you have never read any of Chandler's work, this may not be the best place to start. "Farewell, My Lovely" and "The High Window" would be my personal picks as his finest work, but any of his other novels are superior to this.
Rating:
Summary: There's a lot here to enjoy.
Review: Before reading this book, make sure you have a large blackboard and plenty of chalk. At least half a dozen different colors. Because that's what you'll need to diagram out the plot of The Little Sister. Keeping straight who's who and who did what to whom and why will give you plenty to do as you read and reread the pages of this Philip Marlowe mystery. Now I know what you're going to say. With Raymond Chandler, it's not about the story, it's about atmosphere. True enough. But I still have to believe that the reader's enjoyment is greatly enhanced if the writer has provided a coherent plot as a framework for displaying literary dexterity. In other words, the story itself isn't all important, but it is somewhat important.
As I see it, there are no less than four ways to view this novel.
The first way is as a murder mystery. A young woman from Manhattan (Manhattan, Kansas that is) hires Marlowe to find her missing brother. His subsequent search does eventually locate the young man but not before a drunk and a grifter are both murdered with an ice pick to the vicinity of the medulla oblongata. What is the motive behind these grotesque slayings? The motive is the urgent need to find a particular photograph. A photograph that shows two people sitting down to dinner in a restaurant. I'm not kidding.
The second way to view The Little Sister is as an affectionate sendup of noir crime writing in general and Dashiell Hammett's Maltese Falcon in particular. This might explain why the complications are endless and so very difficult to follow. Perhaps Chandler felt the need to exaggerate the number and degree of plot twists in order to make a satiric point.
Thirdly, The Little Sister is a withering look at Hollywood and the recognizable types who dwell within. Second rate actors, self important talent agents, ambitious starlets, jaded actresses and befuddled studio heads are all lampooned to one degree or another here. I found this aspect of the book to be highly entertaining and would have liked to have seen it emphasized even more.
And lastly, this book can be taken as a view into the mind of a man slowly losing his grip. This Marlowe is world weary, tired. He's lonely and exasperated. Chandler has Marlowe questioning his own sanity for continuing to pursue his chosen profession.
Marlowe's investigation takes him to many places in and near Los Angeles. A seedy hotel, a rundown boarding house, the police station, and a working movie set to name only a few. Chandler brilliantly describes all locales with an amount of detail that serves to set the exact mood he wants to convey. Marlowe's steady output of cynical quips, some spoken, others only thought, are first rate and at times absolutely priceless. It is a tribute to Chandler's originality, as well as his keen wit, that readers never tire of this ongoing patter.
The Little Sister has a lot to recommend it. I just don't think one should have to work so hard to be able to follow a storyline. And oh yes, be sure to read The Maltese Falcon first.
Rating:
Summary: There's a lot here to enjoy.
Review: Before reading this book, make sure you have a large blackboard and plenty of chalk. At least half a dozen different colors. Because that's what you'll need to diagram out the plot of The Little Sister. Keeping straight who's who and who did what to whom and why will give you plenty to do as you read and reread the pages of this Philip Marlowe mystery. Now I know what you're going to say. With Raymond Chandler, it's not about the story, it's about atmosphere. True enough. But I still have to believe that the reader's enjoyment is greatly enhanced if the writer has provided a coherent plot as a framework for displaying literary dexterity. In other words, the story itself isn't all important, but it is somewhat important.
As I see it, there are no less than four ways to view this novel.
The first way is as a murder mystery. A young woman from Manhattan (Manhattan, Kansas that is) hires Marlowe to find her missing brother. His subsequent search does eventually locate the young man but not before a drunk and a grifter are both murdered with an ice pick to the vicinity of the medulla oblongata. What is the motive behind these grotesque slayings? The motive is the urgent need to find a particular photograph. A photograph that shows two people sitting down to dinner in a restaurant. I'm not kidding.
The second way to view The Little Sister is as an affectionate sendup of noir crime writing in general and Dashiell Hammett's Maltese Falcon in particular. This might explain why the complications are endless and so very difficult to follow. Perhaps Chandler felt the need to exaggerate the number and degree of plot twists in order to make a satiric point.
Thirdly, The Little Sister is a withering look at Hollywood and the recognizable types who dwell within. Second rate actors, self important talent agents, ambitious starlets, jaded actresses and befuddled studio heads are all lampooned to one degree or another here. I found this aspect of the book to be highly entertaining and would have liked to have seen it emphasized even more.
And lastly, this book can be taken as a view into the mind of a man slowly losing his grip. This Marlowe is world weary, tired. He's lonely and exasperated. Chandler has Marlowe questioning his own sanity for continuing to pursue his chosen profession.
Marlowe's investigation takes him to many places in and near Los Angeles. A seedy hotel, a rundown boarding house, the police station, and a working movie set to name only a few. Chandler brilliantly describes all locales with an amount of detail that serves to set the exact mood he wants to convey. Marlowe's steady output of cynical quips, some spoken, others only thought, are first rate and at times absolutely priceless. It is a tribute to Chandler's originality, as well as his keen wit, that readers never tire of this ongoing patter.
