Indeholder "Byron Preiss: Foreword", "Frank MacShane: Introduction", "Max Allan Collins: The Perfect Crime", "Benjamin M. Schutz: The Black-Eyed Blonde", "Loren D. Estleman: Gun Music", "Joyce Harrington: Saving Grace", "Jonathan Valin: Malibu Tag Team", "Dick Lochte: Sad-Eyed Blonde", "W. R. Philbrick: The Empty Sleeve", "Sara Paretsky: Dealer's Choice", "Julie Smith: Red Rock", "Paco Ignacio Taibo II: The Deepest South", "Francis M. Nevins, Jr.: Consultation in the Dark", "Roger L. Simon: In the Jungle of Cities", "John Lutz: Star Bright", "Simon Brett: Stardust Kill", "Robert J. Randisi: Locker 246", "Stuart M. Kaminsky: Bitter Lemons", "Robert Crais: The Man Who Knew Dick Bong", "Edward D. Hoch: Essence D'Orient", "Jeremiah Healy: In the Line of Duty", "Ed Gorman: The Alibi", "James Grady: The Devil's Playground", "Eric Van Lustbader: Asia", "Robert Campbell: Mice", "Raymond Chandler: The Pencil", "About the Authors and Artists".

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"Joyce Harrington: Saving Grace" handler om ???
"Jonathan Valin: Malibu Tag Team" handler om ???
"Dick Lochte: Sad-Eyed Blonde" handler om ???
"W. R. Philbrick: The Empty Sleeve" handler om ???
"Sara Paretsky: Dealer's Choice" handler om ???
"Julie Smith: Red Rock" handler om ???
"Paco Ignacio Taibo II: The Deepest South" handler om ???
"Francis M. Nevins, Jr.: Consultation in the Dark" handler om ???
"Roger L. Simon: In the Jungle of Cities" handler om ???
"John Lutz: Star Bright" handler om ???
"Simon Brett: Stardust Kill" handler om ???
"Robert J. Randisi: Locker 246" handler om ???
"Stuart M. Kaminsky: Bitter Lemons" handler om ???
"Robert Crais: The Man Who Knew Dick Bong" handler om ???
"Edward D. Hoch: Essence D'Orient" handler om ???
"Jeremiah Healy: In the Line of Duty" handler om ???
"Ed Gorman: The Alibi" handler om ???
"James Grady: The Devil's Playground" handler om ???
"Eric Van Lustbader: Asia" handler om ???
"Robert Campbell: Mice" handler om ???
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"About the Authors and Artists" handler om ???

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The problem with Chandler is that he started late and didn't leave us many books. This is a nicely put together collection of stories featuring Marlowe. Some of them are very clever, and in one the detective actually meets the writer. ( )

This is an enjoyable collection of short stories involving Philip Marlowe. All the stories are quite readable and build on the atmosphere and character that Raymond Chandler created. One is by Chandler himself, previously unpublished. (I half suspect that this is a publisher’s project to create a new book on the basis of the rights to one story. But never mind that.) The stories suffer a little from the compressed format and the need to introduce and wrap up a crime in 15 to 20 pages, although I believe that was Chandler’s format in many cases.
I like the chance to see so many contemporary writers interpreting Marlowe’s character in their own way. Some are a bit heavy-handed with the famous hard-boiled writing style, but some (such as Simon Brett) are quite clever and witty. A few downplay it entirely to focus on Marlowe’s character and situation. What they all do effectively is work with Marlowe’s character, placing him in different settings and times to see how he would resolve a problem. These Marlowes, like Chandler’s Marlowe, often make intuitive jumps without much real detective work, but that’s because they are not so much about working out a mystery, as working out a situation with toughness and honour.
Also quite interesting are the comments in the author’s notes after their contribution. They describe how they see Chandler’s influence (or lack of influence) on them as writers of detective stories and what they think Chandler achieved. The diversity of their impressions builds a portrait of Chandler’s influence on writing that is quite revealing and diverse, from Sara Paretsky whose reaction was to try to find a more rounded role for a woman character to Paco Ignacio Taibo who adopted a gritty neorealism as an appropriate alternative to Latin magic realism.
The overwhelming sense, of course, is one of futility in conflict with a deep personal honour. Coming out of the Depression, the world war and the Cold War, it’s easy to see how American (and other) readers would recognize the sense of darkness and futility. But against that is the belief in the individual standing up to whatever comes, even at the risk of great personal cost. As one writer, Robert Campbell, suggests, it’s the American frontier cowboy reset in the gritty urban scene. ( )

This is a collection of twenty-four short stories featuring Raymond Chandler's famous shamus, Philip Marlowe. Each author has placed their story in a different year of Marlowe's life so that as you read through the book you can see the character change. Every writer in this volume has taken a solid shot at Marlowe. That's not to say that these are perfect stories. Even the one written by Chandler himself is not outstanding. But I very much enjoyed reading them and being back in Marlowe's world for a little while. I also appreciated that each author took the time to explain what Chandler meant to them because it helped to clarify what he means to me. The two stories I rank above the rest are Sad-Eyed Blonde by Dick Lochte and Essence D'Orient by Edward D. Hoch. I recommend this for any Chandler fan. ( )

A short story collection of Philip Marlowe pastiches. As you might expect, they are of uneven quality and even the one story by Raymond Chandler isn’t one of his best. The stories are arranged by the years in which they are supposed to occur from the 30s to the 50s. One of the better stories is, in fact, the first one from 1935, “The Perfect Crime,” by Max Allan Collins based on the death of actress Thelma Todd. It is easy to parody the Chandler stories and more than a few of them come off as over-ripe but it is an interesting collection and worth reading. ( )