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The Maltese Falcon by Dashiell Hammett
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The Maltese Falcon (original 1930; edition 2011)

by Dashiell Hammett

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6,039185690 (3.91)503
Dashiell Hammett

The Maltese Falcon

Thinking, Paperback, 2011.

8vo. 197 pp.

First published, 1929.

Contents

Spade & Archer
Death in the Fog
Three Women
The Black Bird
The Levantine
The Undersized Shadow
G in the Air
Horse Feathers
Brigid
The Belvedere Divan
The Fat Man
Merry-Go-Round
The Emperor's Gift
La Paloma
Every Crackpot
The Third Murder
Saturday Night
The Fall Guy
The Russian's Hand
If They Hang You

==========================================

First, a piece of priceless advice. Don't buy this edition! It is worth neither the $11 nor the £7 boldly printed on the front cover itself. The quantity of typos is quite abnormal and very annoying. ''Thanks a hot'', indeed!

Second, be aware that the following review is full of spoilers (including the movie).

The Maltese Falcon (1929) was my second venture, after Raymond Chandler's The Big Sleep (1939), into the realm of the hard-boiled detective classics. Both readings were stimulated mostly by my seeing the classic movies with Humphrey Bogart, made in 1941 and 1946 respectively, whose portrayals of Sam Spade and Philip Marlowe have become the stuff that legends are made of. Yet both readings were also sufficiently exciting to generate further exploration of the genre.

For a number of reasons I have enjoyed Hammett's novel more than Chandler's. Which is indeed surprising as The Maltese Falcon is much closer to its movie version and I was much better prepared for it. To put the matter briefly, Hammett's writing, though every bit as detailed as Chandler's (occasionally even more so!), is more accomplished, more atmospheric, and more compelling; his dialogue is superior, his handling of the female characters more convincing. Sam Spade himself is, for my part, a more realistic and more intriguing a character than Philip Marlowe. This is partly because he is not almost impossibly honest, partly because his relationships with women make him more human, and partly because he is a tougher guy with quicker and more sarcastic tongue.

It is a tribute to Hammett's powerful writing that he made me forget completely both the looks and the voice of Humphrey Bogart. Sam Spade is an altogether different character, with his own distinctive looks (''like a blond Satan'') and his own voice (''Shoo her in, darling'', though Bogie imitated this rather nicely). It's interesting that Hammett, writing in the third person unlike Chandler, almost never mentions the mental state of his characters. This includes Sam as well, even though the whole novel is told through his eyes and there is not a single page in which he does not appear. However, Hammett's ability to describe physical appearances, voices and facial expressions is matchless. A number of phrases (e.g. ''hazel eyes' gaze'') stuck into the mind, giving so vivid an impression that even the screen can seldom match. Consider several random examples:

He stood beside the fireplace and looked at her with eyes that studied, weighed, judged her without pretense that they were not studying, weighing, judging her. She flushed slightly under the frankness of his scrutiny, but she seemed more sure of herself than before, though a becoming shyness had not left her eyes. He stood there until it seemed plain that he meant to ignore her invitation to sit beside her, and then crossed to the settee.

The fat man was flabbily fat with bulbous pink cheeks and lips and chins and neck, with a great soft egg of a belly that was all his torso, and pendant cones for arms and legs. As he advanced to meet Spade all his bulbs rose and shook and fell separately with each step, in the manner of clustered soap-bubbles not yet released from the pipe through which they had been blown. His eyes, made small by fat puffs around, were dark and sleek.

[…]
His voice was a throaty purr

His forehead was bandaged. His clothes had the limp unfreshness of too many hours' consecutive wear. His face was pasty, with sagging mouth and eyelids.

Similarly descriptive passages also work marvellously conveying the atmosphere of the surroundings:

The tappity-tap-tap and the thin bell and muffled whir of Effie Perine's typewriting came through the closed door. Somewhere in the neighboring office a power-driven machine vibrated dully. On Spade's desk a limp cigarette smoldered in a brass tray filled with the remains of limp cigarettes. Ragged grey flakes of cigarette-ash dotted the yellow top of the desk and the green blotter and the papers that were there. A buff-curtained window, eight or ten inches open, let in from the court a current of air faintly scented with ammonia. The ashes on the desk twitched and crawled in the current.