The Little Sister has a lot to recommend it. I just don't think one should have to work so hard to be able to follow a storyline. And oh yes, be sure to read The Maltese Falcon first.
Rating: 
Summary: Cool
Review: I liked the female character (the little sis) ... reminds me of Maltese Falcon. Neatly written. What can one say about Chandler - his style is gripping and really entertaining. I wonder why a lot of his one lines don't make it to the quotation books!
Rating:
Summary: Orfamay and Marlowe; wise cracks and skewed sisters.
Review: Orfamay Quest is the little sister. Marlowe is the man. The story offers sex and murder. The dialogue is Chandler. So why is there no click, no snap? "Now that you have hit me, maybe you ought to kiss me", one of the women in the story says. That is the sort of line that is out of place, a Chandler crack of the sort that sings in other books but seems strange here. Few women would ever say such a line, and the woman in this story would not have, and why have her say it? The same is true of the story, where the death and murder never seems quite serious. There is a scene in the book where two actors playing tough guys try to muscle Marlowe by acting tough. Both appear to be caricatures of characters from the Maltese Falcon. That is the problem with this book - it is too self-consciously tongue in cheek and self-wise. Is it a parody or a novel? Marlowe's wise-cracking diffidence takes over the entire book. But Chandler on an off day is always worth a read, and his bad writing (or half-parody)sings better than most modern writers, so if you can find it in a used book store, snap it up!
Rating:
Summary: Orfamay and Marlowe; wise cracks and skewed sisters.
Review: Orfamay Quest is the little sister. Marlowe is the man. The story offers sex and murder. The dialogue is Chandler. So why is there no click, no snap? "Now that you have hit me, maybe you ought to kiss me", one of the women in the story says. That is the sort of line that is out of place, a Chandler crack of the sort that sings in other books but seems strange here. Few women would ever say such a line, and the woman in this story would not have, and why have her say it? The same is true of the story, where the death and murder never seems quite serious. There is a scene in the book where two actors playing tough guys try to muscle Marlowe by acting tough. Both appear to be caricatures of characters from the Maltese Falcon. That is the problem with this book - it is too self-consciously tongue in cheek and self-wise. Is it a parody or a novel? Marlowe's wise-cracking diffidence takes over the entire book. But Chandler on an off day is always worth a read, and his bad writing (or half-parody)sings better than most modern writers, so if you can find it in a used book store, snap it up!
Rating:
Summary: MARLOWE & HOLLYWOOD: A vaguely disappointing combination
Review: Over the course of the last 2 years I've read 5 out of the 7 Philip Marlowe detective novels of Raymond Thornton Chandler (1888-1959). "The Little Sister" (1949) is the fifth Marlowe novel, and even though parts of it intrigued me, I couldn't help but feel a tad disappointed... By 1944, Chandler had become a household name both in the USA and around the world for his tough-yet-sensitive, cynical-yet-romantic prose masterpieces. Around this time, Hollywood had come knocking. Chandler co-wrote the screeplay for "Double Indemnity" with Billy Wilder, and the first Marlowe novel "The Big Sleep" was made into a classic motion picture starring Humphrey Bogart and Lauren Bacall. The money came rolling in: Chandler and his wife Cissy moved into a luxurious house in L.A.'s ritzy Pacific Palisades section. The Hollywood temptation came as well: Chandler began an affair with a secretary at Paramount Pictures and his chronic alcoholism--which was already bad--began to worsen. In addition, during this time (the late 1940s), Los Angeles was rapidly transforming from what was once a small, coastal, desert community when Chandler had first moved there 30 years prior--into the enormous, sprawling, congested, and smoggy metropolis it is today. It's telling that Chandler moved 100 miles south to La Jolla, CA not long after this book was published. One can sense while reading "The Little Sister" that Chandler was becoming bitter and weary--not only at the direction of his own life and the Hollywood movie machine (where writers are traditionally the low man on the totem pole) but also how his adopted home was changing...and not for the better, calling L.A. "a neon slum" and "a big, hard-boiled city with no more personality than a paper cup." While world-weariness had always been present in all the Philip Marlowe private detective novels, here, unlike Chandler's other books, it almost weighs down the storytelling. The story itself is the standard, convoluted Chandler fare: Ms. Orfamay Quest--a pretty young woman from Manhattan, Kansas--seeks Marlowe's help in locating her missing brother Orrin P. Quest. Marlowe immediately suspects that Orfamay is not all she appears to be, yet--lacking any other clients--he accepts her case nonetheless. From this unlikely setting, both Marlowe and the reader are brought into a world of movie stars, agents, gangsters, backstabbers (both real and metaphorical) and small-time hustlers. While it's hard to figure out exactly who is doing what to whom, this confusion is the hallmark of all Chandler novels--particularly the ones of any worth. For the Chandler enthusiast, "The Little Sister" is an above-average book, with some of the punchiest, toughest dialogue that Chandler ever wrote. It's far from the worst Chandler I've ever read (that would be "The Lady in the Lake"--1943) However, for the enthusiast as well as the more casual reader, "The Long Goodbye" (1954) is Chandler's true masterpiece, with "Farewell, My Lovely" (1940) coming in a close second. "The Little Sister" is well worth the read, but I expected more from the potent combination of Raymond Chandler, Philip Marlowe & Hollywood.
