LHôtel Hanté (Annoté) (French Edition)

The bar he enters is as intimate as a family dining room. He has no Dutch money but they trust him to pay for his beer the next day. He feels everything to be simple, honest, with almost a family atmosphere. Everywhere there are connections with the sea. One of the customers in bar takes him out to the Liewens' farm. Almost immediately, Maigret has to help the girl deliver a calf. The household is solid, comfortable, cultured. Beetje at this point is playfully seductive and even shows Maigret her bedroom, which Maigret thinks of as almost a boudoir, but with a heavy, solid, reflective atmosphere.

He meets the girl's father, who speaks no French. She takes Maigret back to town, wheeling her bicycle and swinging her hips. Chapitre 2 "La casquette du Baes" This chapter opens with Maigret unusually taking note of details, especially of the topography of the area where the murder took place. Later, in a satirical parallel, Professor Duclos, the main suspect, takes this to extremes, having made detailed plans of the layout of the house and its surroundings.

Maigret and Simenon is dismissive of Duclos: This is important, because the main theme of this novel, clearly and we might even say deliberately delineated, is the conflict between two ways of life, between the conventional and the bohemian, between the narrowness of provincial life and the limitless bounds of human potential. We know that Simenon attended courses on criminology in Liege, but at some point he must have rejected the scientific approach, embodying in Maigret the humanistic, empathetic aspect of detection. This probably links with his own inclination towards a bohemian, libertine existence, and yet in Simenon himself there is the contradiction between the loving father, the breadwinner, the disciplined writer of routines, and the promiscuous, alcoholic, one might even say anarchistic side of his character.

Maigret's interview with Duclos allows the author to fill in the background to the murder, and also introduces us to the character of the victim, Conrad Popinga, who, we learn, had forced everyone after Duclos' lecture to listen to jazz on Radio-Paris.

Popinga and Beetje had drunk and danced, while the solid bourgeois family and guests had sat and talked. Popinga had been astonished to find a Frenchman Duclos who did not drink. The explicit contrast between the austere Frenchman and the Dutchman with his joie de vivre underlines the theme. Duclos is very scathing about Popinga, who is thereby made to seem a very sympathetic character. Perhaps the most delightful aspect of this chapter is the light touch with which Simenon depicts Maigret's amusement at the pompous, arid Duclos.

I think this is the first Maigret book in which Simenon is starting to feel at ease, in full command of his theme and able to exercise his wit. The satirical amusement with which Maigret regards Duclos is also present to some extent in the way Maigret treats the very serious but incompetent Dutch police inspector, whose theories Maigret appears to ignore, except to point out certain gross deficiencies in the inquiry. Again, this conversation allows Simenon to skilfully fill in the background to the crime and to bring forth more information about the characters involved, including Miss Any Van Elst, Popinga's sister-in-law, another "serious" character, whom we encounter again later.

Roddy Maigret of the Month: He stands out from the other wharf rats by his size and the force of his personality. Maigret tries to engage him in conversation, but Oosting can no more speak French than Maigret can speak Dutch. Here and later it is clear that he wants to communicate something to Maigret, but it is impossible. Maigret has the strong feeling that if they could communicate, he would penetrate to the heart of the mystery.

Maigret finally visits the house where the dead man, Popinga, lived. He meets Mme Popinga and Any again, who seems painfully timid. Both women are bourgeoise, provincial, though cultured and educated, and belong to an austere Protestant sect. Maigret says he thinks that Beetje is of a different character from the two women. Oosting and Popinga, however, had gone on hunting trips together. The characters are ranging in two camps.

Maigret sees Oosting and Cornelius, a student at the naval school where Popinga taught, talking on the canal bank. There is a boatyard, and the canal is almost choked with floating tree trunks. Le Baes is taking pains to make sure Cornelius obeys or understands him.

When a donkey brays, Oosting sees Maigret and moves off. Maigret tries to follow Oosting, then switches his attention to Cornelius, who is wearing white gloves which show up in the twilight. Cornelius crosses to Maigret's side of the canal by jumping from tree trunk to tree trunk. Maigret follows him at a distance, their footsteps in time.

Cornelius, although unaware that he is being followed, increases his pace, as if afraid. He crosses the area which is intermittently illuminated by a nearby lighthouse. When Maigret crosses the lighted area, Cornelius must see him if he looks back. The student is heading for the Liewens' farmhouse, where he meets Beetje.

Although she is wearing a coat, Maigret knows she is in her nightdress, bare-legged, with bare feet in slippers. She approaches Maigret and tells him to ignore Cornelius, who is upset and nervous, sure that he is going to be accused of the murder. The farmer Liewens appears. He is angry at seeing Maigret talking to his daughter and appears to be unaware of the presence of Cornelius.