Simple, straightforward, direct writing, almost as if you're reading a scientific article, yet oddly compelling. It is only seldom that clumsiness and pretentiousness, plus more repetition of the same words than necessary, mar Hammett's otherwise impeccable and evocative style, as in this case:

The indelible youngness of his face gave an indescribably vicious – and inhuman – turn to the while-hot hatred and the cold white malevolence in his face.

You might just as well have left this ''indescribable'' stuff without description, Dashiell. But it's no big deal.

Perhaps the best thing about Hammett's writing is that all conclusions about his characters, so alive yet so elusive, is entirely left to the imagination of the reader. All you get are hints: spoken words, facial expressions, voices, body language. The difference between appearance and reality is up to you to tell. Now this is something I appreciate very highly. It's also something that creates a sinister atmosphere, much more ''noir'' than in the movie, which fits the story to perfection.

Contrasting with this scarcity of feelings, there is an overwhelming abundance of detail, not just about the exterior of the characters and the surroundings, but also about the action. I do think this is a mistake and a writer is unwise to burden his prose with half-page long descriptions of a newspaper's contents or an apartment’s search. Yet again Hammett passes the test with flying colours. He has a way of stringing words in a most intoxicating manner. Prolixity I would not normally tolerate is here turned into a very exciting piece of fiction. Spade's knocking off Cairo would give an excellent idea how an excessive detail in an action scene, of all places, can work surprisingly well:

Spade by means of his grip of the Levantine's lapels turned slowly and pushed him back until he was standing close in front of the chair he had lately occupied. A puzzled look replaced the look of pain in the lean-colored face. Then Spade smiled. His smile was gentle, even dreamy. His right shoulder raised a few inches. His bent right arm was driven up by the shoulder's lift. Fist, wrist, forearm, crooked elbow, and upper arm seemed all one rigid piece, with only the limber shoulder giving them motion. The fist struck Cairo's face, covering for a moment one side of his chin, a corner of his mouth, and most of his cheek between cheek-bone and jaw-bone.

How much more attractive than ''he punched him in the jaw''!

Considering the spiritual reticence of the narrative, it is instructive to note how Sam Spade is described by the other characters. Their words paint a fascinating portrait. His lawyer, aptly named ''Wise'', is pleasantly blunt and quite accurate: ''You're a son of a gun, Sammy''. His secretary, Effie Perine, is very perceptive: ''you're the most contemptible man God ever made when you want to be''. It's also revealing to know what Sam's – ahem – business partners think. Joel Cairo observes with his frigid formality: ''You have always, I must say, a smooth explanation ready''. The fat, jovial and loquacious Gutman hits the nail on the head with ''You're a character'' and, even more so, with ''Well, sir, frankly I'd like to have you along. You're man to my liking, a man of many resources and nice judgment.''

So this is Sam Spade, a man who looks for ''a reasonable amount of trouble'', but there is also a great deal of trouble that's looking for him. Unlike Marlowe, he is not ''nauseated by women'', but rather on the contrary. He takes them as they come, has as much fun as possible, and moves along. Even though he is not quite as honest and full of virtues as Marlowe, Spade is by no means your ordinary crook without scruples. Far from it. Indeed, he is always ready, much like Marlowe, to get into serious trouble with the police or with the DA in order to protect his clients. What he is not ready to do is to ''play the sap'' – for anybody. He can be cool, detached and inscrutable when dealing with dangerous subjects or situations; note, especially, his handling of ''The Third Murder'' that came out of the blue. He can also be impatient, peevish and irritable when crossed, made a fool of, or punched in the face without a chance to hit back, as amply demonstrated with Brigid, Dundy and the DA, to take but three examples. Altogether, Sam Spade is a surprisingly realistic, coherent and likable character. The last characteristic is a matter of taste, but the other two can only come from a consummate writer.