Rating:
Summary: MARLOWE & HOLLYWOOD: A vaguely disappointing combination
Review: Over the course of the last 2 years I've read 5 out of the 7 Philip Marlowe detective novels of Raymond Thornton Chandler (1888-1959). "The Little Sister" (1949) is the fifth Marlowe novel, and even though parts of it intrigued me, I couldn't help but feel a tad disappointed... By 1944, Chandler had become a household name both in the USA and around the world for his tough-yet-sensitive, cynical-yet-romantic prose masterpieces. Around this time, Hollywood had come knocking. Chandler co-wrote the screeplay for "Double Indemnity" with Billy Wilder, and the first Marlowe novel "The Big Sleep" was made into a classic motion picture starring Humphrey Bogart and Lauren Bacall. The money came rolling in: Chandler and his wife Cissy moved into a luxurious house in L.A.'s ritzy Pacific Palisades section. The Hollywood temptation came as well: Chandler began an affair with a secretary at Paramount Pictures and his chronic alcoholism--which was already bad--began to worsen. In addition, during this time (the late 1940s), Los Angeles was rapidly transforming from what was once a small, coastal, desert community when Chandler had first moved there 30 years prior--into the enormous, sprawling, congested, and smoggy metropolis it is today. It's telling that Chandler moved 100 miles south to La Jolla, CA not long after this book was published. One can sense while reading "The Little Sister" that Chandler was becoming bitter and weary--not only at the direction of his own life and the Hollywood movie machine (where writers are traditionally the low man on the totem pole) but also how his adopted home was changing...and not for the better, calling L.A. "a neon slum" and "a big, hard-boiled city with no more personality than a paper cup." While world-weariness had always been present in all the Philip Marlowe private detective novels, here, unlike Chandler's other books, it almost weighs down the storytelling. The story itself is the standard, convoluted Chandler fare: Ms. Orfamay Quest--a pretty young woman from Manhattan, Kansas--seeks Marlowe's help in locating her missing brother Orrin P. Quest. Marlowe immediately suspects that Orfamay is not all she appears to be, yet--lacking any other clients--he accepts her case nonetheless. From this unlikely setting, both Marlowe and the reader are brought into a world of movie stars, agents, gangsters, backstabbers (both real and metaphorical) and small-time hustlers. While it's hard to figure out exactly who is doing what to whom, this confusion is the hallmark of all Chandler novels--particularly the ones of any worth. For the Chandler enthusiast, "The Little Sister" is an above-average book, with some of the punchiest, toughest dialogue that Chandler ever wrote. It's far from the worst Chandler I've ever read (that would be "The Lady in the Lake"--1943) However, for the enthusiast as well as the more casual reader, "The Long Goodbye" (1954) is Chandler's true masterpiece, with "Farewell, My Lovely" (1940) coming in a close second. "The Little Sister" is well worth the read, but I expected more from the potent combination of Raymond Chandler, Philip Marlowe & Hollywood.
Rating:
Summary: Another Search for a Lost Soul
Review: Phillip Marlowe receives a visit from Orfamay Quest. She came from Kansas to track down her brother Orrin; he moved to Los Angeles a year earlier and has stopped writing home. Marlowe visits Orrin's last address, a rooming house in the seedy part of town. The room now contains G. W. Hicks, who is moving out, and knows nothing. When Marlowe leaves, he notices the manager is now dead! Later Marlowe receives a phone call, hiring him for a job. When Marlowe shows up at the hotel room, he finds a dead G. W. Hicks, killed with an ice pick like the rooming house manager. Somebody searched the room, but Marlowe found what they missed. The Police are called again. Marlowe uses the claim check to retrieve photographic prints. The hotel detective noticed a woman visitor, and gives Marlowe her license plate number. Now the investigation continues into new territory.
The story echoes "Farewell, My Lovely" and other stories. A private detective is hired to find somebody. The client doesn't tell the Whole Truth. Coincidences and complications pop up to carry the story forward. The Whole Truth isn't revealed until the last pages, and the final deaths which tie up the story without loose ends. Again, the scandals and crimes that created the murders aren't revealed until the end. There are only shades of gray, no blacks and white. All the characters have something to hide. A recurring theme in Chandler's stories is that crime leads to blackmail, and blackmail leads to murder. Can a snapshot of a couple at a restaurant result in six dead bodies? Chandler makes it believable.
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