Maigret did not bat an eyelid. He was up to the neck in this everyday squalor which was more sickening than the drama itself.
The old woman facing him wore an appallingly jubilant and menacing expression. She was talking! She was going on talking! Out of hatred for the Martins, for the dead man, for all the tenants in the house, out of hatred for the whole of mankind! And out of hatred for Maigret!
She stood there with her hands clasped over her great flabby stomach. She seemed to have been waiting all her life for this moment.
Maigret Mystified was originally published in 1932 with the title L'Ombre chinoise, which translates as 'the shadow puppet show' or 'the silhouette'. It alludes to what Maigret observes when he first passes through the archway at 61 Place des Vosges in the Marais district of Paris. He has been summoned by the concierge, and as he stands in the darkened courtyard he looks up upon a series of well-lit apartments with curtained windows displaying the shadows of their occupants. One shows a man pacing backwards and forwards, and another has a woman gesticulating in anger. There is a laboratory adjacent to the residential building and its frosted window reveals the shadow of a man slumped across his desk. The concierge knows the man to be dead, shot through the chest while sitting in an armchair.
The old woman facing him wore an appallingly jubilant and menacing expression. She was talking! She was going on talking! Out of hatred for the Martins, for the dead man, for all the tenants in the house, out of hatred for the whole of mankind! And out of hatred for Maigret!
She stood there with her hands clasped over her great flabby stomach. She seemed to have been waiting all her life for this moment.
Maigret Mystified was originally published in 1932 with the title L'Ombre chinoise, which translates as 'the shadow puppet show' or 'the silhouette'. It alludes to what Maigret observes when he first passes through the archway at 61 Place des Vosges in the Marais district of Paris. He has been summoned by the concierge, and as he stands in the darkened courtyard he looks up upon a series of well-lit apartments with curtained windows displaying the shadows of their occupants. One shows a man pacing backwards and forwards, and another has a woman gesticulating in anger. There is a laboratory adjacent to the residential building and its frosted window reveals the shadow of a man slumped across his desk. The concierge knows the man to be dead, shot through the chest while sitting in an armchair.