The plot is every bit as captivating as the protagonist, which means it's nearly perfect. The only slight blemish on it is the episode with Gutman's drugged daughter. It is unnecessary and it is dull. That's the only place in the whole novel in which she appears and it doesn't make much sense. No matter. The rest is brilliantly done, very close to the movie yet far more detailed and, just like The Big Sleep, much easier to understand and follow. If not from the first chapter, at any rate from the second I was set on the edge of my chair and there was no relaxation for the next 180 pages or so. It takes a lot to achieve that with somebody, like me, for whom the plot holds virtually no surprises, nor the dialogue many new lines. The novel adroitly avoids anti-climax. Hammett has a surprise or two in his sleeve until the very end.

Spade's relationships with the ''Three Women'' is a story in itself. In addition to the efficient Effie and the alluring Brigid, there is also the mentally unstable Iva, the wife of Archer, Sam's partner. Spade has all the right vocabulary – ''precious'', ''angel'', ''honey'' – and he handles the ladies expertly. Or does he? One of the greatest glories of the book, thankfully retained in the movie, is the magnificently un-sentimental ending. Sam ''won't play the sap'' for Brigid and she is ''taking the fall''. Just then, when the male reader becomes complacent about his resistance to the power of the gentle sex, comes the final page – and it packs quite a punch. In but a few lines the other two women in Sam's life made him ''pale as his collar'' and ''shiver''. It's a superb ending, no doubt satisfying the ladies and leaving us, the men, contemplating disquieting thoughts. Yet another fine thing about Hammett is that he is not as sexist as you might expect.

The screenplay of the classic movie with Humphrey Bogart was apparently ripped off complete from the novel. There had to be many cuts, of course, but pretty much the complete dialogue was kept virtually intact. This includes many great lines that have become legendary thanks to Bogie's inimitable performance. Well, they ''sound'' just as fine in the novel. Here are some particular favourites, almost exclusively coming from Sam's mouth, which are to be found almost verbatim in the movie. The list is by no means complete.

I don't mind a reasonable amount of trouble.

Everybody has something to conceal.

People lose teeth talking like that.
[…] If you want to hang around, you'll be polite.

Don't be too sure I'm as crooked as I'm supposed to be.

You don't have to trust me as long as you can persuade me to trust you.

We didn't exactly believe your story.

[…]
We believed your two hundred dollars.
[…]
I mean that you paid us more than if you'd been telling us the truth […] and enough more to make it all right.

If you kill me, how are you going to get the bird? If I know you can't afford to kill me till you have it, how are you going to scare me into giving it to you?

[Cairo:] You have always, I must say, a smooth explanation ready.
[Spade:] What do you want me to do? Learn to stutter?

''Mr. Archer was so – so alive yesterday afternoon, so solid and hearty and – ''
''Stop it,'' Spade commanded. ''He knew what he was doing. They're the chances we take.
''Was – was he married?
''Yes, with ten thousand insurance, no children, and a wife who didn't like him.''

You won't need much of anybody's help. You're good. You're very good. It's chiefly your eyes, I think, and that throb you get into your voice when you say things like 'Be generous, Mr. Spade.'''

I hope to Christ they don't hang you, precious, by that sweet neck.
[...]
If they hang you I'll always remember you.

[Mocking Iva's ''bright idea'' that he might have killed her husband:]
You killed my husband, Sam, be kind to me.

[Brigid's best offer to Sam, unfortunately but expectedly missing from the movie.]
Can I buy you with my body?

[Gutman's charming explanation why Wilmer is going to be a ''fall guy'':]
– if you lose a son it's possible to get another – and there's only one Maltese Falcon.

[Wilmer's longest and most complex sentence in the novel:]
Keep on riding me and you're going to be picking iron out of your navel.

[Sam's playing dangerous games with the DA:]
Then again, you and the police have both accused me of being mixed up in the other night's murders. I've had trouble with both of you before. As far as I can see, my best chance of clearing myself of the trouble you're trying to make for me is by bringing in the murderers – all tied up. And my only chance of ever catching them and tying them up and bringing them in is by keeping away from you and the police, because neither of you shows any signs of knowing what the hell it's all about.
[…]
Now if you want to go to the Board and tell them I'm obstructing justice and ask them to revoke my license, hop to it. You've tried it before and it didn't get you anything but a good laugh all around.
[…]
And I don't want any more of these informal talks. I've got nothing to tell you or the police and I'm Goddamned tired of being called things by every crackpot on the city payroll. If you want to see me, pinch me or subpoena me or something and I'll come down with my lawyer.

