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Georges Simenon

Georges Joseph Christian Simenon (12/13 February 1903 – 4 September 1989) was a Belgian writer, most famous for his fictional detective Jules Maigret. One of the most popular authors of the 20th century, he published around 400 novels, 21 volumes of memoirs and many short stories, selling over 500 million copies.

Apart from his detective fiction, he achieved critical acclaim for his literary novels which he called romans durs (hard novels). Among his literary admirers were Max Jacob, François Mauriac and André Gide. Gide wrote, “I consider Simenon a great novelist, perhaps the greatest, and the most genuine novelist that we have had in contemporary French literature.”

Born and raised in Liège, Belgium, Simenon lived for extended periods in France (1922–45), the United States (1946–55) and finally Switzerland (1957-1989). Much of his work is semi-autobiographical, inspired by his childhood and youth in Liège, extensive travels in Europe and the world, wartime experiences, troubled marriages, and numerous love affairs.

Critics such as John Banville have praised Simenon's novels for their psychological insights and vivid evocation of time and place. Among his most notable works are The Saint-Fiacre Affair (1932), Monsieur Hire's Engagement (1933), Act of Passion (1947), The Snow was Dirty (1948) and The Cat (1967).

Early life and education

Simenon was born at 26 Rue Léopold (Liège)(now number 24) to Désiré Simenon and his wife Henriette Brüll. Désiré Simenon worked in an accounting office at an insurance company and had married Henriette in April 1902. Simenon was either born at 11.30 pm on Thursday 12 February 1903 (according to the birth certificate), or just after midnight on Friday 13th (the date possibly being falsified on the certificate due to superstition).

The Simenon family was of Walloon and Flemish ancestry, settling in the Belgian Limburg in the seventeenth century. His mother's family was of Flemish, Dutch and German descent. One of his mother's most notorious ancestors was Gabriel Brühl, a criminal who preyed on Limburg from the 1720s until he was hanged in 1743. Later, Simenon would use Brühl as one of his many pen names.

In April 1905, two years after Simenon's birth, the family moved to 3 rue Pasteur (now 25 rue Georges Simenon) in Liège's Outremeuse neighbourhood. Simenon's brother Christian was born in September 1906 and eventually became their mother's favourite child, which Simenon resented. The young Simenon, however, idolised his father and later claimed to have partly modelled Maigret's temperament on him.

At the age of three, Simenon learned to read at the Ecole Guardienne run by the Sisters of Notre Dame. Then, between 1908 and 1914, he attended the Institut Saint-André, run by the Christian Brothers.

In 1911, the Simenons moved to 53 rue de la Loi, where they took in lodgers, many of them students from Eastern Europe, Jews and political refugees. This gave the young Simenon an introduction to the wider world, which was later reflected his novels, notably Pedigree (published 1948) and Le Locataire (The Lodger) (1938).

Following the outbreak of the First World War in August 1914, Liège was occupied by the German army. Henriette took in German officers as lodgers, much to Désiré's disapproval. Simenon later said that the war years provided some of the happiest times of his life. They were also memorable for a child because "my father cheated, my mother cheated, everyone cheated."

In October 1914, Simenon began his studies at the Collège Saint-Louis, a Jesuit high school. After a year, he switched to Collège St Servais, where he studied for three years. He excelled at French, but his marks in other subjects declined. He read widely in the Russian, French and English classics, frequently played truant, and turned to petty theft in order to buy pastries and other war time luxuries.

In 1917, the Simenon family moved to a former post office building in the rue des Maraîchers. Using his father's heart condition as a pretext, Simenon quit school in June 1918, without taking his end-of-year exams. After brief periods working in a patisserie and a bookshop, Simenon found himself unemployed when the war ended in November 1918. He witnessed scenes of violent retribution against residents of Liège accused of collaboration which stayed with him for the rest of his life. He described these scenes in Pedigree and Les trois crimes de mes amis (My Friends' Three Crimes) (1938).

Early career, 1919–1922
In January 1919, the 15-year-old Simenon took a job as a junior reporter at the Gazette de Liège, a right-wing Catholic newspaper edited by Joseph Demarteau. Within a few months he was promoted to crime reporting, signing his articles "Georges Sim". By April he was given his own opinion and gossip column which he signed "Monsieur Le Coq." He was also assigned interviews with leading international figures such as Hirohito, Crown Prince of Japan, and French war hero Marshal Foch. In 1920-21 he enrolled in a course on forensic science at the University of Liège in order to improve his knowledge of the latest police methods.

In May 1920, Simenon began publishing short fiction in the Gazette. In September he completed his first novel, Au Pont des Arches which he self-published in 1921. He wrote two other novels while working at the Gazette, but these were never published.

In June 1919, Simenon had been introduced into a group of young artists and bohemians which called itself "Le Caque" (herring barrel). The group met at night to drink, discuss art and philosophy, and experiment with drugs such as morphine and cocaine. In early 1922 one of the members of the group, Joseph Kleine, hanged himself at the doors of the St Pholien church of Liège after a night of excess with Le Caque. Simenon was one of the last people to see Kleine alive and was deeply affected by his suicide, later referring to the incident in Les trois crimes de mes amis and Le pendu de St Pholien (The Hanged Man of Saint Pholien) (1931).

Through Le Caque, Simenon met a young painter, Régine Renchon, and in early 1921 they began a relationship. They soon became engaged and agreed that Simenon should complete his year of compulsory military service before they married.

Simenon's father died In November 1921, an event which Simenon called, "the most important day in a man's life." Soon after, he began his military service. After a brief posting with the allied occupation forces in Germany, he was transferred to the cavalry barracks in Liège and was soon given permission to resume writing for the Gazette.

When Simenon's military service ended in December 1922, he resigned from the Gazette and moved to Paris to establish a base for himself and his future wife Régine, whom he preferred to call "Tigy".

Literary apprenticeship, 1922–1928
Now in Paris, Simenon found a menial job with a far-right political group headed by the writer Binet-Valmer. In March 1923, he returned to Liège to marry Régine. Although neither Simenon or Régine were religious, they were married in a Catholic church to please Simenon's mother, who was devout.

The newly-weds moved to Paris where Régine tried to establish herself as a painter while Simenon resumed work for Binet-Valmer and sent articles to the Revue Sincère of Brussels for which he was the Paris correspondent. He also wrote short stories for popular magazines, but sales were sporadic.

