A DETECTIVE STORY OF 1955 STARTS WITH A SHOOT-OUT
IN A BAR AT THE SAINT-DENIS GATE
The bar at this corner, in front of the former convent.
"The Saint-Denis gate is a monument
that hoods seem specially to favor
Long ago, that's where our sovereigns made their triumphal entries into our good town and also their exit, when they were taken, feet first, to the royal necropolis.
For mobsters, it's about the same.
That night, I went for a drink to the little bistro at the corner of rue Blondel. It held its usual contingent of male and female clients: furtive dandies with agile eyes and whores still more naked in their molded garb [...] and lost in the mass, clients for carnal commerce, their shoulders bent under the weight of their sad and humble solitude."
-- Prologue, "Kilometers of Shrouds" by Leo Malet, 1955, in French
Sex workers are reminders of a neighborhood that used to be sleazy: "I don't want to see you from my palace!" stormed Saint Louis (Louis IX), and the women remain indissociable from the territory where he sent them, beyond the 13th-century gate:
# # #
"I don't know why I ventured into the passage, perhaps because the gate was open when it should have been closed...
Passage du Caire by Eugène Atget (cut), 1903
On my crepe soles that brought no echo [...]
I passed in front of the hostile shops whose obscure windows protected the whole scale of feminine undergarments, and less poetic shelf-furnishing vaguely reflecting my furtive silhouette. Suddenly I felt that within a shop, human forms were watching me. For three seconds I shone my flashlight on the wax mannequins with their lovely smiling faces, their pretty pink breasts extended. Immediately afterwards I came up against a thing, huddled in a gallery angle, like a pack of rags. It was not rags. It was, also, a kind of mannequin. But not pink. Or more alive."
-- Kilometers of Shrouds
Now for the gate.
End of this section.
* * *
The next section,
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