SIMENON « Je ne suis qu’un ouvrier des lettres » “I am only a worker of words”
FOREWORD I don’t enjoy writing, neither am I good at it, and I haven’t read all my father’s books. When I first started reading them around the age of 13, I didn’t like them: I hated even the smallest references to our daily lives which I could detect on every page, and I couldn’t stand the feeling that my life was thus being openly revealed to the whole world. Of course, no one could tell, and I changed. Today, after another life in the motion picture industry, I would not swap my job with anyone else. I always enjoyed taking care of other people’s works, but today nothing can beat having my father as my sole and unique “client”. Everything I rejected is now the source of the most deeply enriching experiences: a great book is often described as a mirror which helps you define yourself, but when that mirror is extended by your own father, when the story reverberates in you not only as a terrific story the writer wrote but as an essential part of the life the father shared with you and helped you build, there is no limit to the emotional gift you receive. Although my father defined his job as «père de famille» first and novelist second, this presentation is mostly about the novelist and his works. I am always happy to talk about the man and his life, but that will be for another time
John Simenon Jun. 11, 2015 © Simenon.tm
SIMENON
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A DEEPLY HUMANISTIC NOVELIST •
Profoundly influenced by Christian ethics, but angry with the Church
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Fascinated by neurobiology and focused on understanding the human soul
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In the obsessive quest of « l’homme tout nu, […] l’homme en tête à tête avec son destin » 1
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A man who, as he believed, is biologically irresponsible while responsible socially,
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A man who one must strive to « comprendre et ne pas juger » 2
1 the
naked man, the man face to face with his destiny and not to judge
2 understand
Jun. 11, 2015 © Simenon.tm
SIMENON
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A DEEPLY HUMANISTIC NOVELIST •
Simenon’s novels are the expression of his « passion de l’homme, de sa Destinée, de sa Grandeur et de sa Petitesse, de la disproportion cruelle, imméritée entre ses magnifiques élans et ses possibilités » *
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They are the never ending pursuit of the answer to the question: why?
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Why does the hero step over the line to commit a paroxysmal act, in most cases the murder of oneself or someone else?
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In that quest, the main difference between his romans durs and his Maigret novels is that Maigret guides the reader through the search for the answer, whereas in the romans durs the reader is left on his own. *
passion for man, for his Destiny, for his Greatness and his Smallness, for the cruel undeserved disproportion between his magnificent impulses and his possibilities.
Jun. 11, 2015 © Simenon.tm
SIMENON
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AN IMMENSE AND VARIED BODY OF WORKS •
194 novels, of which 75 « Maigret »,
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and 157 short stories and novellas, of which 28 « Maigret »,
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written under his real name.
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200 adventure, « sentimentical » and erotic novels and more than 1000 short stories written under more than 15 different pseudonyms
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dozens of international and local newspaper and magazine articles
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and more than 3000 professional photographs taken while reporting from around the world
Jun. 11, 2015 © Simenon.tm
SIMENON
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… AN ADVENTURE OF THE 20TH CENTURY …
« Il me fallait connaître le monde de toutes les façons,[…] vivre, vivre intensément. Vivre pour, plus tard, brasser la vie. Vivre pour raconter des histoires. »
“I had to know the world in every possible way, […] to live, live intensely. Live to later embrace life.. Live to tell stories. ”
Georges Simenon Jun. 11, 2015 © Simenon.tm
Georges Simenon
SIMENON
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SIMENON ON NOVELS AND WRITING •
What characterizes the future novelist, I think, is his instinctive need to recreate human beings, or, if you prefer a more pretentious expression, to stir human dough.
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The pure novelist, most often unconsciously, picks up human matter around him, piles it up inside himself until he suffocates and has no choice but to externalize emotions too violent for a single man.
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To create life, don’t you have to absorb life through every pore? To handle men, to reconstruct men, don’t you need to have rubbed yourself against them? Hence, almost inevitably, a formidable hunger, a formidable appetite for life in all forms, a desperate need to delve into the human to the point of disgust.
