American hard-boiled detective fiction

One of the things that distinguishes the hard-boiled from the classical type of literary detection is the representation of class–that is, American hard-boiled detective fiction seems focused on legitimizing the working-class or proletarian protagonist as opposed to the highly educated, middle-class professional (whether private or police) or amateur detective. How do Hammett and Chandler differ in their handling of this class critique? This is the essay question based on the readings, the Maltese Falcon and Farewell my lovely.