He accuses Maigret, through Beetje, of arranging a rendez-vous with his daughter. The farmer orders his daughter to go home, leaving Maigret with Cornelius. Maigret feels sorry for the boy, who is in a pitiable state. Yet he could be guilty. His alibi is undermined by the possibility that he could have crossed the canal using the tree trunks as stepping stones, which would have allowed him to return to Popinga's house in time to kill him.

Maigret gamely crosses the canal with Cornelius in the same way, almost falling into the water. Maigret establishes that Cornelius is in love with Beetje and wants to marry her. Maigret escorts him back to the boat which serves as the dormitory for the naval boarding school. He sees Oosting waiting for the return of the students and sees him as similar to himself, middle-aged, heavy, calm, but a little ridiculous too, in coming to watch the teenagers who were climbing into their hammocks and having pillow-fights.

They greet each other, but still cannot communicate. They walk together towards the town, where Oosting enters a cafe. Every moment, every gesture counts. Characters are developed, the plot is advanced and clarified, and above all there is the brilliant, detailed, vividly sensual description of surroundings, sounds and smells.

The reader is there with Maigret, experiencing every second that passes, every nuance, every emotion. Michael Haertlein Wellspring Media, Inc. Maigret of the Month: My plan is to dedicate each month to a specific Maigret title, and present related material via the Forum, where everyone can react and contribute. I've been maintaining a "Maigret Enclopedia" for many years, from which I've been able to produce lists like " References to Latin America " or " Fingerprints " or " Francs " as we've seen in the Forum from time to time.

I've started to gather some of these together and to add them to the newly renamed " Reference " page, but I'd like to begin an expansion of the " Plots " pages into a richer resource than just a brief outline of each story. To begin, let's look at "Le chien jaune", one of the first Maigrets, published in , the year the series was inaugurated.

I wonder how they came up with "A Face for a Clue" as the title for the first translation? Whose face was it that gave the clue, Emma's? Introductions Richard Vinen's introduction to the new Penguin edition, " The Yellow Dog " is a fine and interesting anaylysis. Translations There are two translations, the first by Geoffrey Sainsbury , published in in the UK, in the US, and the newer one by Linda Asher , published in by Harcourt.

Here's the bibliography entry. As usual , there are some "strange" translations in the Sainsbury version. Looking briefly at Chapter 1, for example, in the opening paragraphs Sainsbury adds a new line: Concarneau What is Maigret doing in Concarneau? He was temporarily posted to Rennes "to reorganize its mobile unit. Continue west all the way to the coast at Brest, and the little red dot south of Brest is Concarneau, not far outside of Quimper. Distance from Paris is miles km , Rennes miles km , Quimper, 17 miles 27km.

Here's an enlargement of that area: I haven't located a good city map of Concarneau, but it would be interesting to follow the action on one from the 30s Unfortunately, Guido de Croock hasn't done Le chien jaune on his Maigret's Journeys in France site yet, or I'm sure we'd have a wealth of detailed information about this setting. In the autumn of , Professor Glanville Price of the University of Stirling set Le chien jaune for first year students to improve their French vocabulary, so at 8. He was a fierce little Welshman, and woe betide you if you'd been lazy. However, I learned a lot from him, including the urban nature of the glottal stop now widespread in Britain -- and elsewhere?

I re-read Le chien jaune last year. It seems to me one of the most densely plotted of the Maigrets, with a lot to enjoy. Now I'll have to read it again! The Introduction Richard Vinen's introduction is interesting, though you can hear the sound of political axes being ground. How right-wing was Simenon? There is plenty of evidence which makes it seem likely that his sympathies did lie on the right, but at the same time his irreligious libertinism points to a rejection of his early influences. I suspect that Simenon was fairly apolitical, even to the extent of being politically naive.

Pierre Assouline's biography, particularly when it deals with the war years, supports this reading of his character. The Translation I don't have access to Geoffrey Sainsbury's translation at the moment, but from the first chapter I would say that Linda Asher has done a fine job. There are, however, a couple of points that need to be teased out. Firstly, le chien itself. Asher translates this as "both a mastiff and a bulldog", but the dictionaries I've consulted translate dogue as mastiff perhaps dogue d'Ulm is a particular type of mastiff?

In Britain, foxhounds and beagles are the most common type of hunting hounds, and no doubt in France they use all sorts of dogs for hunting, but surely not a bulldog? From the looks of Simenon's punctuation, it seems more likely to me to be a club. The original looks like this: It seems like Simenon used italics to indicate the names of the newspapers or journals, and none of the others indicate a district of Paris Sainsbury apparently thought so too. He 'translated' this section as: That seems to be true.

