Three Bedrooms in Manhattan by Georges Simenon
Last month I had the opportunity to meet John Simenon, Georges’s son at an event celebrating the prolific Belgian author and his work. Apart from all the Maigret novels, Simenon was famed for his romans durs (hard novels) which are standalone, and typically quite dark and noirish in character – I previously reviewed one of them, Dirty Snow, here. At the event, I mentioned to John that I’d read one of the romans durs in preparation for the event: Three Bedrooms in Manhattan, which is reputedly very autobiographical and he told me that it was basically a novelisation of how his mother and father met.
John’s mother was Denyse Ouimet. Georges met her in Manhattan in 1945 when he interviewed her for a secretarial job. She was seventeen years younger than Georges and they married in 1950, once Georges’s divorce from his first wife was finalised. Their relationship was, by all accounts, tempestuous and Denyse suffered from psychosis in later years, but Three Bedrooms was written in 1946 when the couple were still getting to know each other, and could seen as coming straight from the horse’s mouth so to speak. Being so autobiographical, it’s not perhaps a typical Simenon in plot terms being a romance, but it is a typical Simenon in writing style.
Francis Combe is middle-aged, a noted French actor who has escaped to Manhattan from Paris when dumped for a younger man by his wife. However, once in New York, he finds parts difficult to come by and makes ends meet voicing radio dramas and living in a small apartment in Greenwich village. The novel opens with him waking at 3am and going out to walk rather than listen through thin walls to the drunken antics of his neighbours:
What were they doing, up there in J.K.C.’s apartment? Was Winnie vomiting yet? Probably. Moaning, at first softly, then more loudly, until at last she burst into an endless fit of tears.
Forced to be an insomniac, he goes into a late night diner and meets Kay in a scene that comes straight out of Hopper’s painting Nighthawks which was painted in 1942, (and is even more amazing in real life at the Art Institute of Chicago – it was one of my main reasons for choosing to visit Chicago one vacation ages ago – another was to see Grant Wood’s American Gothic there too, but that was out on loan. Grr!)
She asked the question in French, a French that at first he thought betrayed no accent.
‘How’d you know?’
‘I didn’t. As soon as you came in, even before you said anything, I just thought you were French.’
They eat a little, make small talk – he finds out she’s from Vienna – then, they walk through the streets of the Village and end up in the second bedroom – in a hotel.
The next day, Francis takes Kay back to his apartment, she essentially moves in straight away having been thrown out of the one she shared with a girlfriend which had been financed by Jessie’s now ex-boyfriend. At first Francis tries to resist falling in love with Kay, but Kay immediately and totally falls in love with him:
She said, ‘When we met’ – and she said it even more softly, so that what she was confiding to him now seemed to vibrate within his chest – ‘I was so alone, so hopelessly alone, I was so low, and I new that I’d never pull out of it again, so I decided to leave with the first man who showed up, no matter who he was.
‘I love you, François.’
Having been found and her feeling declared, Kay becomes resolutely upbeat, willing to put up with all of Combe’s moodiness (and boy, he is a moody one!). He is the half of this couple that needs convincing, allowing Kay to look after him, sometimes almost smothering him it seems, but over the course of a few weeks as they walk for miles, eat (slowly), drink (lots), smoke, talk, embrace, being quiet together, collecting Kay’s things from the third bedroom, Combe will eventually succumb. It’s touching that they find ‘their song’ on a jukebox, and this is a trigger for Combe – realising his own feelings after fits of jealousy, wondering what she is doing when they are momentarily parted.
The style may be typical Simenon but, there’s a Gallic coolness to it. If you weren’t aware of the autobiographical elements of the story, it would take you some time to warm to Combe, or Kay, but you actually do will them to work it out and find the happiness they are both searching for. That certainly raised this short novel in my expectations, and I really enjoyed it. (8.5/10)
I read the NYRB edition which has an excellent introduction by Joyce Carol Oates. The novel was translated by Marc Romano and Lawrence G. Blochman. For another review of this story, read that by Jacqui – click here
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The Late Monsieur Gallet by Georges Simenon
Space here for a short word about the second Maigret novel in the new Penguin editions, translated by Anthea Bell. This was the first Maigret to be published as a book, rather than serialised as Pietr the Latvian had been (reviewed here).
Maigret is sent to investigate the circumstances surrounding the death of Monsieur Gallet, a travelling salesman – or so his widow thinks. He turns out to be living a double life, and his family seem to be rather unpeturbed by his death – What is going on?
In a mere 155 pages it got so complicated I struggled to keep up and Maigret had to display much dogged determination to solve the mystery too. Aside from Maigret himself, there were no characters to really warm to either. Not one of the best for me. (6.5/10)
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Source: Own copies. To explore further on Amazon UK, affiliate link, please click below:
Three Bedrooms in Manhattan (New York Review Books Classics)
The Late Monsieur Gallet: Inspector Maigret #2 Penguin classics.