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I dare not talk about the weight of men, because then I feel a bit like tempting God. I dare not talk about it, but I think about it all the time. I would like, with one single movement, with only one twitch of the lips, to be able to express the whole worth of human substance, the whole drama of man confronting life.
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Writing is not a profession but a vocation of unhappiness. I don't think an artist can ever be happy. (In Paris Review, Summer 1955)
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The novel is the drama of Man struggling with his destiny.
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The novel is a sum, a world that only broad shoulders can carry.
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The novel is not only an art, much less a profession. It is above all a passion which takes you completely, which enslaves you.
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The novel is not only all that, it is also, for the one who writes it, a Deliverance.
Jun. 11, 2015 © Simenon.tm
SIMENON
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SIMENON SUR LE ROMAN ET L’ÉCRITURE •
Ce qui caractérise le futur romancier, je crois, c’est son besoin instinctif de recréer les êtres, ou, si vous préférer un terme plus prétentieux, de brasser de la pâte humaine.
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Le romancier pur, inconsciemment le plus souvent, ramasse autour de lui des documents humains, les entasse en lui jusqu’à en étouffer et à être obligé d’extérioriser enfin des émotions trop puissantes pour un seul homme.
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Pour créer la vie, ne faut-il pas en absorber par tous les pores? Pour manier les hommes, pour reconstituer les hommes, ne faut-il pas s’être frotté à eux? D’où, presque nécessairement, une terrible faim, un terrible appétit de vie sous toutes ses formes, un besoin de se plonger dans l’humain jusqu’à l’écœurement.
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Je n’ose pas parler du poids des hommes, parce que alors j’ai un peu l’impression de tenter Dieu. Je n’ose pas en parler mais j’y pense, j’y pense tout le temps, je voudrais par un geste, par une crispation des lèvres, donner toute la valeur de la matière humaine, tout le drame de l’homme devant la vie.
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Écrire n’est pas une profession, mais une vocation pour être malheureux. Je ne pense pas qu’un artiste puisse jamais être heureux. (In Paris Review, Summer 1955)
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Le roman, c’est le drame de l’Homme aux prises avec son destin.
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Le roman est une somme, est un monde que seules des épaules larges peuvent porter.
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Le roman n’est pas seulement un art, encore moins une profession. C’est avant tout une passion qui vous prend entièrement, qui vous asservit.
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Le roman n’est pas que tout cela, il est encore, pour celui qui l’écrit, une Délivrance.
Sep. 1, 2012
SIMENON
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FOUR PERIODS IN A VERY FULL LIFE 1.
Reporter (1919-1922), traveller and journalist (1928-1935): discovering humans. « It is here, in the heavy smell of molten lead and printing ink that the whole city life comes to coalesce. It is human pulp that printing presses brew day and night, for everything these machines devour is human. […] I had to know the world in all ways, horizontally as well as vertically, […] in all its dimensions, to be in contact with the countries and the races, but also to penetrate it vertically, in other words to access the various social strata, to be equally at home in a small fisherman's pub as in a cattle fair or a banker's living room. »
2.
Pulp novels (1922-1930). « I needed to learn how to tell a story. That apprenticeship lasted ten years, and I am not sure that by now it is finished. To tell stories, that is to tell the lives of men… In other words, to give life to men and women, to lock as many humans as possible in the two hundred or five hundred pages of a book. »
3.