I have scanned through the three Maigrets I have, and mention of Maigret packing his pipe, lighting his pipe,smoking his pipe, etc. M stopped, and suddenly clenched his jaw so hard that the stem of his pipe broke clean in two between his teeth. Talking to Tiburce de Saint-Hilaire in Chapter 11, the conclusion. At that moment the Chief Inspector bit on the stem of his pipe so hard that he broke it and the bowl dropped onto the floor.

At the end of Chapter 8, on discovering that Else Anderson was not in her room. His jaws clenched so tightly that at one point the stem of his pipe snapped between his teeth. During the telephone conversation with Joseph Daumale, end of Chapter 9. There was a sharp little sound. It was the stem of M's pipe breaking under the pressure of his bite. The bowl fell to the floor. He did not utter a word the whole way there, and he bit down so hard on his pipe that he cracked the ebonite stem. Chapter 4, M had the feeling he'd overlooked something important In the car, on the way to interviewing Mme Blanc, the concierge.

In Chapter 3 when Maigret phones Le Phare de Brest which Asher translates beautifully as the "Brest Beacon" , he asks to speak to the directeur , reinforcing the idea that Simenon used it in the sense of "editor". Although Servieres is described as being proud of his journalism, he might have been trying to impress Maigret in another way when he introduced himself. I'll go along with La Vache Rousse being a petit theatre. Roddy Concarneau map Jerome has forwarded a link to a large detailed map of Concarneau.

And from here you'll find more maps of Concarneau , including the downtown area. The earlier translation by Geoffrey Sainsbury, in comparison with the author's French text, has many additions, omissions and alterations. Linda Asher's translation is much closer to what Simenon has written, but at times is too clipped, too staccato. However her translation is the one to read to appreciate Simenon's narrative.

Le chien jaune - 4 In what year does it take place? An Excel spreadsheet provides an easy way to find all the 7th November Fridays in the 20th century. The possible years would be or There is also a 7-Nov, but absinthe was still allowed at that time, as Roddy wrote. After , the next Friday 7th November is , and that is too late. I think that we can safely say that the action is taking place at end of the year I looked at previous discussions related to Maigret's age by Forest and Drake but did not see "Le chien jaune" in the list.

If the action took place in that would make Maigret 43 years old. In the age study, I saw that "M Gallet died on June 27, ".

Livres reçus

That's possible since in "Le chien jaune" Maigret had just been assigned to Rennes for a month. He must have arrived in Rennes around the 7th October. To complete the year study, the second sentence says it is "onze heure moins cinq" The 7 November , the tide was at its lowest at Simenon used boats a lot and must have known from books the tide schedules. And here's another element to date the story: Could it be possible?

Today in France, the 11th November is a bank holiday for the end of the first World War: In the book, as the story spreads over 5 or 6 days, we should see Tuesday the 11th and have some celebration, but nothing is mentioned in the story. I do not know when the 11th November became a bank holiday in France, perhaps after or The image is a tourism poster for Concarneau from I think the Forum has looked at this before, but I was interested to read in Patrick Marnham's biography, The Man who wasn't Maigret that Simenon himself had attended lectures on forensic science: In later life Simenon denied that he had ever done any serious research into police methods before writing his Maigret books, apart from spending the odd afternoon with some friends in the Paris CID.

In fact in the young reporter enrolled as an extra-mural student and attended a series of lectures at the University of Liege on the new science of forensics Marnham, pp Obviously he felt that the interest in novels arises from characters rather than from clues, unlike many of his contemporaries or indeed some present-day crime novelists. No one would read Agatha Christie or Patricia Cornwell for their human interest. Anarchists With regard to the political ideas in Richard Vinen's introduction to the new Penguin edition, the pharmacist who analyses the poisoned bottles would like to blame it on anarchists.

Does anyone know how active anarchists were in the s and 30s in France? Were they responsible for outrages like poisoning the drinks of the bourgeoisie in towns like Concarneau, or is Simenon indulging in a little social satire? By the way, I'd agree with Jerome's placing of the novel in ; also, Vinen makes the point that there is no reference as expected to Armistice Day in the novel.

Michoux is a doctor, but people interested in buying his plots are directed to Monsieur Ernest Michoux. Maigret says in his notes on the case that Michoux and his mother are "trading on dead husband's name", but I don't think that fully explains it. By referring to Emma as tu , Simenon conveys the concern and sympathy Maigret feels for the girl, but this is lost, or at least less visible, in the translation; maybe the translator could have put in "my dear" to compensate.

