How long is The Long Goodbye?

The Long Goodbye is approximately 105,565 words. At an average reading pace, it takes about 7 hours to read.

Is The Long Goodbye difficult to read?

The Long Goodbye has a difficulty score of 5.7 out of 10, making it quite demanding. Key factors include vocabulary complexity (4.2/10), sentence structure (4.8/10), abstract concepts (4.0/10).

What genre is The Long Goodbye?

The Long Goodbye is categorized as Literary Fiction, Mystery & Crime. It was published in 1953 by Raymond Chandler.

Is The Long Goodbye worth reading?

The Long Goodbye by Raymond Chandler is widely considered a masterpiece with a literary regard score of 8.0/10. Visit ReadingRate for the full difficulty analysis and reading guide.

When was The Long Goodbye published?

The Long Goodbye was published in 1953 by Raymond Chandler.

The Long Goodbye by Raymond Chandler

Name: The Long Goodbye
Author: Raymond Chandler

Published 1953 · 105,565 words · about 7 hours at an average pace · Literary Fiction, Mystery & Crime

How hard is The Long Goodbye to read?

The Long Goodbye scores 57 out of 100 for difficulty on ReadingRate, making it quite demanding. The score is a weighted composite of nine measures: four of how hard the prose is to parse, five of how hard the meaning is to extract.

Vocabulary: 42 out of 100: Chandler's prose is largely accessible, employing colloquialisms and period-specific slang like 'squiffed out,' 'hackie,' 'buttons,' and 'shamus.' While these terms might require slight contextual inference for modern readers, they do not present significant barriers to comprehension. The vocabulary remains within the range of elegant but accessible contemporary fiction, similar to 'The Great Gatsby' (45).
Sentence structure: 48 out of 100: Sentences are generally direct and declarative, characteristic of hardboiled detective fiction, focusing on action and observation. While some sentences are longer, incorporating multiple clauses, they rarely feature the deep nesting or extensive subordination seen in authors like Henry James or Proust. The syntax is balanced and rhythmic, making it more navigable than '2666' (70) but more varied than '1984' (35).
Abstraction: 40 out of 100: The narrative is primarily concrete, driven by plot and character interactions, with Marlowe's internal monologues providing social observation rather than deep philosophical inquiry. While Marlowe occasionally reflects on human nature or societal norms, these are grounded in specific events and observations, not abstract concepts. This level is more concrete than 'The Great Gatsby' (58) but offers more reflection than 'Asterix the Gaul' (25).
Information density: 45 out of 100: Chandler's writing maintains a steady pace, presenting information clearly without excessive layering or multiple complex plotlines simultaneously. While rich in descriptive detail and character nuance, the text allows for comfortable reading without demanding intense attention to decipher multiple meanings per sentence. This is comparable to 'The Great Gatsby' (48), offering compressed but clear information flow.
Narrative indirection: 58 out of 100: Philip Marlowe's narration is generally direct, but the reader must constantly infer the true motivations and hidden agendas of characters beneath their spoken words and actions. Marlowe himself often withholds his full understanding or leaves the reader to piece together the subtext of cynical exchanges and the ambiguous nature of relationships, such as his immediate connection to Terry Lennox. The official narrative of Terry's death is explicitly questioned, forcing the reader to infer the powerful forces at play behind the scenes.
Symbolic density: 62 out of 100: The novel employs significant symbolic elements, such as Terry Lennox representing lost honor and a dying code in a corrupt world, and the 'wall' built around the murder case symbolizing the power of the wealthy to manipulate truth. Recurring motifs like the gimlet and the pigskin suitcase carry meaning beyond their literal presence, acting as touchstones for memory and the complex nature of friendship.
Ironic distance: 70 out of 100: Philip Marlowe's narration is saturated with ironic distance, employing a cynical, world-weary tone to critique the superficiality and corruption of society. His polite defiance towards brutal police and his sardonic observations about the wealthy consistently highlight a gap between stated appearances and underlying realities. The entire premise of Terry Lennox's 'confession' and suicide is presented with heavy irony, underscoring the author's implicit commentary on power and justice.
Resolution withholding: 72 out of 100: The narrative deliberately withholds definitive resolution regarding Sylvia Lennox's murder and Terry's true guilt, presenting an official 'confession' and suicide that Marlowe and the reader immediately doubt. The explicit discussion of a powerful cover-up and the ambiguity surrounding Terry's final words and Eileen Wade's motivations leave the central mystery interpretively open, forcing the reader to accept an unresolved truth.
Structural complexity: 50 out of 100: The novel maintains a largely linear chronology and a consistent first-person point of view through Philip Marlowe, without significant formal experimentation. While Marlowe's internal monologues and cynical observations add interpretive depth, the narrative structure itself remains conventional, primarily following his investigation in a straightforward progression.

How The Long Goodbye is regarded

The Long Goodbye holds a literary regard score of 80 out of 100, weighing its place in the canon, its critical reception, its influence on other writers, and the standing of its author. Regard is measured separately from difficulty: a demanding book is not necessarily an admired one.

About the author

Raymond Chandler