In the summer of 1923, Simenon was engaged by the Marquis de Tracy as his private secretary, which obliged him to spend nine months of the year at the aristocrat's various rural properties. Régine soon moved to a village near the Marquis's principal estate at Paray-le-Frésil, near Moulins.

While working for the Marquis, Simenon began submitting stories to Le Matin whose literary editor was Colette. Colette advised him to make his work "less literary" which Simenon took to mean that he should use simple descriptions and a limited stock of common words. Simenon followed her advice and within a year became one of the paper's regular contributors.

Now with a steady income from his writing, Simenon left the Marquis' employ in 1924 and returned to Paris where he and Régine found an apartment in the fashionable Place des Vosges. Simenon was writing and selling short stories at the rate of 80 typed pages a day, and now turned his hand to pulp novels. His first, Le roman d'une dactylo (The Story of a Typist) was quickly sold and two more appeared in 1924 under the pseudonyms "Jean du Perry" and "Georges Simm". From 1921 to 1934 he used a total of 17 pen names while writing 358 novels and short stories.

In the summer of 1925, the Simenons took a holiday in Normandy where they met Henriette Liberge, the 18-year-old daughter of a fisherman. Régine offered her a job as their housekeeper in Paris and the young woman accepted. Simenon began calling her "Boule", and she was to become his lover and part of the Simenon household under that name for the next 39 years.

Simenon began an affair with Josephine Baker in 1926 or 1927, and became her part-time assistant and editor of Josephine Baker's Magazine. However, the Simenons were tiring of their hectic life in Paris, and in April 1928 they set out with Boule for a six-month tour of the rivers and canals of France in a small boat, the Ginette. Without the distractions provided by Josephine Baker, Simenon's tally of published popular novels increased from 11 in 1927 to 44 in 1928.

Birth and retirement of Maigret, 1929–1939
In the spring of 1929, the Simenons and Boule set off for a tour of northern France, Belgium and Holland in a larger, custom-built boat, the Ostrogoth. Simenon had begun contributing detective stories to a new magazine called Détective and continued to publish popular novels, mainly with the publishers Fayard. During his northern tour, Simenon wrote three popular novels featuring a police inspector named Maigret, but only one, Train de nuit (Night Train) was accepted by Fayard. Simenon began working on the latter novel (or possibly its successor Pietr-le-Letton (Pietr the Latvian)) in September 1929 when the Ostrogoth was undergoing repairs in the Dutch city of Delfzijl, and the city is now celebrated as the birthplace of Simenon's most famous character.

On his return to Paris in April 1930, Simenon completed Pietr-le-Letton, the first novel in which commissioner Maigret of the Paris mobile crime brigade was a fully developed character. The novel was serialised in Fayard's magazine Ric et Rac later that year, and was the first fictional work to appear under Simenon's real name.

The first Maigret novels were launched in book form by Fayard in February 1931 at the fancy dress bal anthropométrique which had a police and criminals theme. The launching party was widely reported and the novels received positive reviews. Simenon wrote 19 Maigret novels by the end of 1933, and the series eventually sold 500 million copies.

In April 1932, the Simenons and Boule moved to La Rochelle in south-west France. Soon after, they left for Africa where Simenon visited his brother, who was a colonial administrator in the Belgian Congo. Simenon also visited other African colonies and wrote a series of articles highly critical of colonialism. He drew on his African experience in novels such as Le Coup de Lune (Tropic Moon) (1933) and 450 à l'ombre (Aboard the Aquitaine) (1936).

In 1933, the Simenons visited Germany and Eastern Europe, and Simenon secured an interview with Leon Trotsky in exile in Turkey for Paris-Soir. On his return, he announced that he would write no more Maigret novels, and signed a contract with the prestigious publisher Gallimard for his new work.

Maigret, written in June 1933, was intended to be the last of the series and ended with the detective in retirement. Simenon called the Maigret novels "semi-literary" and he wanted to establish himself as a serious writer. He stated his aim was to win the Nobel Prize for Literature by 1947.

Simenon's notable novels of the 1930s, written after the temporary retirement of Maigret, include Le testament Donadieu (The Shadow Falls) (1937), L'homme qui regardait passer les trains (The Man who Watched the Trains Go By) (1938) and Le bourgmestre de Furnes (The Burgomaster of Furnes) (1939). André Gide and François Mauriac were among Simenon's greatest literary admirers at the time.

In 1935, the Simenons undertook a world tour which included the Americas, the Galapagos Islands, Tahiti, Australia and India. They then moved back to Paris, in the fashionable Neuilly district, where they lived a life of luxury which Simenon later described as "too sumptuous".

They moved home to La Rochelle in 1938 because, as Simenon later explained, "I was sickened by the life I was leading." In April the following year, Simenon's first child, Marc, was born.

Second World War, 1939–1945
Simenon was in a café in La Rochelle when France declared war on Germany on 3 September 1939. In May 1940, Germany invaded Belgium, and La Rochelle became the reception centre for Belgian refugees. The Belgian government appointed Simenon Commissioner for Refugees, and he organised the reception, accommodation, and food and health needs for some 55,000 war refugees before the armistice of 22 June. By August, all Belgian refugees had been repatriated and Simenon resumed civilian life in his new home at Fontenay-le-Compte in the Vendée.

Later in 1940, a local doctor examined Simenon and diagnosed a serious heart illness, advising him to cut back on his favourite pastimes of pipe smoking, excessive eating, alcohol, and sex. Simenon began working on his memoirs Je me souviens (I remember), intended as a letter to his son from a father who would soon be dead. A second medical opinion was later sought, and Simenon was assured his heart was sound.

Simenon returned to writing Maigret stories and novels, completing two in 1940 and three in 1941. He also wrote longer novels such as Pedigree, a fictionalised reworking of Je me souviens. As a popular, non-Jewish author who avoided war themes and anti-German sentiments, Simenon had few problems in having his works published at a time of censorship and paper restrictions.

Among his major works written during the war years are La veuve Couderc (The Widow Couderc) (1942), Le fuite de M. Monde (Monsieur Monde Vanishes) (published 1945), and Pedigree (published 1948). Simenon also conducted correspondence, most notably with André Gide. Gide considered La veuve Couderc superior to Camus' The Stranger which was published around the same time and has a similar main character and themes.

During the war, Simenon sold the film rights to five of his novels to Continental Films, which was funded by the German government and banned the participation of Jews. The Continental production of Simenon's Les inconnus dans la maison (Strangers in the House) had exaggerated anti-Semitic themes which are not in the novel. Resistance underground newspapers began attacking Continental Films and anyone who took their money.