He replies that the ordinary people aren't too concerned, might even be pleased because he was part of the crowd who drank too much, treated the town as if they owned it and exploited poor young women.

Buffy - Intégrale Tome 4

The middle-class people are, however, appalled. Maigret's sympathies are always with the underdog, the lower class, though he himself, as the son of an estate manager who served an aristocrat, might be said to be bourgeois and he leads a bourgeois existence. Simenon seems to an extent to have shared these sympathies, though of course he himself became very wealthy and of course acted on occasion like Michoux and his associates. As Assouline states in the opening chapters of his biography, Simenon hated the social attitudes of the Christian Brothers whose school he attended, "especially their peculiar penchant for holding the state schools up as a bogeyman and for harping on class divisions.

This may well have been the leavening of a powerful conviction that never left him: Simenon indeed seems to have despised the high-born and the rich. In "Maigret Meets a Milord", he portrays the English Lord as a dissolute brute, and later, in "Maigret and the Millionaires", for example, he shows them as leading empty, meaningless lives. Towards the end of his life, Simenon seems to have deliberately eschewed the trappings of wealth, putting his valuables into storage and moving from his Epalinges mansion to live very simply and humbly in a small shady house in a quiet street.

Assouline asserts that this was "the final demand of the anxiety and insecurity that had never left him: In the exhibition in Liege last year there was short but very touching video clip which showed an old and feeble Simenon returning to his home from a walk. As he enters, his companion Teresa tenderly helps him take off his coat. Simenon looks distracted, unwell, tired. This extraordinary man, who has experienced more in his lifetime than perhaps any other of his generation, is now almost completely dependent on the love and care of his sole companion. This way of life had started in Paris during the spring of and was to last until October when Simenon sold the boat at Ouistreham Calvados in Normandy.

During the whole two and a half years of the trip Simenon was writing novels and short stories under pseudonyms, as well as those first, mainly, Maigret novels under his own name. It was a transitional period, completing contracts for his publishers of popular novels and building up a reputation as a writer of works for which he is now famous. Some of the writing was done on board, but at times finding this unsatisfactory, he would moor his boat and find some temporary accommodation.

Whilst living there, Simenon, Tigy, Boule, with their dog Olaf, explored Concarneau and its environment, which gave the author plenty of information about this town to use as the setting for two novels, "Le Chien Jaune " and "Les Demoiselles de Concarneau ", the latter a non-Maigret work written in and translated under the title of " The Breton Sisters ". Both novels are set in the month of November, which is precisely the time of year the author experienced whilst living in the area. Simenon used some of the local names in both novels. The villa in which they were staying was at Sables-Blancs, the location of the homes of the mayor and Ernest Michoux in the " The Yellow Dog ".

The owner of the villa "Ker-Jean", a jeweller, was M. Albert Gloaguen, who had an address at 10, Quai d'Aiguillon, Concarneau. Erroneously Simenon spells it Quai de l'Aiguillon. Also it is reasonable to assume that including a dog as part of the storyline was influenced by Simenon having his own Great Dane with him.

Being an astute businessman, Simenon frequently had many of his short stories and novels published in magazines or newspapers before they came out in book form. This meant that his work reached a wider reading public, as well as bringing in additional revenue. Possibly, in this case, he might have wanted to put down his idea for the main plot quickly, to gauge how it would pan out as a novel, and how Maigret, who does not appear in the short story version, could be worked in to investigate.

In this short story, the plot is the same as the novel, one of betrayal, but there are fewer characters and their names are different, and there is no dog. Also there is no mention of the name of the town, although it is obviously by the sea. Part of the storyline takes place in the Grand Hotel, which has been in Concarneau for some considerable time.

Basically having explored the main plotline in the short story, Simenon expands his idea into the novel, giving himself room to establish more characters with twists and turns in the narrative that brings in petty town jealousy, enmity, posturing and rivalry. Into the vividly portrayed atmosphere, conjured up both by the natural elements and the tension generated by certain individuals, he brings Maigret.

The latter, at times, at his most brusque, not suffering fools lightly, dismissing a person or situation with a blunt oath, mentally, if not also physically, feels his way to the truth. His sympathy lies with only certain of the inhabitants, including the yellow dog of the French title that wanders through most of the novel like a mysterious symbol. The printer's date in the first edition of the novel " Le Chien Jaune ", published by Fayard, is April , and it would have been put on sale soon afterwards. When Jean Tarride made the film version of the novel in , the exteriors scenes were shot in Concarneau, whilst the interiors were set up in the Billancourt Studios in Paris.