1931: Maigret. « A furious urge to measure myself no longer against conventional dramas, but against reality, […] to breathe life into characters, as long as I could lean against props, against a structure, as I could rely on a game leader, and that is what detective stories are about. »
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1932: The pure novel. « The work of art which owes nothing except to itself, and which defies all the rules of publishing. » Jun. 11, 2015 © Simenon.tm
SIMENON
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UNE VIE EN QUATRE ÉTAPES 1. Reporter (1919-1922), voyageur et journaliste (1928-1935): découvrir l’humain. « C’est ici, dans cette lourde odeur de plomb fondu et d’encre d’imprimerie, que vient se condenser toute la vie de la ville. De la pâte humaine, on en brasse à pleines rotatives. Car tout est humain dans ce que dévore cette machine. […] Il me fallait connaître le monde de toutes les façons, horizontalement et verticalement, […] dans son étendue, prendre contact avec les pays et les races, mais aussi le pénétrer verticalement, autrement dit avoir accès aux différentes couches sociales, être aussi à l’aise dans un petit bistrot de pêcheurs que dans une foire aux bestiaux ou dans le salon d’un banquier.» 2. Les Romans populaires (1922-1930). « Il me fallait apprendre à raconter une histoire. Cet apprentissage-là a duré dix ans, et je ne suis pas bien sûr qu’à l’heure qu’il est il soit entièrement terminé. Raconter des histoires, c’est à dire des vies d’hommes… Autrement dit, faire vivre des hommes, enfermer autant d’humains que possible dans les deux cents ou les cinq cents pages d’un livre. »
3. 1931: Maigret. « Une furieuse envie de me mesurer non plus avec des drames conventionnels, mais avec avec la réalité, […] de faire vivre des personnages, à condition que je profite d’un support, d’une armature, que je puisse m’appuyer sur un meneur de jeux, et cela c’est le roman policier. »
4. 1932: Le roman pur. « L’œuvre d’art qui ne doit rien qu’à elle même, et qui échappe à toutes les règles de l’édition. »
Jun. 11, 2015 © Simenon.tm
SIMENON
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THE WRITER AT WORK 1.
Preparation. « I can't find a subject. I do not seek one. I could say, almost without exaggeration, that the subject does not interest me. [...] The day before I start a novel, I walk like any other day and yet I do not recognize the scene, or rather, for me, it loses its reality, its consistency. [...] Would I say that I'm in a trance? [...] And that memories insensibly come in crowds, move me. [...] Only men, human beings, in their context, in their environment [...] it would be nice to live for a few days with. » 1
2.
The click. « The click has occurred. I'm going to live there for eleven days, and the characters throng, already distorted by time. For them to become characters in the novel, I will only have to put them in a situation where they are forced to go to the limits of themselves, [...] the little boost that moves them on. »
3.
The plan. « No plan. A few names I'll throw on a piece of paper upon my return, because I do not remember names. Their age, their phone number if needed. These are real people, and they must be given their full reality. Then, on the wall for a few days, a map of the town. Often a railway schedule, because, in novels just as in real life, one takes the train, and one must take real trains. »
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The tools. « A task which I will accomplish with love: the cleaning of my typewriter as deep as its smallest wheels, oiling it, adorning it with a new ribbon, making it beautiful and fast like for a competition. » 2
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The writing. « Let the characters live their story. From now on, I only have to let them live. The story, it is they who will make it, without me being able to intervene, because my characters, if they are real, have their own logic against which my author’s logic can do nothing. » 3
1 2 3
Later, this stage will in some cases take considerably longer, up to a few weeks, and involve research. Later, Simenon will add the sharpening of his 50 yellow pencils with the same love and care. A sixth stage was a short 2 to 3-day simple pruning revision.
Jun. 11, 2015 © Simenon.tm
SIMENON
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LE ROMANCIER AU TRAVAIL 1
La préparation. « Je ne trouve pas de sujet. Je n’en cherche pas. Je pourrais dire, sans presque exagérer, que le sujet ne m’intéresse pas. […] La veille du jour où je dois commencer un roman, je me promène comme les autres jours et pourtant je ne reconnais pas le décor, ou plutôt celui-ci perd pour moi sa réalité, sa consistance. […] Dirais-je que je suis en transe? […] et voilà qu’insensiblement des souvenirs viennent en foule, m’émeuvent. […] simplement des hommes, des êtres humains, dans leur cadre, dans leur ambiance […] il ferait bon vivre pendant quelques jours auprès d’eux . » 1
2
Le déclic. « Le déclic s’est produit. Je vais vivre là-bas pendant onze jours, et les personnages accourent en foule, déjà déformés par le temps. Il me suffira, pour qu’ils deviennent des personnages de roman, de les mettre dans une situation telle qu’ils soient forcés d’aller jusqu’au bout d’eux-mêmes, […] le petit coup de pouce qui les mets en marche. »
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Le plan. « Pas de plan. Quelques noms que je vais jeter en rentrant sur un bout de papier, car je n’ai pas la mémoire des noms. Leur âge, leur numéro de téléphone s’il y a lieu. Ce sont des personnages réels, et il faut leur accorder leur entière réalité. Puis, au mur, pour quelques jours, un plan de la petite ville. Un horaire des chemins de fer, souvent, car on prend le train dans les romans comme dans la vie et il faut prendre de vrais trains.
