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 Maigret had obvious her papers: slightly twenty-eight years outdated. however it will be tricky to seem extra like an previous maid, to maneuver much less gracefully, despite 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 possible 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 inside of, even though the facility was once masked by means of his brilliance at soaking up us obsessively in his stories.' - The Guardian
'A very best author . . . unforgettable vividness.' - The Independent
From the alternate Paperback edition.
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Extra resources for Cécile Is Dead
Paintings, sculptures, novels are like an artist’s deciduous body parts, dead epidermis sloughed off as part of the skin’s regeneration. The art works that a creator sheds and that disperse into his audience are little corpses mourned in the instant of their passing, as their surrender enriches the recipient on whom they are bestowed. Like l’Abbé Jules, the book collector is an invalid wedded to his disease, so that perusing Indiana reactivates symptoms whose remission only lasts as long as George Sand’s book is unopened.
37 The monument that Mintié fantasizes about erecting would pay tribute to his glory and commemorate the loss of the art work whose production permits attainment of immortality. In Le Calvaire, there is nothing immune to the thanatropic movement of living things toward quiescence, nothing impervious to the corrosive forces of cowardice and desire that leave corpses littering beds and battlefields. Like raw experience that dies in order to be reborn as its fictionalization, the suffering artist perishes, returning as the author of his autobiography.
As Mirbeau would come to realize, utopia is another disabling maternal sanctuary, a place where “artistes engagés” are rendered obsolete, as mankind’s universal happiness makes literature superfluous. This is why Mintié prefers the symbol of the crucifix, representing, as it does, the interminable Passion of the savior, which never ends with death and an indescribable resurrection. This is why Mintié projects himself as a suffering redeemer – imprisoned in the body, denied any real transcendence.
Cécile Is Dead by Georges Simenon