By Georges Simenon
A brand new translation of this relocating novel concerning the harmful strength of greed, publication twenty within the new Penguin Maigret series.
Poor Cécile! And but she used to be nonetheless younger. Maigret had noticeable her papers: slightly twenty-eight years previous. however it will be tough to appear extra like an outdated maid, to maneuver much less gracefully, inspite of the care she took to be pleasant and delightful. these black attire that she needs to make for herself from undesirable paper styles, that ridiculous eco-friendly hat! within the dreary suburbs of Paris, the cruel greed of a probably decent lady is unearthed by way of her lengthy ache niece, and Maigret discovers the far-reaching results in their actions.
Penguin is publishing the full sequence of Maigret novels in new translations. This novel has been released in a prior translation as Maigret and the Spinster.
Compelling, remorseless, brilliant.' - John Gray
'One of the maximum writers of the 20th century . . . Simenon used to be unmatched at making us glance within, even though the power was once masked through his brilliance at soaking up us obsessively in his stories.' - The Guardian
'A ideal author . . . unforgettable vividness.' - The Independent
From the exchange Paperback edition.
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Extra info for Cécile Is Dead
After Walter announces that he is leaving Anna to go to New York, she grinds her cigarette on his hand, figuratively attempting to castrate him, in an action for which he never forgives her. The moment of violence marks the end of the relationship; it is an act from which nothing can be recovered. A woman’s direct claiming of power will not result in a transfer of power but rather is prelude to abandonment. Looking at a bracelet that Walter had given her, Anna slides it onto her hand as if it were, in her words, a “Knuckle-duster” (148).
It is altogether fitting that it is not her baby’s death but her own that becomes Anna’s focus as she walks back out onto the London streets: “[. ] I was afraid of the people passing because I was dying; and, just because I was dying, any one of them, any minute, might stop and approach me and knock me down, or put their Voyage in the Dark 29 tongues out as far as they would go” (178). Here once more the infantile perception of abandonment is projected into an object world that is perceived as filled with potential violence.
As such, the incident is as revelatory of Anna’s tendency to find ways to deflect anxieties about hostility toward the mother, as it is of Laurie’s own strategies of self-containment.
Cécile Is Dead by Georges Simenon