In 1942, the French Commissariat-Géneral aux Questions Juives notified Simenon that they suspected him of being Jewish and gave him one month to prove he wasn't. Simenon was able to obtain the necessary certificates of birth and baptism through his mother, and soon after the Simenons moved to a more remote village in the Vendée.

In 1944, Régine discovered Simenon's long-term affair with Boule, and Simenon also confessed to his numerous other affairs. The couple agreed to remain married for the sake of their child, but to give each other their sexual freedom.

In November 1944, following the German retreat, Simenon, Marc and Boule moved to a hotel in the resort town of Les Sable d'Olonne, while Régine returned to their house near La Rochelle which had now been evacuated by the Germans. In January 1945, Simenon was placed under house arrest by the police and the French Forces of the Interior on suspicion of collaboration. After three months of investigations, he was cleared of all charges.

Simenon went to Paris in May 1945 while Marc and Boule returned to their house near La Rochelle with Régine. Simenon, possibly out of concern that the French Communist Party might take over France, had decided to move to America. The rest of the family soon joined him in Paris and Simenon used his contacts to secure the required travel documents for America. Régine, however, refused to travel to America with Marc unless Boule stayed behind in France. Simenon reluctantly agreed to Régine's demand.

United States and Canada, 1945–1955
The Simenons arrived in New York in October 1945 and soon moved to Canada, where they set up home at Ste-Marguerite du Lac Masson, north of Montreal. In November, Simenon met Denyse Ouimet, a 25-year-old French-Canadian, with whom he started an affair and hired as his secretary. Denyse moved into the Simenon home in January 1946, and several weeks later told Régine that she was his new lover. Simenon fictionalised his affair with Denyse in his novels Trois chambres à Manhattan (Three Bedrooms in Manhattan) (1947) and Lettre à mon juge (Act of Passion) (1947).

The Simenons and Denyse drove to Florida in the summer of 1946, and then visited Cuba in order to arrange for permanent residence visas for the United States. It was in Florida that Simenon wrote Lettre à mon juge, widely considered one of his major works.

In June 1947, the Simenons moved to Arizona. Boule joined them there in 1948, after Régine dropped her objections to Simenon's desire to have a wife and two lovers in his household. Simenon continued to write quickly, working from 6 am to 9 am daily, and averaging 4,500 words a day. While in Arizona, Simenon wrote two Maigret novels and several romans durs (hard novels) including La neige était sale (The Snow Was Dirty) (1948), one of his major works. The 1951 American paperback edition of this novel sold 2 million copies.

Denyse became pregnant in early 1949, and Simenon asked Régine for a divorce. Denyse gave birth to Jean Dennis Chrétien Simenon (known as John) on 29 September. Régine had moved to California with Marc and Boule, and Simenon, Denyse and the baby soon moved to Carmel-by-the-Sea where they would be close to Marc. The divorce was granted in Nevada on 21 June 1950. Simenon married Denyse the following day.

The newly-weds moved to Lakeville, Connecticut and also rented a house in nearby Salmon Creek for Régine, Marc and Boule. In the five years he lived in Connecticut, Simenon wrote 13 Maigret novels and 14 romans durs including the major works La mort de Belle (Belle) (1952) and L'horloger d'Everton (The Watchmaker of Everton) (1954).

While living in Connecticut, Simenon's book sales increased to an estimated 3 million a year, and he was elected president of the Mystery Writers of America. Simenon and Denyse made two trips to Europe, in 1952 and 1954. On the 1952 trip, Simenon was admitted to the Royal Belgian Academy. In February 1953, Denyse gave birth to a daughter, Marie-Georges Simenon (known as Marie-Jo). By this time, Boule had moved in with Denyse and Simenon and had resumed her position as his lover.

By 1955, Simenon had become disillusioned with America and concerned that Denyse, who wanted to live in Europe, was becoming more distant from him. In March, Simenon, Denyse and Boule left for a European holiday and were never to return to live in America.

Return to Europe, 1955–1989

The Simenons took up residence in France at Mougins, near Cannes, while Régine and Marc lived in a hotel nearby. Simenon wrote two Maigret novels and two romans durs during his first six months on the French Riviera, but was still searching for a permanent home. In July 1957, the Simenons and Boule moved to the Château d'Echandens near Lausanne, Switzerland, and were to remain there for seven years.

In May 1959, Denyse gave birth to a son, Pierre, who soon became seriously ill but survived a difficult first year. In December 1961, Simenon and Denyse employed Teresa Sburelin, a young Italian woman, as a maid. Teresa soon became Simenon's lover and was to remain his companion for the rest of his life.

Simenon continued to produce novels at a rate of three to five a year at Enchandens, including two of his most notable, Le président (The Premier) (1958) and Les anneaux de Bicêtre (The Patient) (1963).

However, the relationship between Denyse and Simenon was deteriorating. They were both drinking heavily and Simenon admitted that he had hit her. In June 1962, Denyse was persuaded to admit herself to a mental health clinic for several months. In 1961 the Simenons had decided to build a new house at Epalinges in the heights above Lausanne. The house was completed in December 1963, but Denyse lived there for only a few months before returning to the clinic.

Denyse left Epalinges for the last time in April 1964. In November, Simenon dismissed Boule who went to live with Marc who was now married with children.

Although Simenon never divorced Denyse, he was now living with his companion Teresa and three of his children: John, Marie-Jo, and Pierre. He continued to work steadily, completing three to four books a year from 1965 to 1971, including the important works Le petit saint (The Little Saint) (1965) and Le chat (The Cat) (1967).

In February 1973, Simenon announced that he was retiring from writing. A few months later, he and Teresa moved into a small house in Lausanne. He produced no new fiction from that date, but he dictated 21 volumes of memoirs.

In May 1978, Simenon's daughter, Marie-Jo, killed herself in Paris at the age of 25. In his final volume of memoirs, Mémoires intimes (Intimate memoirs) (1981), he wrote, "One never recovers from the loss of a daughter one has cherished. It leaves a void that nothing can fill."

Simenon underwent a brain operation in 1984, but made a full recovery. From late 1988 he was confined to a wheelchair. He died on 4 September 1989, following a fall.

Works and critical reception
Simenon's published works include 192 novels written under his own name, over 200 novels written under various pseudonyms, four autobiographies and 21 volumes of memoirs. He also wrote a large quantity of short fiction. His novels had sold over 500 million copies by the time of his death, making him one of the highest selling novelists in history. In 2008, The Times named Simenon the second greatest crime writer of all time after Patricia Highsmith.

