ROSS MACDONALD and MARGARET MILLAR
Ross Macdonald was the pseudonym of Kenneth Millar (December 13, 1915 - July 11, 1983), California-born, Canada-raised, eventually returning to California to work hard and slowly to become a preeminent mystery/detective novelist so good, so accomplished that he is now considered a significant voice in 20th Century American literature. Although influenced by the great detective writers in the generation before him, Dashiell Hammett and Raymond Chandler, Macdonald forged a style of his own out of the postwar pulps. His awareness and sophisticated understanding of literary history and tropes (he had a doctorate in literature) and his interest in psychology provided a firm foundation for his use of the detective form to investigate human relationships, conflicts, and tragedies. He wrote stand-alone novels (we have three here), but his great and lasting creation was Lew Archer, a man whose perspective and voice sustains the reader through 18 novels and many short stories. Macdonald is also a keen observer of Californian (and American) culture, documenting in good style a time and place and people.
His wife, Margaret Millar (1915-1994), wrote many fine novels of psychological suspense, and I include her work here as a measure of their marriage, their partnership, and their mutual influence. Of interest also is Macdonald’s deep friendship with Eudora Welty, another master of a region and a people. A volume of their letters is included here.
The Goodbye Look
The Goodbye Look
In The Goodbye Look, Lew Archer is hired to investigate a burglary at the mission-style mansion of Irene and Larry Chalmers. The prime suspect, their son Nick, has a talent for disappearing, and the Chalmerses are a family with money and memories to burn. As Archer zeros in on Nick, he discovers a troubled blonde, a stash of wartime letters, a mysterious hobo. Then a stiff turns up in a car on an empty beach. And Nick turns up with a Colt .45. In The Goodbye Look, Ross Macdonald delves into the world of the rich and the troubled and reveals that the past has a deadly way of catching up to the present.
If any writer can be said to have inherited the mantle of Dashiell Hammett and Raymond Chandler, it is Ross Macdonald. Between the late 1940s and his death in 1983, he gave the American crime novel a psychological depth and moral complexity that his pre-decessors had only hinted at. And in the character of Lew Archer, Macdonald redefined the private eye as a roving conscience who walks the treacherous frontier between criminal guilt and human sin.