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Raymond Chandler

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Nor is it any part of my thesis to maintain that it [the detective story] is a vital and significant form of art. There are no vital and significant forms of art; there is only art, and precious little of that.
--
essay, first appeared in The Atlantic Monthly (November, 1945)

 
Raymond Chandler

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I think the detective story is by far the best upholder of the democratic doctrine in literature. I mean, there couldn't have been detective stories until there were democracies, because the very foundation of the detective story is the thesis that if you're guilty you'll get it in the neck and if you're innocent you can't possibly be harmed. No matter who you are. There was no such conception of justice until after 1830. There was no such thing as a policeman or a detective in the world before 1830, because the modern conception of the policeman and detective, namely, a man whose only function is to find out who did it and then get the evidence that will punish him, did not exist. ... In Paris before the year 1800 — read the Dumas stories — there were gangs of people whose business was to go out and punish wrongdoers. But why? Because they had hurt De Marillac or Richelieu or the Duke or some Huguenot noble, not just because they had harmed society. It is only the modern policeman that is out to protect society.

 
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I would say that what's been mobilized to this point — something on the order of several hundred thousand soldiers are probably, you know, a figure that would be required. We're talking about post-hostilities control over a piece of geography that's fairly significant, with the kinds of ethnic tensions that could lead to other problems. And so it takes a significant ground- force presence to maintain a safe and secure environment, to ensure that people are fed, that water is distributed, all the normal responsibilities that go along with administering a situation like this.

 
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Just to be is a blessing. Just to live is holy. And yet being alive is no answer to the problems of living. To be or not to be is not the question. The vital question is: how to be and how not to be?
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It is certainly true that whatever a man may do or say, the most significant thing about him is what he thinks; and significant also is how he came to think it, why he continued to think it, or, if he did not continue, what the influences were which caused him to change his mind.

 
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When looking at any significant work of art, remember that a more significant one probably has had to be sacrificed.

 
Paul Klee
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