[And from Sam's stupendous final speech to Brigid:]
Listen. This isn't a damned bit of good. You'll never understand me, but I'll try once more and then we'll give it up. Listen. When a man's partner is killed he's supposed to do something about it. It doesn't make any difference what you thought of him. He was your partner and you're supposed to do something about it. Then it happens we were in the detective business. Well, when one of your organization gets killed it's bad business to let the killer get away with it, bad all around, bad for every detective everywhere.

[…]

Next, I've no reason in God's world to think I can trust you and if I did this and got away with it you'd have something on me that you could use wherever you happened to want to. That's five of them. The sixth would be that, since I've got something on you, I couldn't be sure you wouldn't decide to shoot a hole in me some day. […] All those on one side. Maybe some of them are unimportant. I won't argue about that. But look at the number of them. Now on the other side we've got what? All we've got is the fact that maybe you love me and maybe I love you.

It's a tremendous speech that cannot but make one feel admiration for Spade. The book considerably improves on the movie by having him ruminating, in broken and halting phrases, on the fleeting nature of love: the most important factor why one shouldn't take it very seriously. It would benefit the world to have some of Sam's common sense. He seems to be one of those rare individuals who can, at least to a large degree, separate their reason from their passion. Or is he?

It's easy enough to be nuts about you. […] But I don't know what that amounts to. Does anybody ever? But suppose I do? What of it? Maybe next month I won't. I've been through it before – when it lasted that long. Then what? Then I'll think I played the sap. And if I did it and got sent over then I'd be sure I was the sap. Well, if I sent you over I'll be sorry as hell – I'll have some rotten nights – but that'll pass.

Ironically, one of the most famous (mis)quotations in the movie – the Shakespeare-inspired ''the stuff the dreams are made of'' – is not in the novel. But it is a perfect description of the Maltese Falcon anyway. Also, I must say I was delighted to improve my collection of slang expressions and colloquialisms. Unforgettable examples include ''talk turkey'' (talk seriously) and ''horse feathers'' (nonsense). Now that's the stuff the natural dialogue is made of.

As far as the movie on the whole is concerned, for my part it is worth watching mostly for Humphrey Bogart. He has little to do with Sam Spade from the pages, at least physically, but he is entirely convincing on his own and by no means less fascinating. Peter Lorre as Cairo and Sidney Greenstreet as Gutman (both with small parts in Casablanca as well) do an excellent job as the bad guys, but they are hardly as compelling as their corresponding characters in the novel. Nevertheless, they look perfect – Lorre like a Hungarian gypsy, Greenstreet like Churchill – and they sound perfect: Cairo exceedingly polite; Gutman hearty and sly.

The greatest disappointments are the wooden Mary Astor as Brigid and the guy (whatever his name was) who plays Wilmer. The latter comes off a sinister fellow under Hammett's pen, but in the movie he is rather comic; this is not quite inappropriate, perhaps, as Spade constantly makes fun of him. As for Mary Astor, I wonder who chose her for a role she neither looks right for nor has the capacity to play. Say, Rita Hayworth or Olivia de Havilland would have made a much better job as a femme fatale. Vivien Leigh would have been just awesome. Let's assume that contractual obligations got in the way.