The quayside next to the above is the Quai d'Aiguillon. G - the Gendarmerie Police Barracks. Le Chien Jaune - 7 A close reading of Le Chien Jaune shows that Simenon knows from the beginning exactly where the story is going to go. The first time the yellow dog enters the cafe in Chapter 1, it lies down at Emma's feet, showing that it knows her. There is also the back-story of Emma and Leon being engaged to be married until they are separated by Leon's voyage and subsequent arrest, for which Michoux and his associates are responsible.

This novel is tightly plotted. On the day he began the first chapter, Simenon knew how it was going to develop and how it was going to end. Perhaps some later Maigrets are more spontaneous, less planned, but I don't think a single one of them is written in the way Simenon wanted Bresler to believe. Peter Foord's interesting and enlightening posting supports this idea that Simenon carefully prepared his books. I intend to look at Assouline, Marnham and Bresler first of all.

And he continued his frenetic lifestyle, dividing his time between the Ostrogoth and the Chateau de la Michaudiere in Guigneville-sur-Essonne. It was his usual pace. In December , within ten months of the launching of the first two Maigret books, Simenon sold the Ostrogoth There were not more than about a dozen villas built there at the time and in winter the place was almost deserted.

RC] The only other inhabitant was the old Aga Khan who would wave at the soon-to-be-millionaire author as the two of them took their regular morning walks beneath the pine trees. In the three months that Simenon was at "Roches Grises", he wrote three Maigret novels and worked on the scenarios of two Maigret films: La sic Chien Jaune was a considerable commercial success but an artistic disaster, with the director's father, Abel Tarride, a veteran of the stage, completely miscast as Maigret and giving a far too-overripe performance as the essentially humanistic and unflurried detective.

In contrast, La Nuit du Carrefour sank without trace at the box-office but has now become a cult Jean Renoir film and is shown to intellectually smart cinema clubs throughout the world. As brilliant a director as Jean-Luc Godard has called it "the only great French detective film ever made. Le Chien jaune and La Nuit du carrefour were commercial failures. For that Simenon blamed the producers, but he was also unhappy with the entire profession, including adapters, screenwriters, and directors except his friends, of course.

He was especially irate about the critics' claim to define the canons of the detective film. He had written his Maigrets by violating imperatives of exactly this kind, and he now railed against the conventions: To begin with, there is no such thing as a detective novel, nor a detective film. And there is no rule of the genre, and no formula either…. There are good and bad films. If Le Chien jaune and La Nuit du carrefour are failures, the fault lies not with the people who made them but with the people who paid for them.

Assouline p In Simenon was sued for libelling a widow Mercier, a hotelkeeper, in one of his African novels, Le Coup de lune. The case was dismissed, although there was evidently some guilt on Simenon's side, but, as Assouline says: He would be more careful next time. Two years later, a dumbfounded Simenon was to witness the same phenomenon in reverse: Assouline, p There is a slight irony here, for, as Assouline writes: After the publication of Le Chien jaune , he expected problems with the inhabitants of Concarneau, where the mysterious deaths of the participants in a regular card game took place.

The mayor, in fact, made no secret of his displeasure. Perhaps the most enduring mark left on Simenon by the occupation of Liege was an ambivalence towards conventional ideas of right and wrong. On the whole Commissaire Maigret finds criminality easy to understand and adopts a frankly sympathetic attitude towards many of his clients. This is true from the earliest of the Maigrets. In Le Chien jaune A Face for a Clue , the sixth Maigret to be written but the fourth to be published, a group of local notables are terrorised by a shadowy enemy who turns out to be a poor man they have all wronged.

Simenon, still pursued, was changing his ground again. Marnham, p Roddy Campbell. Le Chien jaune , probably the fifth or sixth written in the series, is an excellent example of early Maigret Unlike Le Pendu de Saint-Pholien , the foreground action has considerably more interest than the background action. Maigret's investigation in the little Breton port of Concarneau, terrorized by an unknown criminal, is a masterpiece of ambiance sic , suspense and sharp character description; the explanation behind it all is implausible and grotesquely involuted.

Simenon leads into the atmosphere and the foreground story with a terse style, verging sometimes on the telegraphic. No one on deck. At a marble table, two men finish their cigars, sitting back, legs stretched out. Frequent predicateless sentences, no less effective on that account.

The novel is rich in early examples of Simenon's atmosphere building, sometimes too specifically labelled as "atmosphere": I prefer Linda Asher's reading, "Leaning on the till", RC] By and large, though, Simenon builds up a vivid sense of the quality of the town, the mood and sensibility of its denizens. Individual corruption, as well as the town's disagreeable collective personality, are effectively echoed by the physical setting: Maigret looked through the window panes.