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Les outils. « Un travail auquel je vais me livrer avec amour: nettoyer ma machine à écrire jusque dans ses plus petits rouages, la huiler, l’orner d’un ruban neuf, la faire belle et rapide comme pour une compétition. » 2
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L’écriture. « Laisser les personnages vivre leur histoire. Désormais, je n’ai plus qu’à les laisser vivre. L'histoire, c'est eux qui la feront, sans que je sois capable d’intervenir, car mes personnages, s’ils sont vrais, ont leur logique à eux contre laquelle ma logique d’auteur ne peut rien. » 3
1 Plus tard, cette étape prendra beaucoups plus de temps, jusqu’à plusieurs semaines, avec parfois des recherches. 2 Plus tard, Simenon ajoutera l’affutage soigné de 50 crayons jaunes. 3 Une sixième étape consistait en une révision rapide et simple Sep. 1, 2012
SIMENON
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ON STYLE
« Toute mon ambition a tendu à n’employer que des mots matière. […] Des mots qui […] aient le poids de la matière, des mots qui aient trois dimensions […] . Le poids d’une lumière électrique, d’un rayon de soleil ou du jour glauque qui tombe des nuages par un matin de gel, le poids […] de la pluie, du printemps, du soleil accablant […]. Le poids des choses qui nous entourent ou, si vous me permettez d’user toujours du même mot qui revient, […] le poids de la Vie. »
« My whole ambition has always tended to the use of ‘matter’ words only. [...] Words [...] that
carry the weight of matter, words that have three dimensions [...]. The weight of an electric light, of a ray of sunshine, of the murky gleam falling from the clouds on a frozen morning, [...] of the rain, of spring, of the oppressive sun [...]. The weight of things that surround us, or, if you allow me always to use the same word that comes back [...] the weight of Life. »
Jun. 11, 2015 © Simenon.tm
SIMENON
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ON SIMENON • “A writer who, more than any other crime novelist, combined a high literary reputation with popular appeal” P.D. James • ”A truly wonderful writer…marvelously readable – lucid, simple, absolutely in tune with the world he creates” Muriel Spark •
“The greatest of all, the most genuine novelist we have in literature” André Gide
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“Few writers have ever conveyed with such a sure touch, the bleakness of human life” A.N.