Simenon's fiction is often classified into his early pseudonymous popular novels, the last of which was written in 1933; his fiction featuring police commissioner Jules Maigret (75 novels and 28 short stories); and his 117 literary novels which he called romans durs ("hard novels").

Maigret novels
The first Maigret novel published under Simenon's name was Pietr-le-Letton (Pietr the Latvian) which was serialised in 1930. The last Maigret novel was Maigret et M. Charles (Maigret and Monsieur Charles) published in 1972.

The early Maigret novels generally received positive reviews and were acknowledged as an attempt to raise the standard of the French crime novel. Several critics, however, made fun of the speed with which they were written. Le Canard Enchaîné told its readers, "Monsieur Georges Simenon makes his living by killing someone every month and then discovering the murderer." The Maigret stories are characterised by their short length, simple writing style and a deliberately restricted vocabulary (which Simenon estimated was limited to 2000 words). Simenon stated that his Maigret novels were designed to be read by people of average education in a single sitting.

Patrick Marnham, Scott Bradfield and others state that the early Maigrets were innovative because the detective doesn't hunt for clues or use deduction to find the guilty party, but rather immerses himself in the life and environment of the victim and suspected criminal. In most cases, Maigret seeks to understand the criminal rather than judge him.

Simenon stated that his Maigret stories often deal with more serious themes that those of his other novels. Recurrent themes include political influence over the justice system, snobbery and class divisions, and the role of social background and pure chance in determining whether an individual becomes a criminal or a respected member of society.

Marnham, Fenton Besler and others have pointed out that the plots of the Maigret novels are often implausible and internally inconsistent. However, critics have praised Simenon's ability to concisely evoke the atmosphere of a particular place and to provide insights into human psychology. Referring to The Saint-Fiacre Affair, John Banville wrote, "The story is silly, as usual, but the evocation of the little town and its people makes such considerations irrelevant."

Romans durs ("hard novels")
Simenon suspended his writing of Maigret stories in 1933 in order to concentrate on the literary novels he called romans durs. In 1937 he stated that his aim was to win the Nobel Prize for Literature in 1947.

Simenon defined the novel as, "a passion which completely possesses and enslaves the writer and permits him to exorcise his demons by giving them form and casting them out into the world." His novels were about "the naked man, the one who looks at himself in the mirror while shaving and has no illusions about himself."

Michel Lemoine has elaborated on this, stating, "There is hardly a character in all the Simenon canon who does not ask, 'Who am I? What have I done with my life?" Biographer Fenton Besler described the roman durs as "psychological thrillers...in which he explores the darkest corners of the human mind and, in tautly written prose, creates an atmosphere which is sinister and entirely his own." According to Besler, it doesn't matter whether Simenon's novels are set in France, Africa, Tahiti or America, the characters live the same traumas and despair, only "with their problems and anxieties accentuated by the local setting."

Biographer Patrick Marnham states that Simenon's earliest romans durs contain many of Simenon's typical themes: the street life of Paris, prostitution, the drudgery of domestic servants and shop assistants, police corruption and the hope of escape represented by railway stations. He compares Simenon's preoccupation with the "little people" with that of Balzac. According to Marnham, there is also a strong autobiographical strain in his fiction, where events which Simenon had experienced were lightly fictionalised and then taken to a social, criminal or psychological extreme.

Simenon's romans durs soon gained a high reputation among other writers, with Max Jacob, François Mauriac and André Gide among his admirers. Nevertheless, the academic and critical reception of his novels in France and the United States was mixed, which Ralph Ingersoll, Brendan Gill and Gilbert Sigaux have attributed to suspicion about their popularity and the speed with which they were written.

Simenon's most acclaimed novels include Monsieur Hire's Engagement (1933), The Man who Watched the Trains Go By (1938), Monsieur Monde Vanishes (1945), Act of Passion (1947),  The Snow was Dirty (1948),  Red Lights (1953), and The Little Saint (1967).

Honours and legacy

 * President of the Mystery Writers of America (1952)
 * Member of Royal Academy of French Language and Literature of Belgium (1952)
 * Chevalier de la Légion d'honneur (1955)
 * Honorary Member of American Academy of Arts and Letters (1971)

In 2003, the collection La Pléiade published 21 of Simenon's novels in two volumes. The novels were selected by Professor Jacques Dubois, President of the Centre for Georges Simenon Studies at the Université de Liège, and his assistant Benoît Denis, both experts on Simenon. A third volume of eight novels and two autobiographical works was published in 2009.

Selected works
The following works were selected for inclusion in the Pléiade editions of the works of Georges Simenon. The French title and year of first publication in France is given first, followed by the titles of major English translations published in book form. Unless otherwise specified, the sources for the French title and publication date are Bernard Alavoine, Trudee Young, Tout Simenon and Tout Maigret. The sources for the titles of English translations are Trudee Young, Barry Forshaw, Patrick Marnham and Penguin UK.

 * Le Charretier de la 'Providence'  (1931) (The Crime at Lock 14; Maigret Meets a Milord; Lock 14; The Carter of 'La Providence')
 * L'Affaire Saint-Fiacre (1932) (The Saint-Fiacre Affair; Maigret Goes Home)
 * Les Fiançailles de M. Hire (1933) (The Engagement; Monsieur Hire's Engagement)
 * Le Coup de lune (1933) (Tropic Moon)
 * La Maison du canal (1933) (The House by the Canal)
 * Les Gens d'en face (1933) (The Window Over the Way; The People Opposite)
 * Les Trois crimes de mes amis (1938) (The Three Crimes of my Friends, untranslated)
 * L'Homme qui regardait passer les trains (1938) (The Man Who Watched the Trains Go By)
 * Le Bourgmestre de Furnes (1939) (The Bourgomaster of Furnes)
 * Les Inconnus dans la maison (1940) (The Strangers in the House)
 * Malempin (1940) (The Family Lie)
 * La Veuve Couderc (1942) (Ticket of Leave; The Widow; The Widow Couderc)
 * La Vérité sur Bébé Donge (1942) (The Trial of Bébé Donge; I Take this Woman)
 * Je me souviens (1945) (I Remember, untranslated)
 * Lettre à mon juge (1947) (Act of Passion)
 * La Neige était sale (1948) (The Snow Was Black; The Stain on the Snow; Dirty Snow; The Snow was Dirty)
 * Pedigree (1948) (Pedigree)
 * Les Mémoires de Maigret (1951) (Maigret's Memoirs)
 * La Mort de Belle (1952) (Belle)
 * Maigret et l'homme du banc (1953) (Maigret and the Man on the Boulevard; Maigret and the Man on the Bench)
 * L'Horloger d'Everton (1954) (The Watchmaker of Everton)
 * Les Complices (1956) (The Accomplices)
 * Le Président (1958) (The Premier)
 * Le Train (1961) (The Train)
 * Les Autres (1962) (The Others; The House On Quai Notre Dame)
 * Maigret et les braves gens (1962) (Maigret and the Black Sheep; Maigret and the Good People of Montparnasse)
 * Les Anneaux de Bicêtre (1963) (The Patient; The Bells of Bicêtre)
 * La Chambre bleue (1964) (The Blue Room)
 * Le Petit Saint (1965) (The Little Saint)
 * Le Chat (1967) (The Cat)
 * Lettre à ma mère (1974) (Letter to My Mother)

