![]() Their faces were receding into the shadows, but their features seemed all the more sharply etched. The lamps had been lighted, but through the windows one could still see both German and Dutch railway and customs officials pacing along the platform, stamping their feet for warmth in the grey dusk.” Later: His early novel “ The Hanged Man of Saint-Pholien,” from 1931, begins in a Dutch train station: “It was five in the afternoon, and night was falling. No one has ever made more of a grisaille of ambiguity, ambivalence, and uncertainty, or positioned it more tenderly against a Paris rendered not in the (very misleading) light of Impressionist dapple but in the actuality of its dull winter days: “The neighborhood had put on its unsettling night-time face, with shadowy figures hugging the buildings, women motionless at the kerb and murky lighting in the bars that made them look like fish tanks.” Everywhere Simenon takes us is a gray-toned world. Georges Simenon, the matchless French crime novelist and the author of the Inspector Maigret series-which has been completely retranslated and issued in a paperback edition from Penguin-takes gray as his distinct and constant color. #TWILIGHT RENDER SERIAL NUMBER CRACK MOVIE#(The movie “Gigi” is not really that far off, in its M-G-M Technicolor scheme, from the palette of her writing.) Colette’s writing seems golden, filled with the afternoon light of the Palais Royale. Camus is the whitened sand and unclouded blue sky of his native Algeria. ![]() Proust is all violet, the twilight mood of symbolism matched with the early-evening skies under which Swann pursues Odette. The great French writers of the last century tend to evoke, in recollection, a single hue, a color tone that resonates from their work into our imaginations. This content can also be viewed on the site it originates from. ![]()
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