Wilson
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“… my readings? I read Tout Simenon, and when I’m done, I start all over again” Claude
Chabrol
• “I never read contemporary fiction – with one exception: the works of Simenon concerned with inspector Maigret” T. S. Eliot, Sunday Times 1952 •
“We should speak of Simenon every day” Louis-Ferdinand Céline
• “For my part I know of no better way to pass the time on a plane from Nice to Athens or, say, from Rangoon to Singapore, than to read one of Simenon’s novels” Somerset Maugham •
"The art of Simenon is of an almost unbearable beauty” François Mauriac
• An exceptional writer, as everyone knows. In reality, he is unique and I do not mean just in our times, but in any times” Henry Miller •
"One of the most important writers of our century" Gabriel García Márquez
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“I love reading Simenon. He makes me think of Chekhov” William Faulkner
Jun. 11, 2015 © Simenon.tm
SIMENON
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MORE FANS … Paul Auster, John Banville, Boileau-Narcejac, Frédéric Begbéder, Anita Brookner, Robert Capa, Maurice de Vlamynck, Frederico Fellini, Ernest Hemingway, P.D. James, Akira Kurosawa, Douglas Kennedy, Henry Miller, Patrick Modiano, Joyce Carol Oates, Ruth Rendell, Jean Renoir, Larry McMurtry, Aung San Suu Kyi, Paul Theroux, Denis Tillinac, François Truffaut… Jun. 11, 2015 © Simenon.tm
SIMENON
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WORLDWIDE SUCCESS •
More than a billion readers (Wikipédia)
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in more than 50 countries
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and 50 languages
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17th most translated author of all times worldwide
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Most translated French speaking author of the 20th century *
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Third most translated French speaking author of all times after Jules Vernes and Alexandre Dumas *
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Second most translated author of all times in Italy after Shakespeare *. Over 6,000,000 copies sold in the last 10 years
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Over 1,300,000 copies sold in Germany in the last 10 years
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Fourth most translated author of all times in the US
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More than 90,000 copies sold in the Pléiade inprint, an absolute record for this prestigious French literary collection *
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Unesco Index Translationum 2011
Dec. 23, 2015 © Simenon.tm
SIMENON
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WORLDWIDE SUCCESS Click here for an inside look at how Penguin uses the works of photographer H. Gruyaert to design the covers of its new Maigret collection
UK USA
For more covers, visit www.flickr.com/photos/simenonco
Brazil Dec. 28, 2015
SIMENON
Slide 17
WORLDWIDE SUCCESS
France paper
France eBooks Jun. 11, 2015 Š Simenon.tm
Italy
Germany SIMENON
Spain Slide 18
WORLDWIDE SUCCESS
Brazil
(Romans durs)
Denmark
Estonia
Greece
Hungary
Israel
타인의 목 SIMENON
조르주 심농·최애리 옮김 매그레 시리즈
Netherlands Romania Dec. 18, 2015
Russia
09
South Korea SIMENON
UK USA
(Romans durs)
Ukraine Slide 19
ONGOING MEDIA RELEVANCE •
1993: Tout Simenon exhibition in Liège
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2003: Simenon Centennial in Liège
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2004: Exhibition L’Œil de Simenon (photographs by Simenon) at the Musée du Jeu de Paume in Paris
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Sep. 2011: Simenon exhibition at the Museum of Literature and Manuscripts in Brussels
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Oct. 2014: Hors-Série Le Monde: Georges Simenon, The Boss
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Jun. 2015: 16th annual Simenon Festival in Les Sables d’Olonne, exported to Lausanne in 2009
