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  <title><![CDATA[The Goodbye Look]]></title>
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  <description><![CDATA[In <strong>The Goodbye Look</strong>, 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 <strong>The Goodbye Look</strong>, 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.<br/><br/>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.]]></description>
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        <name><![CDATA[Ross MacDonald]]></name>
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    <![CDATA[The Goodbye Look]]>
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    <![CDATA[In <strong>The Goodbye Look</strong>, 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 <strong>The Goodbye Look</strong>, 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.<br/><br/>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.]]>
  </description>
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    <rating>2</rating>
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  <read_at>Tue Aug 18 00:00:00 -0700 2009</read_at>
  <date_added>Mon Aug 17 13:34:34 -0700 2009</date_added>
  <date_updated>Tue Aug 18 19:26:17 -0700 2009</date_updated>
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    <body><![CDATA[Picture Chandler built with much rougher gin, and not one drop of a vermouth -- not even a vapor.<br/><br/>And no ice.<br/><br/>Picture a room temperature glass of middling gin when what you're after's a martini, and that's sort of what reading this book was like for me.<br/><br/>I don't know,...<a href="http://www.goodreads.com/review/show/67777750">more...</a>]]></body>
    
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      <review>
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    <![CDATA[The Goodbye Look]]>
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    <![CDATA[In <strong>The Goodbye Look</strong>, 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 <strong>The Goodbye Look</strong>, 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.<br/><br/>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.]]>
  </description>
  <published>1969</published>
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    <rating>5</rating>
  <votes>4</votes>
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  <recommended_for><![CDATA[]]></recommended_for>
  <recommended_by><![CDATA[Eric_W Welch]]></recommended_by>
  <read_at>Thu Oct 22 00:00:00 -0700 2009</read_at>
  <date_added>Thu Oct 22 09:46:57 -0700 2009</date_added>
  <date_updated>Thu Oct 22 09:58:59 -0700 2009</date_updated>
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    <body><![CDATA[If you want to talk about pure story telling, Ross MacDonald is the man.  I hadn't read any early MacDonald, only his later works.  <a href="http://www.goodreads.com/search/search?q=The Goodbye Look" title="The Goodbye Look">The Goodbye Look</a> was a revelation to me.  For the first time in my reading of mysteries, and that includes old 1920s up to the present day, did a book resolve itself st...<a href="http://www.goodreads.com/review/show/75376171">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/75376171]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/75376171]]></link>
</review>
      <review>
  <id>31565950</id>
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    <id>851215</id>
    <name><![CDATA[William]]></name>
    <location><![CDATA[Wilmette, IL]]></location>
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  <title>
    <![CDATA[The Goodbye Look]]>
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  <average_rating>4.05</average_rating>
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  <description>
    <![CDATA[In <strong>The Goodbye Look</strong>, 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 <strong>The Goodbye Look</strong>, 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.<br/><br/>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.]]>
  </description>
  <published>1969</published>
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    <rating>3</rating>
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  <date_added>Fri Aug 29 19:07:55 -0700 2008</date_added>
  <date_updated>Fri Aug 29 20:17:12 -0700 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[While many contemporary mystery writers produce entertaining novels, I like to go back periodically to one of Ross Macdonald’s Lew Archer stories. To me Macdonald's narratives are more engaging than those by other pioneer detective writers, such as those featuring Hammett’s Continental Op or <a href="http://www.goodreads.com/book/show/2052.The_Big_Sleep" title="The Big Sleep by Raymond Chandler">Raymond Chandler</a>...<a href="http://www.goodreads.com/review/show/31565950">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/31565950]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/31565950]]></link>
</review>
      <review>
  <id>1322713</id>
    <user>
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    <name><![CDATA[Bill ]]></name>
    <location><![CDATA[Columbus, OH]]></location>
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  <title>
    <![CDATA[The Goodbye Look]]>
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  <average_rating>4.05</average_rating>
  <ratings_count>125</ratings_count>
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    <![CDATA[In <strong>The Goodbye Look</strong>, 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 <strong>The Goodbye Look</strong>, 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.<br/><br/>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.]]>
  </description>
  <published>1969</published>
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    <rating>4</rating>
  <votes>0</votes>
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  <recommended_for><![CDATA[]]></recommended_for>
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  <read_at>Mon Dec 01 00:00:00 -0800 2008</read_at>
  <date_added>Sun May 20 09:03:24 -0700 2007</date_added>
  <date_updated>Tue Dec 16 09:38:11 -0800 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[The classic Ross MacDonald plot: a gun, used in a recent murder, is found to be connected to a fifteen-year old homicide, and suspicions swirl around a young person so emotionally scarred by his past that he is convinced he must be guilty of something. (As one of the characters says, &quot;My whole ...<a href="http://www.goodreads.com/review/show/1322713">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/1322713]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/1322713]]></link>
</review>
      <review>
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    <user>
    <id>1093061</id>
    <name><![CDATA[Bunxena]]></name>
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    <![CDATA[The Goodbye Look]]>
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    <![CDATA[In <strong>The Goodbye Look</strong>, 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 <strong>The Goodbye Look</strong>, 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.<br/><br/>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.]]>
  </description>
  <published>1969</published>
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  <recommended_for><![CDATA[]]></recommended_for>
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  <date_added>Sat Sep 19 18:23:23 -0700 2009</date_added>
  <date_updated>Sat Sep 19 18:23:56 -0700 2009</date_updated>
  <read_count></read_count>
    <body><![CDATA[Bought at the Friends of Library and Archives Used Book Sale on September 19, 2009.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/71823675]]></url>
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      <review>
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    <name><![CDATA[Chadwick]]></name>
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    <![CDATA[The Goodbye Look]]>
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  <average_rating>4.05</average_rating>
  <ratings_count>125</ratings_count>
  <description>
    <![CDATA[In <strong>The Goodbye Look</strong>, 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 <strong>The Goodbye Look</strong>, 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.<br/><br/>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.]]>
  </description>
  <published>1969</published>
</book>

