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Camera Eye! Private Eye 31. 32. 33. 34. 35. 36. 37. 37 Frank MacShane, The Life of Raymond Chandler (London: Jonathan Cape, 1976) p. 51. , p. 63. Quoted in Jerry Speir, Raymond Chandler (New York: Frederick Ungar, 1981) p. 119. Chandler, Farewell, My Lovely, p. 7. : Houghton Mifflin, 1962) p. 54. Raymond Chandler, The Lady in the Lake (1944); Octopus edn (London: Heinemann, 1977) p. 316. ), The World of Raymond Chandler (London: Weidenfeld and Nicolson, 1977) p. 72. Robert Montgomery's decision to reduce the film to the simple equation of private eye and camera eye has a parallel in an earlier English contribution to the documentary detective story.

Gardiner and Walker, Raymond Chandler Speaking, p. 61. Chandler, Farewell, My Lovely, ch. 41; p. 251. , p. 250. 4 Investigating the Investigator: Hammett's Continental Op GARY DAY If they agree about nothing else, historians of the detective story at least concur in the view that Hammett was a realist. Unlike the writers of the American 'golden age', whose 'main emphasis was on plot ... ingenuity, surprise [and] suspense', 1 he wrote about prohibition, gangsterism and corruption. The argument continues that his detectives, particularly the Continental Op and Sam Spade, were not remote, omniscient figures but involved, fallible ones, who eschewed the literary language of their predecessors and who had more faith in their gun than in the supreme power of reason.

The textual structure of doubling, rather than, as Derrida would have it, prising the texts away from any specific meaning or 'truth', 68 serves to undermine the ideological model of the subject that they construct, and thus to expose the limits of that ideology. 69 If Poe wrote no more detective stories after 1844, 70 the reason may lie in the breakdown, in 'The Purloined Letter', of the 'normal'-' abnormal', 'civilised'-' criminal' antithesis constructed in the earlier tales. The abandonment of empiricism; the interchangeability between hero and conspirator; the disturbing insistence of female desire: all these factors lead to the disintegration of the generic structure constructed in 'The Murders in the Rue Morgue'.

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