Put that in your pipe: why the Maigret novels are still worth savouring

From The Guardian:

As a six-year reissue project of the series reaches completion, Scottish author Graeme Macrae Burnet explains why Simenon’s Parisian sleuth still matters, 90 years after his first case.

This project has introduced a whole new audience to Simenon’s work, and provided long-standing fans with the chance to renew their acquaintance with the world of Maigret. When Simenon was asked how the Maigret novels differed from his other books – his romans durs – he described them as “sketches”. But are they more than that? Ninety years after the series was begun, are they still worth reading? Yes, and yes.

The character of Maigret is introduced in Pietr the Latvian (1930). It’s a novel that bears some of the hallmarks of the hundreds of pulp novels Simenon had written in the previous years (a surfeit of action and exclamation marks), and this embryonic manifestation of Maigret is more of the alpha-male action hero than in the later novels: “He was a big, bony man. Iron muscles shaped his jacket sleeves. He had a way of imposing himself just by standing there.” But even at the very beginning, there was something else. Maigret has his pet theory: “Inside every wrong-doer and crook there lives a human being. What he waited and watched out for was the crack in the wall, the instant when the human being comes out from behind the opponent.”

In 1948, Simenon was to provide something of a second introduction to Maigret. Maigret’s First Case predates Pietr the Latvian by some 20 years. Maigret is the 26-year-old secretary to Superintendent Le Bret of the Saint-Georges station in Paris. Simenon was by then at the height of his powers as a novelist, and the portrayal of the detective is now more nuanced.

One does not read the Maigret novels in expectation of wild revelation or plot twists, but to inhabit the vividly realised world of Parisian streets, dives, bistros and high-class hotels. If the books are sketches, they are the sketches of an old master. But the thread that runs though all the books is Maigret’s inquiries into the psychology of his adversaries, and it is this unfailing humanity that makes the Maigret books truly worth reading.

read more @ The Guardian

I fell in love with the Maigret books many years ago and borrowed as many as I could find from local libraries. Recently, I came across a number of volumes via local bookshops and secondhand book sales, so eagerly added these to my crime shelf of my own personal library.

I also recently invested in the BBC / Rowan Atkinson series but remember fondly the Michael Gambon series from years gone by.

'The most boring part': why the killer didn't matter to Georges Simenon

From The Guardian: 

Identifying the murderer in Maigret and the Man on the Bench is of scant concern to a writer preoccupied with deeper secrets.

It isn’t normal to begin reviews of detective novels by discussing their last chapter. But Maigret and the Man on the Bench is not a normal detective novel – and its conclusion is so striking that it demands immediate attention.

If you’ve read the novel, you’ll know exactly what I mean. If you haven’t, I don’t think it’s giving away too much to say that in just 10 pages in David Watson’s (excellent) translation, Maigret discovers the identity of the murderer of Louis Thouret, the eponymous man on the bench. This murderer has barely been mentioned before in the novel, and Maigret doesn’t care about his identity. “This was the most boring part,” he reflects as he is writing up the case. Just six lines later, the book ends.

It’s possible to view this dashed-off ending as evidence that Simenon didn’t care either. The book was written in the early 1950s, when the author was allotting himself just 11 days to complete a Maigret novel. His heart – as he revealed in a 1955 interview with the Paris Review – was not with his beloved Parisian detective, but in the more serious romans durs he was writing concurrently.

read more @ The Guardian

Review: Maigret & the Tall Woman by Georges Simenon

Look, I personally love classic crime - and Maigret (recently brought to life by Rowan Atkinson), definitely falls into this category.  

The "tall woman" is the wife of a career safe-cracker (a woman whom Maigret knew from years gone by).  There is a murder, and the safe-cracker vanishes.  In his usual style, and sometimes with the thinest of evidence, Maigret investigates.  There is nothing seemingly rushed about this man, and at times you wonder if Maigret will ever solve the puzzle.  But you know he does.

This style of crime fiction is classic for a reason, and will never go out of style.  I was introduced to Maigret and others of his ilk many, many years ago, and then sometime ago, I indulged myself in reading a vast array of classic crime (for the pure joy of it) - Simenon was among the many authors.  And yet their characters are still fresh as if it were only yesterday.  That is the power of Simenon and his ilk - they still have the power to captivate an audience years later.

Well worth the effort to seek out more from Georges Simenon and the full list of Maigret titles, which you can do here @ Penguin Books