It was no longer raining, but the streets were full of black mud and the wind was still howling violently. The sky was livid gray. Maigret was in such a good mood that following morning that Inspector Leroy dared to follow him and chat The sky seemed as if freshly laundered The horizon seemed vaster, as if the celestial dome had been more deeply scooped out.

The sea sparkled, punctuated by little sails that looked like the flags in a military map. If bad weather is an emblem of human turpitude and misery, good weather is a way, not so much of counter-balancing it, as of getting a perspective on it. Figures of speech are infrequent, as usual in Simenon's style. When they occur, they are either perfunctory, or else quite striking, as this one, describing Maigret and an associate [why not "Inspector Leroy"?

RC] observing from a rooftop the encounter between two young lovers [Emma and Leon RC] in a room some distance away: It was imprecise, as blurry as a film projected when the houselights have been lit. And something else was missing: Again like a film: One of the skills that Simenon developed as he escalated from a commercial to a more literary mode was to manipulate time, to move fluidly from present to past, to more distant past, and sometimes to future.

In the early Maigrets, this is mostly a matter of flashbacks, usually towards the end, providing the explanatory background action. In Le Chien jaune , he experiments with some subtleties. In the course of the opening foreground narrative, another level of foreground is anticipated in dramatic juxtaposition: As for Maigret himself, he is filling out his "first-series" personality. He still has his early brusque manner. His gruff heaviness is used deftly to dramatize his sympathy for the victimized young waitress, Emma: He took her shoulders into his big paws and looked into her eyes at once gruffly and warmly.

We find that he's already well-known, as he remains throughout his career: The famous Maigret method is both demonstrated and expounded. Simenon as author establishes the atmosphere which Maigret as detective immerses himself in, both drawing on their skills in their respective crafts. Only, for my part, I never conclude anything. There is a hint of the American hard-boiled school in the background action, which has to do with how Emma's young lover, Leon, was seduced and betrayed by a corrupt group of local gentry in a murky bootleg-liquor actually cocaine RC operation across the Atlantic.

And there is a touch also of the detective tradition's Gothic background in Leon's hideout in an ancient, abandoned coastal fortification, with a hidden staircase under the walls echoes of Arsene Lupin's "Aiguille creuse". The quotes are all from pp Apart from the last point, where I would dispute that there is a hidden staircase: Maigret s'engagea dans un etroit escalier de pierre creuse a meme l'epaisseur du mur Maigret started up the narrow stone stairway cut right into the wall Asher Eskin makes several points that are worth expanding on. For a start, what he terms "a sort of stage-direction style" owes more I think to the mise-en-scene of the screenplay.

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Since Simenon was engaged soon after this on screenplays for both Le Chien jaune and La Nuit du carrefour , I don't think it's fanciful to believe that he would have a working knowledge of the techniques of writing for the screen when he wrote this novel. The first scene of Le Chien jaune , written, as I noted earlier, in the present tense, would function perfectly well as the first scene of a film, with very few changes.

The reference above to the scene between Emma and Leon unfolding in front of Maigret and Leroy makes specific reference to silent films and has the same melodramatic quality. The use of flashback, which is crucial to the back-story of Leon, is, I think, essentially filmic. A study of what I would call Simenon's "cinematic style" would probably be interesting. If nothing else, it might explain why so many of his works have been adapted for film and television.

Eskin's reference to Maigret's "first-series" personality relates of course to television. The descriptions of weather are of course one of the great pleasures of the Maigret novels. Simenon does to some extent utilise the pathetic fallacy to mirror Maigret's changing moods, but again I think the descriptions belong more to Simenon's essentially visual, or rather, sensory imagination. We are made to share Maigret's joy in the first day of Spring, or his exhaustion in the heat of a Paris summer, or even the rain that seeps through his overcoat.

Eskin refers to bad weather as "an emblem of human turpitude and misery", but this is specifically linked to the villains in Le Chien jaune. Mostaguen falls into the mud when he is shot. Michoux's housing development looks "sinister" in "the rain and the mud". But in Chapter 9, the weather turns fine, and Maigret is in good spirits because he is on his way to solving the mystery. Finally, Eskin's allusion to the detective story tradition of bringing all the suspects together for the unmasking of the true villain is insightful, but it ignores the way in which Simenon subverts the tradition.

In the classic country house detective story, the detective Poirot perhaps would assemble everyone in the library later Rex Stout would bring them into the brownstone on 35th Street , but where does Simenon bring his cast of suspects?