Anyway, it's a fine movie, at least for Bogie's performance and John Huston's masterful direction (note the four close-ups when Wilmer ''woke up'' as a fall guy). The greatest credit, however, goes to Dashiell Hammett for providing a terrific extended screenplay in the form of novel. It fully lives up to its classical status in the genre. I'll be reading him again. ( )
1 vote Waldstein | Apr 23, 2012 |
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Never been a big 'mystery' or 'detective' fan; but this comes as always one of those 'highly regarded' 'must reads' of the genre (along with of course Sherlock Holmes). While it was good, and I did enjoy the "LA Crime Noir" like [sub]genre (even if it was San Fran rather than LA), it was ultimately just 'ok' and nothing 'spectacular' or must-readable in my mind. Sam Spade is an interesting and engaging character for the most part, he is a product of his time period in the way he treats women (and homosexuals) and other characters. He was gritty and not the 'over-the-top-never-wrong-super-intelligent-detective'. But he was lacking and never came across as a 'must root for' kind of guy, not even in a sympathetic or interesting way. The novel wraps up rather predictably and quickly and all loose ends get tied up nice and neatly and everyone is swept away sans Spade, which cheapens things (though I definitely didn't want to see a romantic ending with Brigid/Spade). ( )
  BenKline | Apr 21, 2016 |
Sam the detective, X the sniveling Chinese guy. People are after this Maltese Falcon. There is double-crossing. Gasps are heard. The reader is satisfied at the end. ( )
  evamat72 | Mar 31, 2016 |
Very good but not my favorite type of reading. ( )
  dogear360 | Feb 20, 2016 |
The Maltese Falcon is the original hard-boiled detective novel, set in the late 1920s San Francisco. The story takes place over a six-day period. Tough, independent detective, Samuel Spade is hired by the mysterious "Miss Wonderly," to track down her sister. The adventure then ensues. Spade's partner is murdered on a stakeout; the cops blame him for the killing; Ms. Wonderly / Ms. O'Shaughnessy causes him much pain and a little pleasure story; grotesque villains (including the original fat man) demand a payoff he can't provide; and everyone wants a fabulously valuable gold statuette of a falcon, created as tribute for the Holy Roman Emperor Charles IV. Who has it? And what will it take to get it back? I found this novel a quick fun read, though it is definitely of its time in terms of language and its treatment of women. Though I enjoyed the Maltese Falcon and Sam Spade—I think I found Raymond Chandler’s Marlowe and Farewell My Lovely (written a few years later) a better detective novel. 3 out of 5 stars. ( )
  marsap | Feb 11, 2016 |
The Maltese Falcon was originally published in 1930 and is still going strong with my Random House edition having a publication date in 2010.

I can easily see why this book has stood the test of time. Not only is it a great mystery with the most fantastic characters, but the language is easy, but at the same time in no way common. In fact, it is the language that appeals to me above all else as it captures the time and class (or lack there of) of the setting. I can't help being in love with the smooth talking, flippant, main character, Spade. He used phrases like "red haired dandy" in reference to his new client, and "give me some dope" when asking for information to solve his case.

There is a huge cast of characters, but they all have such an over exaggerated personality (a very good thing in this situation) that it is simple to keep them sorted out.

The Maltese Falcon is on the 1001 Books You Must Read Before You Die and the most fun of all books that I have come across from the list thus far. If you are reading from the list and are looking for a break from more serious subject matter or are trying to avoid archaic language in classic literature, this is a good book to pick up. ( )
  StephLaymon | Feb 3, 2016 |
always a great read ( )
  jimifenway | Feb 2, 2016 |
Much more gritty than the film, but also more romantic. This book helped put Hammett on the map. He creates a hardboiled hero who moves around his city like no one before or since. ( )
  dbsovereign | Jan 26, 2016 |
Sam Spade is a private investigator in San Francisco. When a young woman comes to his office to ask for his help, he ends up mixed up in a very complicated and convoluted mystery. The ultimate object of everyone's search is the Maltese Falcon, a one-of-a-kind artifact, and those who are after it are willing to do anything to get it.

