Avi Quotes

What brought me to the table was Raymond Chandler and, to a lesser degree, Ross Macdonald and Dashiell Hammett. I was basically inspired to want to write like the classic private-eye writers.

I wrote my graduate thesis at New York University on hard-boiled fiction from the 1930s and 1940s, so, for about two years, I read nothing but Raymond Chandler, Dashiell Hammett, James Cain and Chester Himes. I developed such a love for this kind of writing.

I don't much live my life as if I was living in a Raymond Chandler novel, which is probably a good thing.

The tortured similes, the brooding introspection, the jaundiced view of society - nobody ever has any fun in a Ross Macdonald book.

Crime novelists do really well with Los Angeles.

I like to think I'm writing in the tradition of Raymond Chandler, although I don't ape his style.

Hardboiled crime fiction came of age in 'Black Mask' magazine during the Twenties and Thirties. Writers like Dashiell Hammett and Raymond Chandler learnt their craft and developed a distinct literary style and attitude toward the modern world.

I've been tremendously moved by a bunch of odd books. Ross McDonald is very important to me. I love the Lew Archer books.

Raymond Chandler once wrote that Dashiell Hammett gave murder back to the people who really committed it.

I particular enjoy the crime writer, Walter Ellis Mosley. He does a series of Chandler-esque detective stories.

I feel more related to some American crime writers than I do to Stieg Larsson.

James Cain was saddled with being called the father of hardboiled fiction. Apparently, he didn't like this saddle.

I wasn't that into crime novels at all, but a friend introduced me to the work of Jim Thompson - I loved all his books.

Ross McDonald had a greater influence on me than any other writer. His style of writing, the repeated theme of the past coming out to grab somebody, that's very attractive to me as a reader and, now, as a writer.

I've read a thousand private-eye novels.

I was well under the spell of the old Gold Medal Crime novels when I wrote 'Savage Season,' and I wanted to write a modern version of that. I had tried the same thing with 'Cold in July,' and I wanted to give it another go.

It's possible to be hard-boiled and not noir, just as it's possible to be noir and not hard-boiled. And it is possible to be both. People debate endlessly what is hard-boiled and what is noir.

Dorothy B. Hughes - there's a robust elegance to her writing that I keep responding to again and again. I've read her novel 'In a Lonely Place' about eight or nine times.

Anyone who was tempted to draw comparisons between my father's 'Dave Robicheaux' series and my first book quickly gave up.

Very few of my books are about who stole the Maltese Falcon.

I've always liked police-blotter kind of writing, or the writing of a policeman, right to the point and hardboiled. That's how I see at least the prose elements of scriptwriting.

The Glass Key is better than anything Hemingway ever wrote.

I've always slightly preferred Spade to Marlowe, probably just because I thought Hammett was cooler than Chandler. He was leftwing, his name shortened to Dash rather than Ray, and he didn't smoke a pipe or like cats.

I ought to be more hardboiled; I'd like to be. I don't think I have it in me. To write in clipped sentences. To employ gritty metaphor in the introduction of sultry blondes... I can't do it, so why bother trying?

A guy named Peter Rabe wrote a batch of books for Gold Medal in the '50s, and he was absolutely the single largest influence on writing style. I was completely in love with the way the man wrote.