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2011: Special Le Monde des Livres
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Sep. 2011: Simenon exhibition at the Historial • Museum in Vendée
Jun. 11, 2015 © Simenon.tm
SIMENON
Under discussion: creation of a Simenon literary prize for Best European Crime Novel
Slide 20
SELECTED ROMANS DURS
Les Fiançailles de Mr. Hire (1933) - Le Coup de lune (1933) - La Maison du canal (1933) - Les Gens d’en face (1933) – L’Assassin (1935) - Chemin sans issue (1936) - L’Homme qui regardait passer les trains (1938) - Le Bourgmestre de Furnes (1941) - Les Inconnus dans la maison (1940) - La Veuve Couderc (1942) - La Vérité sur Bébé Donge (1942) - La Fuite de Monsieur Monde (1945) - Trois chambres à Manhattan (1947) - Lettre à Mon Juge (1947) – La neige était sale (1948) - Pedigree (1948) – Les Fantômes du chapelier (1948) - Le Fond de la bouteille (1949) – La Mort de Belle (1952) - Feux rouges (1953) - Les Complices (1956) - Le Train (1961) - Les Anneaux de Bicêtre (1963) - La Chambre bleue (1964) - Le Chat (1967) - L’Horloger d’Everton (1954) - Le Petit Homme d’Arkhangelsk (1956) - Le Président (1958) - Betty (1961) - Lettre à ma mère (1974) Jun. 11, 2015 © Simenon.tm
SIMENON
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SELECTED
NOVELS
Le Charretier de «La Providence» (1931) - La Tête d’un homme (1931) - Le Chien jaune (1931) - Liberty Bar (1932) - Félicie est là (1944) - La Première Enquête de Maigret (1949) - Maigret en meublé (1951) - Les Mémoires de Maigret (1951) Maigret et l’homme du banc (1953) - Maigret se trompe (1953) Maigret et le corps sans tête (1955) - Maigret et les vieillards (1960) - Maigret et les braves gens (1962) Maigret et le clochard (1963) - Maigret à Vichy (1968) Maigret et Monsieur Charles (1972) Jun. 11, 2015 © Simenon.tm
SIMENON
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AN ENDLESS SOURCE OF INSPIRATION More than 70 film and 400 TV adaptations around the world … Claude Autan-Lara, Marcel Carné, Claude Chabrol, HenriGeorges Clouzot, Henri Decoin, Jean Delannoy, Julien Duvivier, Serge Gainsbourg, Pierre GranierDeferre, Henry Hattaway, Georges Lautner, Cédric Kahn, Patrice Leconte, Jean-Pierre Melville, Édouard Molinaro, Jean Renoir, Bertrand Tavernier, Henri Verneuil…
Jun. 11, 2015 © Simenon.tm
SIMENON
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DREAM ROLES FOR… … Arletty, Françoise Arnoul, Charles Aznavour, Ann Bancroft, Brigitte Bardot, Harry Baur, Nathalie Baye, Jean-Paul Belmondo, Jules Berry, Michel Blanc, Bernard Blier, Sandrine Bonnaire, Carole Bouquet, Pierre Brasseur, Guillaume Canet, Martine Carol, Gino Cervi, Geraldine Chaplin, François Cluzet, Joseph Cotten, Danielle Darrieux, Jean-Pierre Darroussin, Alain Delon, Jean Dessailly, Fernandel, Jean Gabin, Ben Gazzara, Daniel Gélin, Annie Girardot, Francis Huster, Charles Laughton, Lee Marvin, James Mason, Philippe Noiret, Raimu, Claude Rains, Serge Reggiani, Jean Rochefort, Maurice Ronet, Raymond Rouleau, Ludivine Sagnier, Stefania Sandrelli, Romy Schneider, Michel Serrault, Simone Signoret, Michel Simon, Marie Trintignan, Jean-Louis Trintignan, Charles Vanel, Lino Ventura…
Jun. 11, 2015 © Simenon.tm
SIMENON
Slide 24
IN FILM CLASSICS… … La Nuit du carrefour, Les Inconnus dans la maison, Le Voyageur de la Toussaint, Panique, The Man on the Eiffel Tower, La neige était sale, La Vérité sur Bébé Donge, The Bottom of the Bottle, Maigret tend un piège, En cas de malheur, Maigret et l’affaire SaintFiacre, Le Président, La Mort de Belle, L’Aîné des Ferchaux, Le Chat, La Veuve Couderc, Le Train, L’Horloger de SaintPaul, Les Fantômes du chapelier, Monsieur Hire, Betty, Feux rouges, La Chambre bleue…
Jun. 11, 2015 © Simenon.tm
SIMENON
Slide 25
40 YEARS OF SUCCESS ON FRANCE TÉLÉVISION 1968-2008 : Maigret — Jean Richard then Bruno Crémer — the second longest running series (in duration) in world TV history 2004 : La Fuite de Monsieur Monde – Bernard Le Coq – 5,800,000 viewers (FR2) 2006 : Les Innocents – Olivier Marchal – 5,400,000 viewers (FR2) 2007 : Le Voyageur de la Toussaint – 5,000,000 viewers 2007 : Monsieur Joseph – Daniel Prévost – 6,100,000 viewers (FR2) 2009 : Jusqu’à l’enfer – Bruno Solo – 6,000,000 viewers (FR2) 2010 : En cas de malheur – Line Renaud – 3,500,000 viewers (FR3) 2013 : L’Escalier de fer – Laurent Gerra – 4,700,000 viewers (FR3) 2014 : La Boule noire – Bernard Campan – 3,400,000 viewers (FR3) 2015 : La Mort d’Auguste – J.-P. Darroussin, B. Solo, A. Duléry – 4,800,000 viewers (FR3)