Film adaptations
Simenon's work has been widely adapted to cinema and television. He is credited on at least 171 productions. Notable films include:
 * Night at the Crossroads (La nuit du carrefour, France, 1932), written and directed by Jean Renoir, starring Pierre Renoir as Maigret
 * The Yellow Dog (Le chien jaune, France, 1932), directed by Jean Tarride, starring Abel Tarride as Maigret
 * A Man's Neck (France, 1933), directed by Julien Duvivier, starring Harry Baur as Maigret
 * La Maison des sept jeunes filles (France, 1942), directed by Albert Valentin
 * Annette and the Blonde Woman (Annette et la dame blonde, France, 1942), adapted by Henri Decoin, directed by Jean Dréville
 * The Strangers in the House (Les inconnus dans la maison, France, 1942), adapted by Henri-Georges Clouzot & Henri Decoin, directed by Henri Decoin
 * Monsieur La Souris (France, 1942), directed by Georges Lacombe
 * Picpus (France, 1943), directed by Richard Pottier, starring Albert Préjean as Maigret
 * Strange Inheritance (Le voyageur de la Toussaint, France, 1943), adapted from Strange Inheritance, directed by Louis Daquin
 * The Man from London (L'Homme de Londres, France, 1943), directed by Henri Decoin
 * Cecile Is Dead (Cécile est morte, France 1944), adapted by Jean-Paul Le Chanois & Michel Duran, directed by Maurice Tourneur, starring Albert Préjean as Maigret
 * Majestic Hotel Cellars (Les caves du Majestic, France, 1945), directed by Richard Pottier, starring Albert Préjean as Maigret
 * Panic (Panique, France, 1946), adapted from Les fiançailles de M. Hire, directed by Julien Duvivier
 * Temptation Harbour (UK, 1947), adapted from L'homme de Londres (Newhaven-Dieppe), directed by Lance Comfort
 * Last Refuge (Dernier Refuge, France, 1947), adapted from Le locataire, directed by Marc Maurette
 * The Man on the Eiffel Tower (1949), adapted from La tête d'un homme, directed by Burgess Meredith, starring Charles Laughton as Maigret
 * Marie of the Port (La Marie du port, France, 1950), directed by Marcel Carné
 * Midnight Episode (UK, 1950), adapted from Monsieur La Souris, directed by Gordon Parry
 * La Vérité sur Bébé Donge (France, 1952), directed by Henri Decoin
 * Brelan d'as (France, 1952), anthology film, directed by Henri Verneuil, starring Michel Simon as Maigret
 * Forbidden Fruit (Le Fruit défendu, France, 1952), directed by Henri Verneuil
 * The Man Who Watched Trains Go By (UK, 1952), adapted from L'Homme qui regardait passer les trains, directed by Harold French
 * La neige était sale (France, 1953), directed by Luis Saslavsky
 * Maigret dirige l'enquête (France, 1956), adapted from Cécile est morte, directed by Stany Cordier, starring Maurice Manson as Maigret
 * A Life in the Balance (1955), adapted from Sept petites croix dans un carnet, directed by Harry Horner and Rafael Portillo
 * The Bottom of the Bottle (1956), adapted from Le fond de la bouteille, directed by Henry Hathaway
 * Le Sang à la tête (France, 1956), adapted from Le Fils Cardinaud, directed by Gilles Grangier and starring Jean Gabin
 * The Brothers Rico (1957), directed by Phil Karlson
 * Maigret Sets a Trap (Maigret tend un piège, France, 1958), written and directed by Jean Delannoy, starring Jean Gabin as Maigret, Edgar Award for Best Foreign Film from the Mystery Writers of America in 1959
 * The Stowaway (Australia, 1958), adapted from Le passager clandestin, directed by Lee Robinson and Ralph Habib
 * In Case of Adversity (En cas de malheur, France, 1958), directed by Claude Autant-Lara
 * Maigret et l'affaire Saint-Fiacre (France, 1959), written and directed by Jean Delannoy, starring Jean Gabin as Maigret
 * Le Baron de l'écluse (France, 1960), directed by Jean Delannoy and starring Jean Gabin
 * Maigret (UK, TV series, 51 episodes, 1960–1963), starring Rupert Davies as Maigret
 * The President (Le Président, France, 1961), directed by Henri Verneuil and starring Jean Gabin
 * The Passion of Slow Fire (La mort de Belle, France, 1961), directed by Édouard Molinaro
 * Emile's Boat (Le bateau d'Émile, France, 1962), directed by Denys de La Patellière
 * Maigret voit rouge (France, 1963), adapted from Maigret, Lognon et les gangsters, directed by Gilles Grangier, starring Jean Gabin as Maigret
 * Magnet of Doom (L'aîné des Ferchaux, France, 1963), directed by Jean-Pierre Melville
 * Le inchieste del commissario Maigret (Italy, TV series, 16 episodes, 1964–1972), starring Gino Cervi as Maigret
 * Three Rooms in Manhattan (Trois chambres à Manhattan, France, 1965), directed by Marcel Carné
 * Maigret und sein größter Fall (West Germany, 1966), adapted from La Danseuse du Gai-Moulin, directed by Alfred Weidenmann, starring Heinz Rühmann as Maigret
 * Maigret a Pigalle (Italy, 1966), adapted from Maigret au "Picratt's", directed by Mario Landi, starring Gino Cervi as Maigret
 * Thirteen Against Fate (British TV series, 1966), thought lost, now all recovered
 * Stranger in the House (UK, 1967), adapted from Les inconnus dans la maison, directed by Pierre Rouve
 * Les enquêtes du commissaire Maigret (France, TV series, 88 episodes, 1967–1990), starring Jean Richard as Maigret
 * Le chat (France, 1971), directed by Pierre Granier-Deferre
 * The Widow Couderc (La veuve Couderc, France, 1971), directed by Pierre Granier-Deferre
 * The Train (Le train, France, 1971), directed by Pierre Granier-Deferre
 * The Clockmaker (L'horloger de Saint-Paul, France, 1974), directed by Bertrand Tavernier
 * Armchair Cinema: The Prison (Euston Films/Thames Television, 1974), adapted from "La prison"
 * The Murderer (1979 film) (West Germany, 1979), directed by Ottokar Runze
 * L'Étoile du Nord (France, 1982), directed by Pierre Granier-Deferre
 * The Hatter's Ghost (Les Fantômes du Chapelier, France, 1982), written and directed by Claude Chabrol
 * Équateur (France, 1983), written and directed by Serge Gainsbourg
 * Maigret (1988) appeared on ITV casting Richard Harris in the lead role.
 * Monsieur Hire (France, 1989), written and directed by Patrice Leconte
 * Seven Days After Murder (Azerbaijan & Russia, 1991), written by Rustam Ibragimbekov, directed by Rasim Ojagov
 * Maigret (France, TV series, 54 episodes, 1991–2005), starring Bruno Cremer as Maigret
 * Granada Television produced an adaptation of Maigret for ITV in 1992 and 1993 in which Michael Gambon starred as Maigret; there were 12 adaptations in the two series.
 * Betty (France, 1992), written and directed by Claude Chabrol
 * El pasajero clandestino (Spain, 1995), adapted from Le passager clandestin, directed by Agustí Villaronga
 * La Maison du canal (France and Belgium, 2003), directed by Alain Berliner
 * Red Lights (France, 2004), directed by Cédric Kahn
 * The Man from London (Hungary, 2007), written and directed by Béla Tarr
 * The Blue Room (France, 2014), written and directed by Mathieu Amalric
 * La boule Noire (France, 2014), directed by Denis Malleval
 * Maigret (UK, TV series, since 2016), starring Rowan Atkinson as Maigret
 * Maigret (France, 2022), directed by Patrice Leconte and featuring Gérard Dépardieu as Maigret

