Abstract
Sixty years of uninterrupted production, over five hundred titles under a dozen pen names as well as his own, translations in more than thirty languages including Chinese, Serbo-Croatian, Catalan and Yiddish, aficionados in all parts of the world and all classes of society, Simenon’s achievement seems to defy the imagination. Although his place in world literature is now secure, he still appears to some as a phenomenon rather than a great writer, André Gide, Keyserling and François Mauriac, Céline, Jean Renoir, Henry Miller and Jean Cocteau (although not Agatha Christie) — the list of his admirers is long and distinguished, yet Georges Simenon seems to walk under a cloud: he is, after all, a writer of crime fiction. To our great delight.
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Bibliography
Adam vol. 34, nos 328–30, 1969 (special issue on Georges Simenon).
Lacassin, Francis and Sigaux Gilbert, Simenon ( Paris: Plon, 1973 ).
Narcejac, Thomas, Esthétique du roman policier ( Paris: Le Portulan, 1947 ).
Ritzen, Quentin, Simenon, Avocat des hommes ( Paris: Le Livre Contemporain, 1961 ).
Stéphane, Roger, Le Dossier Simenon (Paris: 1961 ).
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© 1983 Bernard Benstock
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Weisz, P. (1983). Simenon and ‘Le Commissaire’. In: Benstock, B. (eds) Essays on Detective Fiction. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-17313-6_10
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DOI: https://doi.org/10.1007/978-1-349-17313-6_10
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