    <rating>4</rating>
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  <recommended_for><![CDATA[]]></recommended_for>
  <recommended_by><![CDATA[]]></recommended_by>
  <read_at></read_at>
  <date_added>Mon Aug 04 18:50:05 -0700 2008</date_added>
  <date_updated>Mon Aug 04 18:52:24 -0700 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[Ross MacDonald weaves plot-line baroquery into something staggeringly gorgeous.  Not one character is ever introduced who is ever what they seem, no one is not connected.  Lew Archer is a unique PI character--hard-boiled, yes, and ready with a dry quip, of course, but sensitive, bleeding for the pai...<a href="http://www.goodreads.com/review/show/29266245">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/29266245]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/29266245]]></link>
</review>
      <review>
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    <![CDATA[The Goodbye Look]]>
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    <body><![CDATA[This is a pretty somber Archer outing, with a series of interrelated pasts that grow almost too complex to keep track of.  MacDonald pulls it together at the end, though, and it's ultimately a rewarding read.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/35872848]]></url>
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    <![CDATA[The Goodbye Look]]>
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    <body><![CDATA[A Lew Archer hard-boiled escapade set in southern California. Archer gets involved with the Chalmers family, ostensibly to investigate a theft, but in reality to solve a murder.]]></body>
    
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    <![CDATA[In <strong>The Goodbye Look</strong>, 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 <strong>The Goodbye Look</strong>, 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.<br/><br/>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.]]>
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    <![CDATA[In <strong>The Goodbye Look</strong>, 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 <strong>The Goodbye Look</strong>, 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.<br/><br/>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.]]>
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    <![CDATA[In <strong>The Goodbye Look</strong>, 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 <strong>The Goodbye Look</strong>, 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.<br/><br/>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.]]>
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    <![CDATA[In <strong>The Goodbye Look</strong>, 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 <strong>The Goodbye Look</strong>, 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.<br/><br/>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.]]>
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