Inspector Maigret

‘Acute psychological insight and a distinctive, spare, atmospheric style … Simenon ought to be spoken of in the same breath as Camus, Beckett and Kafka’ Independent on Sunday

'The father of contemporary European detective fiction' Ann Cleeves

Poor Cécile! And yet she was still young. Maigret had seen her papers: barely twenty-eight years old. But it would be difficult to look more like an old maid, to move less gracefully, in spite of the care she took to be friendly and pleasant. Those black dresses that she must make for herself from bad paper patterns, that ridiculous green hat!

In the dreary suburbs of Paris, the merciless greed of a seemingly respectable woman is unearthed by her long suffering niece, and Maigret discovers the far-reaching consequences of their actions.

'A writer of genius' Daily Mail

‘Gem-hard soul-probes . . . not just the world's bestselling detective series, but an imperishable literary legend . . . he exposes secrets and crimes not by forensic wizardry, but by the melded powers of therapist, philosopher and confessor’ Boyd Tonkin, The Times

'Compelling, remorseless, brilliant' John Gray

When he got to his door, he was surprised not to hear any noise in the kitchen and not to smell any food. He went in, crossed the dining room, where the table had not been laid, and at last saw Madame Maigret, in her slip, busy taking off her stockings. This was so unlike her that he could find nothing to say, and when she saw him standing there wide-eyed, she burst out laughing.

Inspector Maigret's wife turns sleuth after a strange encounter in a Paris square leads her on the trail of a woman in a white hat, and towards a grisly tale of deception and greed.

Penguin is publishing the entire series of Maigret novels in new translations.

'His artistry is supreme' John Banville

'A supreme writer . . . unforgettable vividness' Independent

'The father of contemporary European detective fiction' Ann Cleeves

'Maigret had never been comfortable in certain circles, among the wealthy bourgeoisie where he felt clumsy and awkward ... Built like a labourer, Oscar Chabut had hauled himself up into this little world through sheer hard work and, to convince himself that he was accepted, he felt the need to sleep with most of the women.'

When a wealthy wine merchant is shot in a Paris street, Maigret must investigate a long list of the ruthless businessman's enemies before he can get to the sad truth of the affair.

'One of the greatest writers of the twentieth century' Guardian

'Compelling, remorseless, brilliant' John Gray

'He opened the door for her and watched her walk away down the huge corridor, then hesitate at the top of the stairs. Heads turned as she passed. You sensed she came from a different world, the world of the night, and there was something almost indecent about her in the harsh light of a winter's day'

A young cabaret dancer in a black silk dress leads Maigret into a seamy world of nightclubs, drug addiction and exploitation on the streets of Montmartre.


This novel has been published in previous translations as Maigret and the Strangled Stripper and Maigret in Montmartre.

'One of the greatest writers of the twentieth century . . . Simenon was unequalled at making us look inside, though the ability was masked by his brilliance at absorbing us obsessively in his stories' Guardian

'A supreme writer . . . unforgettable vividness' Independent

'Compelling, remorseless, brilliant' John Gray

The FBI man was convinced, in short, that Maigret was a big shot in his own country but that here, in the United States, he was incapable of figuring out anything . . .well, Maigret happened to believe that men and their passions are the same everywhere.

Maigret is touring the United States to observe American policing methods, when a visit to a coroner's inquest in Arizona draws him into the tragic story of a young woman and five airmen in the desert.

'One of the greatest writers of the twentieth century . . . Simenon was unequalled at making us look inside, though the ability was masked by his brilliance at absorbing us obsessively in his stories' Guardian

'A supreme writer . . . unforgettable vividness' Independent

‘Acute psychological insight and a distinctive, spare, atmospheric style … Simenon ought to be spoken of in the same breath as Camus, Beckett and Kafka’ Independent on Sunday

'The father of contemporary European detective fiction' Ann Cleeves

All that was still unclear, for sure. Ernest Malik had been right when he had looked at Maigret with a smile that was a mixture of sarcasm and contempt. This wasn't a case for him. He was out of his depth. This world was unfamiliar to him, and he had difficulty piecing it all together.

Peacefully tending his garden in the countryside, Maigret is called upon to investigate a rich family with skeletons in their cupboard - and finds himself confronted by lies, snobbery and malice.

'His artistry is supreme' John Banville

‘Gem-hard soul-probes . . . not just the world's bestselling detective series, but an imperishable literary legend . . . he exposes secrets and crimes not by forensic wizardry, but by the melded powers of therapist, philosopher and confessor’ Boyd Tonkin, The Times

'Compelling, remorseless, brilliant' John Gray

What was it about him that had struck Maigret so forcefully? . . . Little John had cold eyes! . . . Four or five times in his life, he had met people with cold eyes, those eyes that can stare at you without establishing any human contact.

Persuaded to sail to New York by a fearful young law student, Maigret finds himself drawn into the city's underworld, and a wealthy businessman's closely guarded past.

'One of the greatest writers of the twentieth century . . . Simenon was unequalled at making us look inside, though the ability was masked by his brilliance at absorbing us obsessively in his stories' Guardian

'His artistry is supreme' John Banville

Conflict rather than harmony probably reigned in eight out of ten of the still magnificent houses that surrounded the park. But he had rarely had the opportunity to breath such a strained atmosphere as the one between these walls. Everything seemed fake, grating, starting with the lodge of the concierge-cum-manservant, who was neither a concierge nor a manservant, despite his striped waistcoat, but a former poacher, a murderer turned guard dog.

When a self-made man appeals to Maigret for protection at his lavish home, a years-old grudge from the past resurfaces and the inspector finds himself questioning his own motives.

'One of the greatest writers of the twentieth century . . . Simenon was unequalled at making us look inside, though the ability was masked by his brilliance at absorbing us obsessively in his stories' Guardian

A kind but seemingly paranoid old lady turns to Inspector Maigret for help. Against the judgement of his subordinates, he decides to pay a visit to her Parisian apartment to investigate, but is he already too late?

'Compelling, remorseless, brilliant' John Gray

'What he thought he had discovered, in place of the joyful candour that she usually displayed, was an irony which was neither less cheerful nor less childish, but which troubled him ... He wondered now if his exultation wasn't down to the fact that she was playing a part, not just to deceive him, not just to hide something from him, but for the pleasure of acting a part'

When one of his best inspectors is shot, Maigret decides to book himself into Mademoiselle Clément's well-kept Paris boarding house nearby in order to find the culprit.

'One of the greatest writers of the twentieth century' Guardian

'A supreme writer . . . unforgettable vividness' Independent

'Compelling, remorseless, brilliant' John Gray

I can still see Simenon coming into my office the next day, pleased with himself, displaying even more self-confidence, if possible, than before, but nevertheless with a touch of anxiety in his eyes.'

Maigret sets the record straight and tells the story of his own life, giving a rare glimpse into the mind of the great inspector - and the writer who would immortalise him.

'One of the greatest writers of the twentieth century . . . Simenon was unequalled at making us look inside, though the ability was masked by his brilliance at absorbing us obsessively in his stories' Guardian

'A supreme writer . . . unforgettable vividness' Independent