lunedì 21 gennaio 2019
Maigret and Pardon examine criminality in “Maigret Defends Himself”
SIMENON SIMENON. LE CRIMINEL ULTIME
Mairet et Pardon examinent la criminalité dans “Maigret se défend”
SIMENON SIMENON. L'ULTIMO CRIMINALE
Maigret e Pardon esaminano la criminalità in "Maigret si difende"
In this novel (recently released in a new English translation by Penguin) during one of their familiar and comfortable doctor’s dinners, Pardon quizzes Maigret about his experience with criminals.
Pardon: “In your career, have you ever encountered a genuinely cruel criminal? […] A clearly deliberate criminal, responsible for his actions, acting out of unmitigated wickedness, through immorality…”
Maigret: “In short, are you talking about the pure criminal?”
Pardon: “Pure or impure... Let’s say the total criminal…”
Maigret: “According to the Penal Code?”
Pardon: “No. According to you….”
Ironically, soon after dealing with issues such as recognizing “evilness” by itself, “judging” criminals, and considering if a crime “matters,” Maigret comes under scrutiny as a criminal himself “for the first time in his career.” In a clever split screen presentation by the author, as Maigret reads the false accusations he faces, he counters with the true facts from his memory of the circumstances. Although forbidden to investigate the claim, there is no doubt he will investigate and defend himself. His recall of Pardon’s comments about “pure evilness” makes him speculate that he may now, in fact, be encountering that exact “vicious” criminal. And, as he plugs away at solving the case, he repeatedly wonders if he is searching for that very villain who is disposed to evilness by nature, “malice for malice.”
Disobedient Maigret gathers information through his associates and informants until his superiors move to shut him down, but not before he has enough to home in on a primary suspect, a dentist. Playing private citizen, Maigret pretends a toothache, and while trapped in the dental chair with the supposed criminal looming over him, his powers of observation and intuition kick in. Aware “every man is susceptible to becoming an assassin if he has sufficient motivation,” Maigret is fearful for his life in the hands of a “truly malicious criminal,” who is also behind the plot to ruin him.
Believing he has met the precise sort of criminal the two friends had talked about, Maigret calls upon Pardon for help. And, being a diagnostician like a policeman, the doctor goes to work and uncovers that the suspect had a major childhood “traumatism”—the little boy had watched two adult soldiers rape his young sister—that “explains all of his behavior” in his later years.
In a combined effort, curious Pardon assists concerned Maigret in apprehending “a conscious perpetrator” of “evil for evil’s sake.” A sexual aggressor, an abortionist, and a murderer, the dentist wrongly thought Maigret was on his trail and so he had engineered a diabolical scheme to get rid of his pursuer.
Simenon points out that “under sufficient exterior or interior pressure, anyone is susceptible to committing acts that law and morality condemn” and, suffice it to say, the author has compassionate, non-judgmental Maigret already thinking at the time of the arrest about serving as a “witness for the defense” at the upcoming trial.
David P Simmons
Pubblicato da Maurizio Testa a 09:06
domenica 20 gennaio 2019
Portraits de quelques criminels dans la saga
SIMENON SIMENON. GLI AVVERSARI DI MAIGRET
Ritratti di alcuni criminali nella saga
SIMENON SIMENON. MAIGRET'S OPPONENTS
Maigret et l'énigme faite femme
Dans les romans de la saga, on rencontre nettement plus d'hommes criminels que de femmes meurtrières (environ trois quarts des coupables sont des hommes). Ce qui n'empêche pas que Maigret a parfois eu affaire à quelques criminelles qui se sont révélées de rudes adversaires. Une de celles-ci est Anna Peeters (Chez les Flamands), dont le commissaire va s'acharner à déchiffrer la personnalité énigmatique. Le meurtre qu'elle a commis pourrait être qualifié de «passionnel», dans le sens où c'est un amour démesuré pour son frère qui l'a conduite au crime. Tout au long du roman, Maigret essaie de trouver ce qui se cache derrière la «rigidité de statue» de la jeune femme, et il tente de détecter la vérité humaine d'Anna, sa personnalité féminine. D'où ses nombreuses notations sur le corps d'Anna, parce que, malgré des formes attirantes, on n'y sent pas la vibration de la féminité. Maigret devine un lourd secret derrière tout cela, et c'est peut-être pour cela qu'il se refuse finalement à l'inculper, même après l'avoir poussée aux aveux.
Maigret e l'enigma femmina
Nei romanzi della serie sono significativamente più criminali uomini che donne assassine (circa tre quarti dei colpevoli sono uomini). Ciò non impedisce che Maigret a volte abbia affrontato alcuni assassini femminili che hanno dimostrato di essere avversari duri. Una di queste è Anna Peeters (La casa dei fiamminghi), e il commissario farà di tutto per decifrare la personalità enigmatica di lei. L'omicidio che Anna ha commesso potrebbe essere descritto come "passionale", nel senso che un amore sproporzionato per il suo fratello l'ha portata al crimine. In tutto il romanzo Maigret cerca di scoprire cosa si nasconde dietro la "rigidità di statua" della giovane donna, e lui cerca di rilevare la verità umana di Anna, la sua personalità femmina. Quindi le sue numerose notazioni sul corpo di Anna, perchè, nonostante le sue forme attraenti, non si sente la vibrazione della femminilità. Maigret indovina un oscuro segreto nascosto dietro tutto questo, e forse è questo il motivo per cui alla fine si rifiuta d'incolparla, anche dopo averla costretta a confessare.
Maigret and the female enigma
In the Maigret novels, we meet many more male murderers than female (about three quarters of the culprits are men). This doesn't prevent Maigret to sometimes have had to deal with some female murderers who proved to be tough opponents. One of these is Anna Peeters (The Flemish House), whose enigmatic personality the Chief Inspector will strive do decipher. The murder she committed could be described as "passionate", in the sense that it's an excessive love for his brother that led her to crime. Throughout the novel Maigret tries to find out what is hidden behind the young woman's "statue rigidity", and he attempts to detect Anna's human truth, her female personality. Hence his numerous notations about Anna's body, because, despite her attractive shapes, you can't feel the vibration of femininity. Maigret senses that there is a dark secret behind that, and maybe it's the reason why he finally refuses to charge her, even after having got her to confess.
Pubblicato da Maurizio Testa a 09:04