I know this is a classic detective novel and that it holds an important place in the history and development of the genre, but I just couldn't take it seriously after this quote describing Spade on page 12: "The smooth thickness of his arms, legs, and body, the sag of his big rounded shoulders, made his body like a bear's. It was like a shaved bear's: his chest was hairless. His skin was childishly soft and pink." I found this so funny that the rest of the novel just didn't matter for me. The story was ok, but not good enough to force the shaved bear image out of my head. ( )
  AmandaL. | Jan 16, 2016 |
A good example of the noir type of mystery. Sam Spade definitely depicts the hard boiled detective of this era. Sam's partner is murdered and he becomes involved with a group of people searching for the elusive falcon. ( )
  RachelNF | Jan 15, 2016 |
I enjoyed this. A fast-paced detective story, possibly a little on the chauvenistic side (umm, read that as very) and not completely unguessable, but a light read and one that I'm happy to have read. Sam Spade is employed to trail Thursby, and the rest follows on from there. At times there are a number of different strands to the plot but it all comes together. ( )
  sashinka | Jan 14, 2016 |
Eh, it was better than The Thin Man, but as a writer, Hammett doesn't come close to Raymond Chandler. He's good with dialogue, though, which is probably why his books made such great movies--better than the books, in my opinion. I'll give this one props for helping to invent a genre and a ton of tropes. ( )
  sturlington | Jan 10, 2016 |
Anybody who read this book without any prior knowledge of it would probably dismiss it as being full of cliches, archetypes and tropes, they would be dead wrong of course because this is where those tropes and such originated. The anti-hero, smooth talking P.I., the femme fatale, the plucky Girl Friday secretary, the gay gangster (uh, not if this actually caught on) etc. Such people must be part of an endangered sub-species however, as The Maltese Falcon is one of the best known works of fiction ever.

I don't actually have a lot to say about this book because while it was moderately enjoyable it did not resonate much with me. I don't particularly like any of the characters, except the plucky secretary Effie Perine may be, the protagonist Sam Spade is very smart but I find him a little irritating and unappealing. I suppose he makes a change from fictional detectives who sit around smoking pipes, playing violins and going on about their little grey cells but I like the old(er) school quirky fellows better. I guess Raymond Chandler's Philip Marlowe is cut from the same cloth, which would explain why I do not like [b:The Big Sleep|2052|The Big Sleep (Philip Marlowe, #1)|Raymond Chandler|http://d.gr-assets.com/books/1327876070s/2052.jpg|1222673] much either. Don't mind me, I believe it's all good stuff, just not my biscuit.

I do however like Hammett's clean prose and cool dialogue, I don't know much about this subgenre he was writing in but if he is indeed the first author to popularize it he probably should have coined the term iNoir. In my quick Googly research about this book I read that it has a theme of "What it's like to want something-a fortune, a lover, or even respect-so bad that you would kill for it, give up a chance at happiness to get it, until finally the chase itself means more to you than what you're chasing." I have to confess this theme escaped me entirely, I thought it was about a tough-guy P.I. who is too cool to be fooled by foxy ladies. Further proof - if any were needed - of my idiocy I guess. ( )
  apatt | Dec 26, 2015 |
What makes this book interesting is the main character, Sam Spade. It's an interesting and enjoyable noir story, but Spade's ruthless personality gives the story a different edge that really makes it interesting. ( )
  SebastianHagelstein | Dec 23, 2015 |
Synopsis: Sam Spade takes a case brought to him by a beautiful woman. Soon thereafter Sam's partner is murdered and Sam is accosted by a man demanding he locate a black bird statue. As expected, no one has told Sam the truth; everyone wants the statue for his/her own reasons.
Review: It's not surprising that the book is a classic. Well written with excellent character development and a complicated plot, it keeps the reader interested throughout. If you've seen the movie you'll be surprised at how well it follows the book. ( )
  DrLed | Dec 19, 2015 |
Listened on audio and it was like an old time radio show. I loved every minute of it. ( )
  KEFeeney | Dec 6, 2015 |
Listened on audio and it was like an old time radio show. I loved every minute of it. ( )
  KEFeeney | Dec 6, 2015 |
Listened on audio and it was like an old time radio show. I loved every minute of it. ( )
  KEFeeney | Dec 6, 2015 |
Listened on audio and it was like an old time radio show. I loved every minute of it. ( )
  KEFeeney | Dec 6, 2015 |
Fast-paced, sleek, and fairly entertaining even as it's shallow and frequently lazy and repetitious. ( )
  Michael.Xolotl | Nov 11, 2015 |
This is supposed to be a book that helped create and define a genre, but I was completely underwhelmed.