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To a prison cell! It is surely significant that Maigret leaves the cell with the only true innocents, Emma and Leon and enables them to lead a different, happier life elsewhere. This is like the July 11, Paris-Match article , but with only eleven Maigrets shown. There is no indication of which June issue the photo is from. Some information and pictures of pipes displayed around Liege last year. The edition I refer to is that published by Penguin in This novel does not appear to have been published in hardback in Britain prior to The title is in the form of a weak pun.

A stone wall does in fact figure in the plot, but the secondary meaning, of being unable to make progress because of a strong defence, barely seems to apply, and puts the title on a par with A Face for a Clue which Steve has already noted as having little relevance to that book. Chapter 1, Just Another Job, starts with an excellent first paragraph which draws the reader in and belies the title of the chapter: It was on 27 June that Chief Inspector Maigret had his first encounter with the dead man.

Does this happen in any other story? There is a fine evocation of the heat of early summer and the soulless surroundings in which Monsieur Gallet lived, in an unfinished housing development some 20 miles out of Paris. I seem to recall a similar unfinished suburban development in one of Simenon's early romans durs, Les Fiancailles de Monsieur Hire , and of course there is the Michoux's half-finished speculation in Le Chien jaune.

Simenon associates such places with unsatisfactory, incomplete lives. No doubt he was also reflecting the realities of social change in the inter-war years. Mme Gallet tells Maigret: There is of course a huge irony in this, in that she has actually married a member of the Royalist aristocracy to which her father devoted his life. But she will remain unaware of this, accepted back into her family as a result of the money accruing from her late husband's insurance policy.

Why do we think it necessary to discuss its historical development? Professor at the Chair of Philosophy and Professor at the Chair of Philosophy and History of Scientific Concepts after Michel Foucault, Hacking is the author of a reflection on the classification of mental disorders, which arises from the problem of the natural kinds. In order to explain the case studies developed in Hacking's Paris lectures, we first go back to the definition of a series of concepts, then we discuss the status of his scientific metaphors.

Finally we analyze the relationship between the notions, respectively, of " transient mental illness " and " culture-bound syndrome ". We emphasize that the latter derives from the Canadian transcultural psychiatry. The French psychiatric hospital Henri Ey in Bonneval Eure-et-Loir, Central France is known in the history of psychiatry for a series of conferences, which brought together several key figures in the mental health field in the s. The conference sessions have been published in two major volumes: The proceedings consist of theoretical essays and minutes of the intellectual discussions between French psychiatrists, neurologists, psychologists, psychoanalysts and philosophers.

On the history of cultural psychiatry: Georges Devereux, Henri Ellenberger, and the psychological treatment of Native Americans in the s more. His work casts new light on the early development of His work casts new light on the early development of transcultural psychiatry in relation to scientific communities and networks, particularly on the role of Georges Devereux — The Ellenberger archives offer the possibility of comparing published texts with archival ones to create a more nuanced account of the history of transcultural psychiatry, and notably of the psychological treatment of Native Americans.

This paper examines some key moments in the intellectual trajectories of Devereux and Ellenberger, including Devereux's dispute with Ackerknecht, the careers of Devereux and Ellenberger as therapists at the Menninger Foundation Topeka, Kansas in the s, and their respective positions in the research network developed by McGill University Montreal, Quebec with the newsletter Transcultural Research in Mental Health Problems. The category of an Early Psychosis refers to a common medical classification. It is an essential part of the knowledge constituting mental health even as it represents a normative category subsuming a set of peculiarities in human It is an essential part of the knowledge constituting mental health even as it represents a normative category subsuming a set of peculiarities in human behaviour, speech, emotional expression, and mental states that together can be described as a mental disorder.

Relying mainly on the archives of the Hospital of Bonneval, France, we draw comparisons with other French and German hospitals through the use of clinical records with a focus on the period — We then analyze the linkages between certificates, first clinical interviews, anamnesis, emergence of a diagnosis, treatment indications, prognosis, and the like, which together constitute a complex of diachronic measurements that offer potential insights upon the nature of medical knowledge and practice.

Our interest is less the evaluation of consequences of specific doctrines than the investigation of the clinical parameters and conceptual dichotomies upon which practitioners relied. We conclude that the clinic is established not just out of objective signs, but that subjective symptoms are also part of psychiatric health practices, which in turn become a normative category that included a grey area between atypical behaviour and a selective diagnosis in, for example, the case of schizophrenia.

