 1. Context: why this time? Developed in the aftermath of WWI and was a prelude to WWII. The jist: some traumatic event irretrievably alters the conditions of life and creates for its characters an absolute experiential divide between their dependence on stable, predictable patterns and the recognition that life is, in truth, morally chaotic, subject to randomness and total dislocation

 Named for the process of hardening of an egg; to be hardboiled is to be comparatively tough.  They not only solve mysteries but confront violence on a regular basis THUS leading to their burnout and the cynical (so-called "tough") attitude towards their own emotions. burnout  They are generally a tough, independent, often solitary figure, a descendant of the frontier hero and cowboy but, as re-imagined as a cynical city-dweller

 P.I.s need to be tough, since they are dealing with killers, so they act tough and talk that way, too.  They are loners, much like the old gunslingers of the West.  They have a code of honour and justice that may not be strictly legal, but it is moral.  They may be threatened, or beaten, but they won’t give up a case or betray a client.  They are individuals, often matched against a corrupt political or criminal organization, but they prevail because they are true to themselves and their code.  They are smart-alecks and talk that way.

 The basic narrative pattern pits this lone investigator against brutal criminals, often in league with a corrupt power structure.

1. The sleuth hero – ferrets out & interprets the clues 2. Setting – urban, described in detail 3. Crimes – invariably a series of crimes. Murder is always the main crime. 4. Denouement – when it all becomes clear to the reader…usually through a description from the hero or villain

 VIOLENCE: largely involving guns  PERSONAL DANGER for the hero, which he faces with unquestionable courage  ORGANISED CRIME & CORRUPTION as the enemy the hero must tackle  WEALTH as a corrupting factor in society  And most importantly – AN ISOLATED AND ALIENATED HERO who is morally superior to those surrounding him and in the external world

 Generally told in the first person form  Someone (frequently a young woman) comes to the office because she’s in trouble. The police can’t or won’t help, or the situation is so sensitive that an investigation needs to be kept secret.  The detective takes the case, which is invariably about something more than he was told. He interviews people and learns secrets, frequently about events in the distant past.  He is usually betrayed by one or more people, often his client, which, being a cynic, doesn’t surprise him.  By the time he concludes his investigation, there generally have been several more murders along the way as people attempt to keep secrets hidden.  He turns over the culprit to the police, and continues with his lonely life, awaiting the next meager payday.

 At the heart of the novels is a leggy blond A quote from a Raymond Chandler novel: I lit another cigarette and looked at the dental-supply company’s bill again. The minutes went by with their fingers to their lips. Then there was a small knocking on wood. It was a blond. A blond to make a bishop kick a hole in a stained-glass window. She smelled the way the Taj Mahal looked by moonlight. She gave me a smile I could feel in my hip pocket. “Cops are just people,” she said irrelevantly. The two salient characteristics of Crime fiction are the tall leggy blond and dismissive attitude to conventional policing

Double Indemnity  o9Eg o9Eg The Maltese Falcon  GhEiI GhEiI