There was so much promise to the book, but I felt in a lot of areas it really fell short. There was certainly a lack in character development and absolutely no suspense or climax to speak of. There was no spark to keep me interested and I only finished it as it was a book club pick. ( )
  NatalieS11 | Sep 29, 2015 |
Sam Spade is one of the most well known private detectives in the genre. I have seen the movie with Humphrey Bogart several times, but this is the first time I've read the book. A beautiful woman comes to Spade's office, looking for help. His partner is murdered, and the cops want to believe he didn't do it. Or do they? Bad guys want something that Spade may or may not be able to deliver. At the center of it all is a valuable black statuette of a bird. The story is fun. The narrator was ok. A few of his voices were over the top.

November 2014 ( )
  NanaCC | Jul 26, 2015 |
Sam Spade is a PI, who is hired by Miss Wonderley to find her sister. His partner Miles Archer is shot while following Floyd Thursby, who supposedly has control over the sister. The police think Sam may have killed Archer. To make matters worse, Sam has been having an affair with Archer's widow. Then Thursby is found dead and Miss Wonderley has checked out of her hotel. She contacts Sam to meet her at her new address under another name. When he arrives, she is evasive, but reveals she has yet another name. Sam doesn't know wether to believe anything she says. Back at his office, the mystery deepens when Joel Cairo asks him to help recover a statuette in the shape of a black bird, then draws a gun on him when they're alone.

This book has been voted as the best mystery by the Mystery Writers of America. The story has many twists and turns. It's a marvel watching Spade trying to stay one step ahead of all the other players. In short, it's a classic story that is hard to beat. ( )
  Bruce_McNair | Jun 13, 2015 |
Perhaps the greatest author of the detective genre, Dashiell Hammett gives us Sam Spade at his best. Set in San Francisco during the 1940's, Hammett brings us back to a time long gone.

The plot is relatively simple, but the characters are what make the novel. Spade is mentally sharp, honest in character, and ready to back up his opinion with his fists. Seemingly having ice water in his veins, Spade is ever the cool customer no matter the odds against him. His client, Brigid, is a double-dealing female willing to switch sides at will when the wind changes directions, obviously used to using her good looks and damsel-in-distress act to get her way. Joel Cairo, the stereotypical homosexual, also seems to be in the game only for himself. The wealthy fat man Casper Gutman and his henchman Wilmer represent the evil antagonists.

The plot is developed slowly. Brigid O'shaughnessy drops by Spades office to hire him to tail her supposed boy friend Floyd Thursby. Brigid is not forthcoming with her real name or the real reason for the job. Miles Archer, Sam's partner, agrees to tail Thursby. Later that evening, Spade receives a call saying that Miles had been killed. Spade becomes a suspect because of his affair with Iva Archer, Miles's wife. Iva actually thinks Sam killed Miles so they could be married. Lt. Dundy, obviously at odds with Spade, is out to bury Sam. However, Spade does have friends in the department, most notably Tom Pohaus. The more Sam tries to get information from Brigid, the more she puts him off.

Enter Joel Cairo. He tries to hire Spade to find a statue of a bird, which we discover is the Malttese falcon. Also, Sam is asked to meet with Gutman, who is also looking to get his hands on the statue. Spade finds out that the statue is a jewel encrusted gold statue of a falcon that has been painted with black enamel to disguise it's value. While the others are trying to use Spade as a pawn to get their hands on the valuable artifact, Sam uses his wits to insert himself into the mix to become a major player. The game's afoot, and only the most cunning player will emerge victorious. Two more murders later, all the main players meet in Spade's apartment to see who will come away with the statue.

The story takes place in San Francisco, which is a fairly large city. But Sam Spade shows the professionalism of his craft by knowing people wherever he goes. This is a classic from a bygone era, and one thing I noticed was that all the men wore hats. I doubt that there will ever be a novel that tops "The Maltese Falcon" in the detective genre. ( )
  NPJacobsen | Jun 6, 2015 |
"His eyes burned yellowly."

That's all I need to say. ( )
  trilliams | May 30, 2015 |
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