Simenon wrote L’Horloger d’Everton in 1954, in Lakeville, Connecticut. It is one of the 25 works – romans-durs and Maigrets – that will be produced during his 5 years in America. That’s 5 novels per year, on average. Perhaps, because of his abundant productivity, his writing did not change between France, the US or Switzerland. What is noticeable though, in this book, is the abundance of items that are given their american labels: living room, dad, slacks, rye, high school, federal building, etc… italicized whenever utilized.
L’Horloger d’Everton is the story of a father, Dave Galloway, living alone with his son Ben, 16, ever since Ben’s mother, Ruth left them when the boy was 6 months old.
Dave leads a monotonous life among the inhabitants of Everton; he is familiar with most of his neighbors because of his watch-repairing shop. Every Saturday night, he heads off to his friend Musak, and they spend their Saturdays playing trictrac with their rye drinks.
Heading back home on one of those Saturdays, Dave finds that Ben is not there. Brought out of his house by the cries of his neighbor, Mrs. Hawkins, dragging her drunkard husband up the stairs towards their home, Dave is made aware of her concern that it is a little too late for Ben and Lilian to be at the movies. This ludicrous scene, between the cries of the drunk Mr. Hawkins, his wife trying to shut him up, forcing him to stand still, while informing Dave that Ben has been a frequent guest of their house for the past three months, shakes up Dave’s impression that he and Ben were on the same page, that they understood one another, that they were a good team. In this badly-lit hallway, Dave starts to realize that his life with Ben as he thought he knew it, is no more.
In the early morning light, the missing elements of Ben’s disappearance start falling into place: a visit by the police tells him that his son stole an Oldsmobile after, as it might seem, having murdered its owner; he is riding on the interstate along with a girl, Lilian, most probably.
The events that follow are very American in their appearance, and I got the feeling that Simenon couldn’t have written them as such had he not spent time there, whilst retaining his own rendering of Dave’s grasp of this new reality. A manhunt is set on track after Dave’s interrogation by the police and the press invades Dave’s little privacy. In a matter of hours, America knows about the police chasing the dangerous suspect Ben through the news flashes that interrupt the radio programs transmitting baseball games.
I won’t say more about the plot; it is a quick read but one that I don’t recommend. I haven’t read Simenon in almost two years, having finished Assouline’s biography of him in January 2013, and I thought it was about time to pick up something by him again.
I suppose if one is familiar with Maigret and picks up this book, then yes, I can understand being taken by L’Horloger d’Everton. However, What I saw was a repetition of characters, a repetition of expressions and almost the same setup of other romans-durs. For example, I wonder if Simenon ever wrote a novel in which the protagonist spoke or expressed himself much more than just absorbed what is going on around him, passively grasping the reality of things, acting more than just a mere observer of life. Rare are the books where the protagonist is a woman, or where woman have a positive influence on the plot.
There are variations among the novels, to be sure: cigarettes or pipes, murderers vs innocent, married or single, rich or poor, but nothing deep. These slight variations do not hold my interest much long. The plot structure triggered by a murder that transforms the reality of those affected by it without them having any influence on the course of events is a structure that works in Maigrets but not in the romans-durs.
This is why when I’ll be picking up Simenon again it will be a Maigret. At least in a Maigret, I know I will be jumping in a pre-defined environment, the Quai des Orfevres, Paris, the shady individuals, the extravagantly rich people, the wife of Maigret in the background, the heater of Maigret, his temper, his compassion with the victims, his understanding of the complexities of family life… If I read a dozen of similar Maigrets, I’m not bothered. But stumbling upon the “serious” novels which explicitly and repeatedly borrow from the Maigret is something I no loner enjoy.
To be fair, how much can an author change in 400 novels, novellas and short stories, not forgetting that I didn’t read half of those. Judging from the titles, I suppose there are novels that do not quite resemble those I’ve read so far, for example: La Veuve Coudère, Lettre À Mon Juge, and Pedigree.
Though I don’t recommend it, L’Horloger D’Everton is a book praised by TS Eliot who was also a fan of the Maigret novels, and it fared well when it was published. Perhaps, this is why there are so many covers of this book, a surprise I received when searching for a cover image to add to my post.
I picked the top cover because at least the image reflects a scene that is present twice in the book when Dave crumbles down on his bed first after suspecting that Ben might have completely taken off, and the second time when he is done with the press and is completely beat. The image also resembles his incomprehension when Ruth left him.
The grey cover right below does not reflect the content of the book because we’re only in Dave’s workshop in the first pages of the book, the second one in red plays on the mystery of the Oldsmobile, the Livre de Poche cover is too abstract for our story, and the last cover promises a love story as it seems.