Stage adaptations

 * The Red Barn, written by David Hare and based on the novel La Main (English title The Man on the Bench in the Barn). Directed by Robert Icke at the Lyttelton Theatre, London, in October 2016.

title: Georges Simenon


text:
Talk:Rosa Parks

"White" of "white"
Why does the article use uppercase white? Graham Beards (talk) 12:22, 5 December 2023 (UTC)
 * , I see you have now fixed this. You are correct, of course. Mike Marchmont (talk) 12:37, 5 December 2023 (UTC)
 * That would have been because of MOS:RACECAPS. Schazjmd   (talk)  14:53, 5 December 2023 (UTC)
 * I agree with lowercase white. It now needs Blacks to be in lowercase also to be consistent. Parks recalled going to elementary school in Pine Level, where school buses took white students to their new school and Black students had to walk to theirs: must be wrong.
 * Is I'd see the bus pass every day ... But to me, that was a way of life; we had no choice but to accept what was the custom. The bus was among the first ways I realized there was a Black world and a White world. an exception as the 'worlds' counter each other. Is it a Black World and a White World, I am unsure. BlueWren0123 (talk) 20:10, 10 January 2024 (UTC)
 * @BlueWren0123 @Graham Beards @Mike Marchmont I agree. It needs to be equal. If Black is capitalized, then White should be capitalized. If not, then both should be uncapitalized. AppGoo0011 (talk) 14:30, 22 February 2024 (UTC)

Context or wordiness?
Hello,

About two days ago, I began to make edits to the Rosa Parks article intro.

This was the original sentence:

"The National Association for the Advancement of Colored People (NAACP) believed that she was the best candidate for seeing through a court challenge after her arrest for civil disobedience in violating Alabama segregation laws, and she helped inspire the Black community to boycott the Montgomery buses for over a year."

In my opinion, this sentence was far too long, so I split it up and rewrote it as:

"The National Association for the Advancement of Colored People (NAACP) believed that she was the best candidate for seeing through a court challenge after her arrest for civil disobedience. Parks helped inspire the Black community to boycott the Montgomery buses for over a year."

Another sentence within the article which I thought I had fixed.

Originally: On December 1, 1955, in Montgomery, Alabama, Parks rejected bus driver James F. Blake's order to vacate a row of four seats in the "colored" section in favor of a white passenger, once the "white" section was filled."

My revision: On December 1, 1955, in Montgomery, Alabama, Parks rejected bus driver James F. Blake's order to give up her seat in favor of a white passenger.

In my opinion, the latter sentence is easier to read and does not remove any necessary context.

@BlueWren0123 and @Randy Kryn undid my edits, which I totally understand and respect but I do disagree with upon scrutiny.

BlueWren argues that my edits were "disruptive," while both users argue that my edits removed important context.

BlueWren argues that the part mentioning "violating Alabama segregation laws" is very important context. I disagree. I argue that there is no contextual necessity for editors to maintain this. In my view, the fact that Rosa Parks violated segregeation laws is self-explanatory and needs no introduction. Moreover, the rest of the article exists for detailed explanations.

Randy Kryn argues that "a row of four seats" and "white" section was filled" are two important pieces of context, but I also couldn't disagree more upon re-evaluation. Is it really important to include the number of seats? Why? Is it really important to include that the white section was filled? Why? It is my belief that this is mere fluff and nothing worth including in the intro.

Make technical articles understandable says the following:

"Wikipedia articles should be written for the widest possible general audience.

As a free encyclopedia, Wikipedia serves readers with a wide range in background, preparation, interests, and goals. Even for articles about the most technically demanding subjects, these readers include students and curious laypeople in addition to experts. While upholding the goals of accuracy, neutrality, and full coverage of the most important aspects of a topic, every effort should be made to also render articles accessible and pleasant to read for less-prepared readers. It is especially important to make the lead section understandable using plain language."