Mais qui sont ces acteurs? Un exemple de circulation difficile des savoirs. Psychiatrie, Neurosciences et Sciences Humaines, 13 1 , A shared history of epidemiology and transcultural psychiatry: Circulation of knowledge or impact of international scientific mobility? Im Anschluss an den Untersuchungszeitraum frage ich nach der Bedeutung der zahlreichen Kategorien von Geisteskrankheiten, die in der Vergangenheit unter dem Begriff Psychose zusammengefasst wurden.

Dec 17, Publication Name: Jan 1, Publication Name: Aux origines mythiques de la psychose: Emmanuel Delille, "Un fantome dans la bibliotheque. Seuil, , p. Emmanuel Delille, "Les Cahiers de Janina. Jean-Robert Dantou et Florence Weber dir. Fayard, , 15 x 23 cm, p. Une sociologie historique de la psychanalyse. Liber, , p. Canadian Bulletin of Medical History,. Avec des photographies de Jacqueline Verdeaux Paris: Histoires de famille, histoires de guerre.

Tome 1 — Dufour, Donald et Lyne Richer. Le fleuve dans la peau. Amos ville centenaire Filteau, Jean-Claude et Daniel Abel. Catherine Guichelin, une fille du roi pas comme les autres… Nouvelle-France, Traduction de Louis Pelletier. Goulet, Denis et Robert Gagnon. Les filles de Montcalm. Origines et fondateurs La fin de la seigneurie. Dorion, Henri et Pierre Lahoud. Bellechasse au temps des seigneuries.

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Les Cahiers des Dix. Ferland, Catherine et Dave Corriveau. McPherson Le Moine, James. Moisan, Sabrina et Jean-Pierre Charland. Vieilles choses… Vieilles gens. Les aventures de Radisson 2. Des premiers contacts au Plan Nord. Bergeron, Yves et Vanessa Ferey dir. Otis, Ghislain et Martin Papillon dir. Un philosophe au service du peuple.

Rousseau et son projet de constitution pour la Corse. Mathieu, Jacques et Sophie Imbeault. La guerre des Canadiens Dumas, Alain photographies , Yves Ouellet textes. Anticosti unique au monde. Ducasse, Pierre et Tom Vouloumanos. Saidi, Habib et Sylvie Sagnes dir. Saillant, Francine et KarolineTruchon dir. Droits et cultures en mouvements. Les Petites Franciscaines de Marie. Le Noviciat Saint-Viateur de Joliette.

Durand, Marc, avec la collaboration de Jean Provencher. Les Bulldogs et la naissance du hockey. La guerre de Journal de Jacques Viger. Germain Nault, ancien combattant se raconte. Martin Paul-Louis, Anne Michaud dessins et aquarelles. Les arts en Nouvelle-France. Portraits de patriotes La convenance dans un contexte colonial. La voix de la lutte des femmes La croix de Triquet. Saillant, Francine et Alexandre Boudreault-Fournier dir. Courtois, Charles-Philippe et Julie Guyot dir. La culture des Patriotes.

Daignault, Sylvain et Paul-Yvan Charlebois. Une histoire du syndicalisme enseignant. La guerre de Sept Ans en Nouvelle-France. Dufour, Marie textes et autres collaborateurs. Carnets du chemin du Roy. Journaux de Pierre-Louis de Lorimier Du commerce des fourrures au krach de Kramer, Reinhold, Mordecai Richler. Trudeau et ses mesures de guerre. Les Cahiers Fernand Dumont. Un destin en Nouvelle-France. Arrondissement de la Haute-Saint-Charles. De Surmont, Jean-Nicolas dir. La douceur du roi.

Von Hagen, Victor W. Courtois, Charles-Philippe et Danic Parenteau.

Aventures du sieur Claude Le Beau avocat en parlement. Carel, Ivan et Samy Mesli dir. Georges and Pauline Vanier. Portrait of a Couple. Images de la discipline du pays et du monde Les chevaliers de la croix. Vie de sieur Olivier Le Tardif En , alors que R. Leur absence laisse un grand vide. La Nouvelle-France par les textes: Henry de Puyjalon, Anticosti et son histoire sous Henri Menier, Jean-Nicolas De Surmont dir. Comme le souligne si bien le loup: Bien que le sujet puisse sembler pointu ou ardu au premier regard, le style demeure accessible et invitant.

Heureuse initiative qui laisse plus de place aux moins illustres. Ce dictionnaire se lit comme un roman policier. On ne peut que souhaiter une suite. Places aux livres — — printemps La famille et le voisinage occupent une place primordiale dans ce milieu atypique. Pour tout vous dire. Initialement paru en anglais Louis Riel: Pain noir, pain blanc. La Baie-James des uns et des autres.