從把他那憤世嫉俗卻又風趣幽默的主人翁馬洛介紹給了當時及後世的讀者們開始，美國犯罪文學大師雷蒙．錢德勒便長期被譽為犯罪文學中具有指標性的先鋒。他那獨特的冷硬派風格開啟了文學及電影史上的新頁。自此，日後許多犯罪文學作者便搭用了他的寫作風格及設定，創作出他們自己的作品。而就在人們評論起他筆風的同時，一些作者如佛瑞德里克．詹明信（Fredric Jameson）等輩則是對錢德勒在作品中展現對社會的關懷，表達欽佩。詹明信甚至還賦予錢德勒「美國生活畫家」的名號，讚許錢德勒在作品中，對於美國當時社會現象的描述及記錄。但除了批判社會，錢德勒對於南加州少數族群，尤其是拉丁裔社群記憶的描寫，也是相當成功。本文將會探討錢德勒在生前最後一部完成之作《重播》，如何呈現一九五零年代當時拉丁裔社群的生活面貌及記憶。除此之外，本論文也會套用麥可．羅斯伯格（Michael Rothberg）的多向記憶，來解釋錢德勒如何在不身為拉丁裔社群一份子的情況下，記錄且展現他們的群體記憶。本論文分為三章：在第一章，首先會解釋多向記憶與錢德勒文學作品的關聯，來說明錢德勒在記憶研究中所扮演的角色。接著藉由主要角色解讀，探討本小說的主題－記憶及過去。第二部分則著重在錢德勒在小說中對於拉丁裔族群的描繪，從馬洛及各位拉丁裔角色們的對話和觀察中，解析錢德勒如何在字裡行間將他們的記憶呈現給讀者。本文最後則要探討錢德勒在書中擔任記憶描述及收集者的角色，並驗證錢德勒所描寫的拉丁記憶，是否就如詹明信所言，預示了現今美國拉丁裔社群所面臨的難題及社會現象。本論文主張：錢德勒作品中對拉美社群記憶的描繪，讓這些作品成了記憶媒體，抑或成為這些記憶的記憶遺址。

Raymond Chandler has long been considered a pioneering figure in the genre of crime fiction ever since the introduction of the cynical but humor Philip Marlowe to the audience. His hard-boiled and realistic approach marks a new era in the history of fiction and film. Since then, writers have adopted his style and principles for crime fiction writing as the basis of their work. While critics praise Chandler’s novels for his roughness and crisp tone, essays by Fredric Jameson and others point out Chandler’s keen interest in social issues shown in his works. Jameson even eludes Chandler as “a painter of American life,” praising the crime author for his description and narration regarding his time. Yet I argue that Chandler also succeeds in presenting the collective memory of Southern California during his time, especially the memory remembered by the minorities, such as the Latino community. In this thesis, I aim to analyze how Chandler presents the Latino collective memory in his last novel Playback as well as address how Chandler contributes to the process of remembering the Latino collective memory even though he was not a member of the community by implementing Michael Rothberg’s concept of multidirectional memory. To sum up, I argue that Chandler’s novels such as Playback are tours de force of not just Chandler’s social commentary, if not “sites of memory” documenting the Californian collective memory, or in this case, the Latino collective memory. I contend that through the reading of Chandler’s works and analysis of the memory presentation and remembrances in his works, we can study how crime fiction function as vehicles for memory study, as well as the contemporary critique of the present day or future society.

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