What do other editors think? VegitotheKnightmare (talk) 21:41, 10 January 2024 (UTC)
 * I think the few extra words about the seat incident give clearer context to the incident.Unless I'm misreading it, I think the NAACP sentence is saying that one of the reasons that they believed she was the best candidate was because she inspired...(and so on). Could use some tweaking. Schazjmd   (talk)  21:48, 10 January 2024 (UTC)
 * Hi @Schazjmd.
 * Thanks for the reply.
 * Why do you believe "row of four seats" and and "white section was filled" adds clearer context? I think the number of seats is completely beside the point. The omission of the number of seats does not deprive readers of any useful information. If you disagree, then may I ask what specifically it adds?
 * I think it's the same situation with "white section was filled." Do we really need to explain this in the lead paragraph? What useful information does it add specifically?
 * In regards to the NAACP sentence, I do not think it is meant to read that way. VegitotheKnightmare (talk) 22:03, 10 January 2024 (UTC)
 * Being asked to give up her seat for a white person is one level of racism; being asked to vacate an entire row (in which there were apparently unused seats) so a white person could have a seat without being forced to sit next to a black person is a much greater degree. I doubt many modern readers are all that familiar with just how insane segregation laws were at the time; being clear about the circumstances helps readers grasp what actually happened. Schazjmd   (talk)  22:09, 10 January 2024 (UTC)
 * While I agree with you that this context is very important, I think it may be too much to include in the intro and certainly too much to include in one sentence.
 * Furthermore, the original sentence never explained that she was "asked to vacate an entire row (in which there were apparently unused seats) so a white person could have a seat without being forced to sit next to a black person."
 * That is another weakness of the original text, including seemingly irrelevant details without explaining why they were there.
 * We can rework it into: "On December 1, 1955, in Montgomery, Alabama, Parks rejected bus driver James F. Blake's order to give up her empty row of seats in favor of a white passenger." However, after cursory research I couldn't find exact information to support that statement about the seats being fully empty.
 * Alternatively, we can use my original revision and incorporate that context later into the article if it isn't already there.
 * In both cases there is no need to include the number of seats (a negligible detail) or that the white section was filled. (Which is self-explanatory.)
 * Do you agree? VegitotheKnightmare (talk) 22:34, 10 January 2024 (UTC)
 * Update: I think a more appropriate sentence would be "On December 1, 1955, in Montgomery, Alabama, Parks rejected bus driver James F. Blake's order to give up her entire row of seats in favor of a white passenger." VegitotheKnightmare (talk) 22:46, 10 January 2024 (UTC)
 * Oppose. The form of words before your edit accurately describe the racially discriminatory requirement that applied at the time. It was written in a neutral form. You marked your edit as Minor. Rosa Parks' actions were not minor and modifying the description of such a significant action and the circumstances should be correctly described. Please do not minimize the circumstances. You say that after making the edit However, after cursory research I couldn't find exact information to support that statement about the seats being fully empty. That point has no relevance to the drivers order that she must move. BlueWren0123 (talk) 23:12, 10 January 2024 (UTC)
 * Marking edits as minor marks edits as minor, not others' actions. How did you come to the conclusion that I am making any statement about Rosa Parks?
 * My statement "However, after cursory research I couldn't find exact information to support that statement about the seats being fully empty" has nothing to do with what you think it does. It was in response to @Schazjmd's claim.
 * Finally, you gave absolutely no explanation as to why you oppose my edits. VegitotheKnightmare (talk) 23:37, 10 January 2024 (UTC)

 * My observations: "vacate a row of four seats" on its face is a bit puzzling; it assumes the reader understands that three other people in the row got up while she didn't. The sentence could be clarified to say she "rejected bus driver James F. Blake's order to leave her seat in the 'colored' section so the 'white' section could be expanded". Per the Blake article: "Blake ordered Parks and three other black people to move to the back...." And per the National Archives citation, footnote 2: "the bus driver instructed Mrs. Parks and the other three passengers seated in that row...."

 * The linked term "civil disobedience" can be better deployed in another part of the Introduction. She was not arrested for civil disobedience, although she was engaged in it. She was arrested, as the text correctly says, for "violating" the law. The sentence can be shortened: "...after her arrest for violating Alabama segregation laws...." Civil disobedience appears here probably because at some point an editor wanted to include that important principle in the Introduction. But the phrase "civil disobedience in violating Alabama segregation laws" is overwritten. A very appropriate place for the phrase is the first sentence of the 2nd paragraph which can be modified: "Parks's act of civil disobedience...."

 * Another point, however: I haven't researched the matter, but the James F. Blake article quotes him saying of Parks, "She was in violation of the city codes", and the National Archives citation, footnote 2 in this article, says Parks "was arrested that day for violating a city law" and that "Mrs. Parks was convicted under city law"—raising the question whether the text in the Introduction that says "violating Alabama segregation laws" should be made less ambiguous and more specific. DonFB (talk) 23:57, 10 January 2024 (UTC)
 * Thanks for the input. You seem highly educated on the subject and I agree with your points. Would you agree my proposed sentence is appropriate?
 * "On December 1, 1955, in Montgomery, Alabama, Parks rejected bus driver James F. Blake's order to give up her entire row of seats in favor of a white passenger."
 * Why or why not? VegitotheKnightmare (talk) 01:03, 11 January 2024 (UTC)
 * From the wording of your comment you have used wikipedia for your sources,  already covers this situation. BlueWren0123 (talk) 01:44, 11 January 2024 (UTC)

