How we cite our quotes: (Chapter.Paragraph)
Quote #1
To beat the miners he had to let his hired thugs run wild. When the fight was over he couldn't get rid of them. He had given his city over to them and he wasn't strong enough to take it away from them. Poisonville looked good to them and they took it over. They had won his strike for him and they took the city for their spoils. He couldn't openly break with them. They had too much on him. (1.78)
During his investigations into Donald's murder, the Op learns that Elihu was responsible for hiring thugs to help him put an end to a labor strike. Afterwards, the thugs weren't willing to give up their power, which means that violence doesn't always offer the best solution to a problem. Clearly, it backfired on Elihu because he couldn't rat out the thugs since he was the one who hired them in the first place.
Quote #2
Now it's my turn to run him ragged, and that's exactly what I'm going to do. Poisonville is ripe for the harvest. It's a job I like, and I'm going to it. (8.37)
This quote is our only clue as to why Hammett titled the novel Red Harvest. The Op plans on getting everyone to turn against each other so that they'll all spill each other's blood and do his dirty work for him. Take a look at "What's Up With the Title?" for more on the significance of the title.
Quote #3
The silvery streak ended its flashing slant in the ring, with a sound that was partly a thud, partly a snap.
Ike Bush took his arm out of the referee's hand and pitched down on top of Kid Cooper. A black knife-handle stuck out of the nape of Bush's neck. (9.124)
You don't want to mess with the big shots or else you're liable to find a knife sticking out of the back of your neck like poor Ike Bush here. Bush decided not to take a dive during the fighting match (and a lot of money was riding on him to lose the fight). When you don't follow orders, then you'd better watch your back.
Quote #4
"Come on, man, this is the kill."
I followed him down to the department garage, where the engines of half a dozen cars were roaring. […] Machine guns were unwrapped. Arm-loads of rifles and riot-guns were distributed, and packages of ammunition. (15.51)
The Op gets ready to go with Noonan to Whisper's supposed hideout. The cop cars are loaded with guns and rifles. Hammett gets us ready for the impeding gunfight scene by drawing our attention to all the heavy ammunition.
Quote #5
The machine-gun by the tree fired, haltingly, experimentally, eight or ten shots. Noonan grinned and let a smoke ring float out of his mouth. The machine-gun settled down to business, grinding out metal like the busy death factory it was. (15.79)
Noonan's men fire round after round of bullets into the warehouse where Whisper is supposedly hiding. Notice the sinister comparison here of the machine gun to a "death factory," churning out corpses by the dozens. The novel itself can be read as a kind of death factory as well, given the fact that several dozen bodies are killed.
Quote #6
"Shall we go out and look at the remains?" I suggested, getting up.
He neither got up nor looked up.
"No," he said wearily to his lap. "To tell the truth, I don't want to. I don't know as I could stand it just now. I'm getting sick of this killing. It's getting to me – on my nerves, I mean. […] Everybody's killing everybody. Where's it going to end?" (18.30)
All this blood and death is finally getting to Noonan. In one of his rare moments of vulnerability, Noonan expresses his disgust with all the killing and we actually find ourselves sympathizing with him. What does Noonan's disgust reveal to us about the dangers of violence?
Quote #7
"This damned burg's getting me. If I don't get away soon I'll be going blood-simple like the natives. There's been what? A dozen and a half murders since I've been here. Donald Willsson; Ike Bush; the four wops and the dick at Cedar Hill; Jerry; Lew Yard; Dutch Jake; Blackie Whalen and Pat Collings at the Silver Arrow; Big Nick, the copper I potted; the blond kid Whisper dropped here; Yakima Shorty, old Elihu's prowler; and now Noonan. That's sixteen of them in less than a week, and more coming up." (20.18)
That's a lotta names, half of which we don't remember or haven't even heard of. What's the deal? Hammett seems to be intentionally trying to confuse us or throw us off with this proliferation of dead bodies. It's impossible to remember all their identities, so we become numb to the violence. Hammett might even be riffing off of the stereotypical "Who done it?" mystery, where instead of tracing a murder down to a single murderer, we can't keep track of who was killed or who did the killing.
Quote #8
"I've arranged a killing or two in my time, when they were necessary. But this is the first time I've ever got the fever. It's this damned burg. You can't go straight here. I got myself tangled at the beginning. When old Elihu ran out on me there was nothing I could do but try to set the boys against each other. I had to swing the job the best way I could. How could I help it if the best way was bound to lead to a lot of killing? The job couldn't be handled any other way without Elihu's backing." (20.22)
This is probably the only moment in the novel when the Op expresses actual feelings of regret for his role in starting all the violence. He tells Dinah how he could have chosen other methods, but that the "best" way involved a lot of killing. Do you buy this explanation? Has Personville poisoned the Op with bloodlust, or is he only making excuses for himself?
Quote #9
I was lying face down on the dining room floor, my head resting on my left forearm. My right arm was stretched straight out. My right hand held the round blue and white handle of Dinah Brand's ice pick. The pick's six-inch needle-sharp blade was buried in Dinah Brand's left breast. She was lying on her back, dead. (21.15)
Try to imagine that you're filming this scene and you're looking through the camera lens. First zoom in so that all you can see is the Op's head as he wakes up. Then move the camera slowly down along the Op's right arm and pause at his hand, which is holding a wooden handle. Then very slowly, move the camera along the handle until we realize that it's an ice pick, and trace the curve of the blade down to where it's buried in Dinah's chest. So what was the whole point of that visual exercise? Well, besides the fact that it's fun pretending to be a cameraman, the way Hammett builds up the suspense in this moment is masterful. We don't realize what is happening until the first last second when it dawns on the Op that Dinah is dead.
Quote #10
I explained, "He seemed to think I'd killed Dinah Brand. […]"
"Well?"
"You mean, did I kill her? I don't know, Mickey. I'm trying to find out." (26.76)
This is the moment of reversal when the Op goes from being the hunter to the hunted. He is wanted by the police, and he can't even remember if he killed Dinah. The line between villain and hero is at its most hazy in this moment.