Dec.28, 2015 © Simenon.tm
SIMENON
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“He was a big man, who ate a lot, drank a lot, followed the suspects patiently and eventually uncovered the truth” (Georges Simenon) • Simenon’s best known works • 75 novels and 28 short stories • Over 800 million books sold worldwide • Most of the novels are set in and around Paris and give a fascinating insight into the city • Maigret is not a detective in the classic sense: • He always strives to find out why, not who • His investigations are studies of human nature • As, in his investigations, he is not so much concerned with the facts which others would analyse from the outside in, but with the people which he uniquely tries to understand from the inside out. “Maigret rarely solves crimes, instead he solves people” (Scott Bradfield) Jun. 11, 2015 © Simenon.tm
SIMENON
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ON SCREEN
Interpreted around the world by 30 actors in 16 films and 300 TV episodes
Jun. 11, 2015 Š Simenon.tm
SIMENON
Slide 28
ON SCREEN
Pierre RENOIR France 1932
Herbert BERGHOF USA 1950
Jean GABIN France 1957
Jun. 11, 2015 © Simenon.tm
Abel TARRIDE France 1932
Harry BAUR France 1932
Romney BRENT USA 1952
Basil SIDNEY UK 1959
Michel SIMON France 1952
Rupert DAVIES UK 1960
SIMENON
Albert PRÉJAN France 1942
Maurice MANSON France 1955
Louis ARBESSIER France 1960
Charles LAUGHTON USA 1949
Henri NORBERT Canada 1956
Gino CERVI Italy 1964
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ON SCREEN
Jan TEULINGS Holland 1964
Rudolf HRUŠĺNSKY Czech 1970
Kees BRUCE Holland 1964
Kinya AIKAWA Japan 1978
Vladimir SAMOILOV Russia 1992
Mar. 14, 2016 © Simenon.tm
Heinz RÜHMANN Germany 1966
Michael GAMBON UK 1992
Jean RICHARD France 1967
Armen Richard HARRIS DJIGARKHANYAN UK 1988 Russia 1987
Yuri YEVSYUKOV Ukraine 1993
SIMENON
Boris TENIN Russia 1969
Bruno CRÉMER France 1991
Sergio CASTELLITO Italy 2004
Rowan ATKINSON UK 2016
Slide 30
ABOVE ALL A MAN
With his joys and his sufferings With his enthusiasms, and his despairs With his successes, and his failures A MAN (ALMOST) LIKE ANY OTHER Jun. 11, 2015 Š Simenon.tm
SIMENON
Slide 31
OFFICIAL SIMENON SOCIAL LINKS •
The Georges Simenon website: www.simenon.com Where you can find: – –
All past and future confirmed Simenon-related events: www.simenon.com/events Other informational pages under construction.
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The Georges Simenon Instagram page: www.instagram.com/georges.simenon Where you can find daily announcements of future and today's events, forwarded to Facebook and Twitter.
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The Georges Simenon Facebook page: www.facebook.com/Georges.Simenon.officielle Where you can find daily announcements of future and today's events and other original announcements.
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The Georges Simenon Twitter username: @SimenonTweets Where you can find daily tweets of future and today's events and other original tweets. Please email your own Twitter username to John so that he can include it in his tweets when they concern you.
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The Georges Simenon Flickr page: www.flickr.com/photos/simenonco Where you can find all contemporary book covers around the world. Vintage covers soon to be uploaded.
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The Georges Simenon Vimeo page: www.vimeo.com/channels/simenon Where you will find selected videos about Georges Simenon.
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The Georges Simenon uStream page: www.ustream.tv/channel/the-georges-simenon-live-events-cam Where you can stream selected Simenon-related live events.
Dec. 28, 2015
SIMENON
Slide 32