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THE MAN WHO WASN'T MAIGRET

A PORTRAIT OF GEORGES SIMENON

Many writers—as Marnham (Trail of Havoc, 1988) points out—head off biographers by destroying their papers. But Simenon (1903-89) left behind so many sources—a massive autobiography, 21 volumes of memoirs, and several earlier autobiographical sketches and novels— that Marnham defines his job, with undue modesty, largely as referee to the phenomenally productive author's many versions of his life. The facts of Simenon's life are as florid as any biographer could wish. Self-taught reporter and columnist at age 15; intimate of Josephine Baker and Maurice Vlaminck; bestselling (500 million copies) author of over 200 novels (76 featuring Inspector Maigret) and 188 additional potboilers (written with a working vocabulary of 2,000 words); self-confessed lover of 10,000 women; recipient of tributes from fellow authors as diverse as Thornton Wilder, Henry Miller, and AndrÇ Gide—the public events of Simenon's life are fabulous. But Marnham is at his best not in detailing Simenon's successes but in illuminating the relation between his gray, guilt-ridden fiction and his tormented family life—whether the family is that of his adored father and despised mother; his complaisant first wife, RÇgine, and his long-time mistress, Boule; or his calculating second wife, Denyse, and the string of domestic helpers who doubled as paramours. Though Marnham gets bogged down in overprecise parallels between Simenon's family problems and particular novels, his easy command of his subject's life and work allows him not only to select among competing versions of the truth but to generalize with authority about Simenon's inveterate habit of fictionalizing his own life, so that ``his account of the experience became part of the experience''—especially the experience of categorical rejection (both of and by Simenon), which Marnham sees as decisive for an understanding of the man and his work. A biographical study that goes a long way toward illuminating the mystery of Simenon's life in fiction while fostering a healthy respect for that irreducible mystery—the process by which Simenon kept obsessively reinventing himself. (Photographs)

Pub Date: May 1, 1993

ISBN: 0-374-20171-4

Page Count: 346

Publisher: Farrar, Straus and Giroux

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: March 1, 1993

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NUTCRACKER

This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

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THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...

Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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