Well, I referred to the other article as a way of suggesting accepted knowledge. But I also referred to the RS National Archives source, which has info about both the seating and the law that was violated. VegitotheKnightmare, regarding your proposed text, my response is that it's not wrong, but would probably make readers wonder how and why she was holding an entire row. Here is a slightly revised version of my suggestion above: "...Parks refused/rejected bus driver James F. Blake's order that she give up her seat along with other passengers in the 'colored' section so the 'white' section could be expanded". I would agree that the number of seats is not relevant; the question is how much explaining of the situation should be presented in the Introduction. DonFB (talk) 02:14, 11 January 2024 (UTC)
 * Thanks for the ping. In this case, with this arrest, it should be described in as full detail as possible. Parks' deciding not to arise when ordered to by the bus driver is, without hyperbole, one of the most important moments in 20th century American history. Context, description of the seating arrangement, explaining what the law allowed or did not allow, and what Parks actually violated by not giving up her paid-for seat, all carry important information about the iconic moment and can continue to be covered in the lead in a couple well-written and edited sentences. But removing wording from the descriptor of that moment for the sake of having less words, for encyclopedic brevity, and shortening the description of her action and arrest as best sourced, is the wrong place to trim. Randy Kryn (talk) 03:54, 11 January 2024 (UTC)
 * Hello @Randy Kryn. Apologies for the belated response.
 * I agree with your statement that Parks' actions were "one of the most important moments in 20th century American history."
 * However, segments like "white section was filled" and "four seats" have nothing to do with her actions and add nothing of value to the text. Instead, they detract from the text by making it harder to read by inexperienced readers. Finally, the segment which says she was "arrested for violating Alabama segregation laws" might not be accurate according to some editors.
 * Now, why do you think that "white section was filled" and "a row of four seats" are indispensable context?
 * Or is it because we should include every detail? Due to the magnitude of the event?
 * If that's your stance, then let me ask you the following: Should we also include the color of the seats? VegitotheKnightmare (talk) 21:47, 11 January 2024 (UTC)
 * Yes, all of those things, and the event, are important enough to continue to inform encyclopedically. Except for the color of the seats, I'll disagree with you on that point. Randy Kryn (talk) 23:18, 11 January 2024 (UTC)
 * Okay, thanks for the clarification @Randy Kryn. I understand your viewpoint. Can you explain how the color of the seats is any different from the number of seats and the fullness of seats? VegitotheKnightmare (talk) 23:29, 11 January 2024 (UTC)
 * Will get back to this at some point, not now. I could answer in-depth why the law as it stood at the time revolved around who got to sit and when and where, and why these facts are important to the circumstances of the arrest. Randy Kryn (talk) 23:41, 11 January 2024 (UTC)
 * Sure. Eager to hear back. @Randy Kryn VegitotheKnightmare (talk) 23:44, 11 January 2024 (UTC)
 * Reading the discussion again I think I've explained my position, so will keep watch on it to read what others have to say. Thanks for caring about this topic, it's an important one historically. A few extra words may not be to your liking, but other editors consider their place in the encyclopedic reporting of the event as adequate descriptors. Randy Kryn (talk) 00:40, 12 January 2024 (UTC)
 * I appreciate your viewpoint even though I disagree. Thanks for your contributions to the discussion! VegitotheKnightmare (talk) 01:39, 12 January 2024 (UTC)
 * , about the color of the seats, you may be right. Not for the lead but for the text. That row of seats, along with the bus, are historical artifacts, so noting and sourcing their color would further describe both the artifact and what the bus driver had in his field of view. Thanks for the interesting idea. Randy Kryn (talk) 02:52, 12 January 2024 (UTC)
 * I'm sorry, but I disagree. See WP:Too much detail and WP:Out of scope.
 * There's absolutely no denying that Rosa Parks' actions were immensely heroic and massively important. However, Wikipedia is not a museum. In my opinion, such information is completely irrelevant in the later text and especially in the lead.
 * See also Why Johnny can't wiki-read. It encapsulates why the number of seats, color, and other details don't belong in the lead.
 * "Many articles need to be revised to treat the lead section (also known as the introduction) as a balanced overview of the topic, and move excessive details to lower portions of the article. Long sentences can be split, or commas/hyphens can be added." VegitotheKnightmare (talk) 23:56, 12 January 2024 (UTC)
 * I'll keep this simple and to the point: The original sentences are better, more accurate, and provide all the needed context. Sorry, VegitotheKnightmare, but your edits don't work. I won't support your changes at all. In addition, it's worth noting that this article is very high profile and the language is the result of countless editors working here for years. To change such a high profile article we must have consensus for the change, which we do not have here. As a final note, I am blown away by you going back and forth on the "color" of the seats. That language in the lead is referring to the fact that the bus has a "colored" section, which is how the section Black people were forced to sit was referred to during this time period. Per the wikilink on that word in the lead, colored is a "racial descriptor historically used in the United States during the Jim Crow Era." That info is essential for the lead to summarize the article. The fact that you're talking about the color of the seats as if it refers to the primary colors is strange. --SouthernNights (talk) 12:16, 13 January 2024 (UTC)

BlueWren0123 (talk) 23:00, 15 January 2024 (UTC)

 * Thanks for adding this here. I saw your email but before I could do anything VegitotheKnightmare was already blocked. Also, this also brings into question what this now-blocked editor was trying to do with edits to this article. This is a good reminder for everyone that this article is a frequent target of trolls and racists, who sometimes attempt to spin their edits as reasonable or as improving the article but whose ultimate goal is to remove historic facts they disagree with. SouthernNights (talk) 11:51, 16 January 2024 (UTC)

"Black" or "black"
Following on from the change of White -> white, I have also suggested similar for general statements such as a group of Black men falsely accused where it is a generic grouping. I think that Black community should stay as is. I will wait awhile to see if anyone comments. It would in any event be good for another editor to review if I make the changes. BlueWren0123 (talk) 12:28, 16 January 2024 (UTC)

 * I think the word "black"/"Black" should follow however "white"/"White" is capitalized. AppGoo0011 (talk) 22:22, 22 February 2024 (UTC)
 * For what it's worth, it was rather carelessly implemented. I tried to change some of it, but I'm heading to sleep, so if anyone wants to take over, be my guest.  Liliana UwU  (talk / contributions) 07:14, 10 June 2024 (UTC)

Semi-protected edit request on 23 January 2024
The opening section calls her an "American activist in the civil rights movement." I don't know what the styleguide is here, but I feel like changing it to "American Civil Rights Activist" would be less wordy and more digestible. Silvanathecat (talk) 13:55, 23 January 2024 (UTC)
 * The civil rights movement, linked at the point you question, was an actual and definable historical event encompassing the 1954-1968 CRM in which Parks took part. Randy Kryn (talk) 14:49, 23 January 2024 (UTC)

Connection to Order of Eastern Star
There are a few sources connecting her with Order of Eastern Star freemasons in Alabama such as the library congress' subject file. I am wondering why there is no discussion here of this already, is it that the number of sources aren't very high, or that the authenticity is questionable? Katzerax (talk) 06:18, 2 March 2024 (UTC)

Could someone with editing access please link the article https://en.wikipedia.org/wiki/Balloon_release where the article mentions the release of white balloons during funeral events for Parks
I mean link it like this:

released white balloons

... on that text where it appears in the "Death and funeral" section.

Thank you. 2600:1700:25BF:9800:C073:822F:44B0:39A9 (talk) 21:18, 10 March 2024 (UTC)
 * ✅ Cullen328 (talk) 21:24, 10 March 2024 (UTC)

Rosa park
She stood up for what’s right strong black woman!'' 185.85.57.88 (talk) 11:06, 5 July 2024 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:Rosa Parks