paris

Of course the people in the metro didn't see a thing!...what a joke! petrified ratlets! but they'll still come out to refute me! make claims!...that nothing got bombed!...squished! powdered! that the firmament was calm, and me, I imagined the whole thing! chrysanthemums, sprays, roses! why, there's no more any such thing as sky-hooking shrapnel than there is anal ice cream! it's all in my mind! hallucinations and bullshit! what a crook! but I repeat and reassert! shrapnel and fiery lace stretched from one end of the horizon to the other! with lots of glow-worms mixed in...and dancing purple fireflies...

Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city__ most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors.In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of __ohemian Paris,_ where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets_ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris__he influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology__nd the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.

I shall be in Paris in two days. Well, all is finished. The waves ofhuman mediocrity rise to the sky and they will engulf the refuge whosedams I open. Ah! courage leaves me, my heart breaks! O Lord, pity theChristian who doubts, the sceptic who would believe, the convict oflife embarking alone in the night, under a sky no longer illumined bythe consoling beacons of ancient faith.

How long since you had sex?_ Aeron asked his friend. Another moan. __wo__hree days._ Paris wiped his mouth with the back of his wrist. Which meant Paris hadn__ had a female since before their return. But Aeron knew Lucien had flashed the warrior into town every night they__ spent in the desert for just that reason. Had the warrior had trouble finding a willing partner? __et me take you into town. You can__ __o. Only want Sienna. My female. Mine.

Why must a woman always surrender? I am not prey!""No I am. Your arrow struck me long ago." Paris took her hand and placed it on his chest."Right here. And every time I try to pull it out." He used her hand to demonstrate. "You force it back in.

The Frenchman showed her a great deal of Paris that day, saying over lunch at a café that it was impossible to see everything of interest in so short a time. "And of course the sights are only one aspect; there's also the theatre, the markets, clubs, festivals, gardens and much more."Delta smiled dreamily; it sounded wonderful.Enjoying her smile, Valois gave her cheek a playful caress. "If I try hard enough, you may never want to leave.

Parisians take their work quite seriously, but they take their enjoyment of the little moments just as seriously. Sometimes sitting in a café with close friends or family and enjoying a shared plate of macarons is just as important as sitting in an office working. You know, some Parisians start their morning with a mug of hot chocolate.Really? Emilia asked, taking a fourth and fifth sip.The chocolate is like medicine to take away your troubles and help you see that life is sweet.

Old Hubert must have had a premonition of his squalid demise. In October he said to me, __orty-two years I__e had this place. I__ really like to go back home, but I ain__ got the energy since my old girl died. And I can__ sell it the way it is now. But anyway before I hang my hat up I__ be curious to know what__ in that third cellar of mine.__he third cellar has been walled up by order of the civil defence authorities after the floods of 1910. A double barrier of cemented bricks prevents the rising waters from invading the upper floors when flooding occurs. In the event of storms or blocked drains, the cellar acts as a regulatory overflow.The weather was fine: no risk of drowning or any sudden emergency. There were five of us: Hubert, Gerard the painter, two regulars and myself. Old Marteau, the local builder, was upstairs with his gear, ready to repair the damage. We made a hole.Our exploration took us sixty metres down a laboriously-faced vaulted corridor (it must have been an old thoroughfare). We were wading through a disgusting sludge. At the farend, an impassable barrier of iron bars. The corridor continued beyond it, plunging downwards. In short, it was a kind of drain-trap.That__ all. Nothing else. Disappointed, we retraced our steps. Old Hubert scanned the walls with his electric torch. Look! An opening. No, an alcove, with some wooden object that looks like a black statuette. I pick the thing up: it__ easily removable. I stick it under my arm. I told Hubert, __t__ of no interest. . ._ and kept this treasure for myself.I gazed at it for hours on end, in private. So my deductions, my hunches were not mistaken: the Bièvre-Seine confluence was once the site where sorcerers and satanists must surely have gathered. And this kind of primitive magic, which the blacks of Central Africa practise today, was known here several centuries ago. The statuette had miraculously survived the onslaught of time: the well-known virtues of the waters of the Bièvre, so rich in tannin, had protected the wood from rotting, actually hardened, almost fossilized it. The object answered a purpose that was anything but aesthetic. Crudely carved, probably from heart of oak. The legs were slightly set apart, the arms detached from the body. No indication of gender. Four nails set in a triangle were planted in its chest. Two of them, corroded with rust, broke off at the wood__ surface all on their own. There was a spike sunk in each eye. The skull, like a salt cellar, had twenty-four holes in which little tufts of brown hair had been planted, fixed in place with wax, of which there were still some vestiges. I__e kept quiet about my find. I__ biding my time.

He was high up now, gazing across to where Montmartre itself gazed out over the city. He was swept along in the wind, admiring the twin steeples of Notre-Dame as he passed, along with the dogged, devilish gargoyles of St. Jacques.

To accuse the American male of not bathing in Paris is merely to flatter him.

... Paris was a city of love for unimaginative folks.

Paris came down the stairs looking incredible. He__ gone with the simple classic look of the tight white T-shirt, the low-slung jeans that showed off a glimpse of his flat belly, and a black leather jacket. His hair was perfectly mussed, a calculated look that seemed natural and sexy. At the bottom of the staircase, he turned around slowly, holding his arms out to his sides. "Well, how do I look?"Damn. "Like I want to rip your clothes off right this second. You__e gonna kill that kid. He__ going to explode, and they__e going to have to scrape his remains off the wall.""Yeesh, I was with you until you got descriptive.""Can__ help it. You make me poetic.""I thought I made you horny.""Same damn thing.

If I walked down by different streets to the Jardin du Luxembourg in the afternoon I could walk through the gardens and then go to the Musée du Luxembourg where the great paintings were that have now mostly been transferred to the Louvre and the Jeu de Paume. I went there nearly every day for the Cézannes and to see the Manets and the Monets and the other Impressionists that I had first come to know about in the Art Institute at Chicago. I was learning something from the painting of Cézanne that made writing simple true sentences far from enough to make the stories have the dimensions that I was trying to put in them. I was learning very much from him but I was not articulate enough to explain it to anyone. Besides it was a secret. But if the light was gone in the Luxembourg I would walk up through the gardens and stop in at the studio apartment where Gertrude Stein lived at 27 rue de Fleurus.

Crack, crack__rack, crack__rack, crack__o this is Paris! quoth I (continuing in the same mood)__nd this is Paris!__umph!__aris! cried I, repeating the name the third time_ The first, the finest, the most brilliant_ __he streets however are nasty; But it looks, I suppose, better than it smells__rack, crack__rack, crack_

It is a good thing to go to Paris for a few days if you have had a lot of trouble, and that is my advice to everyone except Parisians.

Paris rubbed his forehead against his, running his hands through Roan__ hair, and said, 'How about we come back here and exchange notes once we__e done with the interviews? Take a long lunch.''Only exchange notes?''No one said we can__ exchange notes in bed.

My wife and I had called on Miss Stein, and she and the friend who lived with her had been very cordial and friendly and we had loved the big studio with the great paintings. I t was like one of the best rooms in the finest museum except there was a big fireplace and it was warm and comfortable and they gave you good things to eat and tea and natural distilled liqueurs made from purple plums, yellow plums or wild raspberries.Miss Stein was very big but not tall and was heavily built like a peasant woman. She had beautiful eyes and a strong German-Jewish face that also could have been Friulano and she reminded me of a northern I talian peasant woman with her clothes, her mobile face and her lovely, thick, alive immigrant hair which she wore put up in the same way she had probably worn it in college. She talked all the time and at first it was about people and places.Her companion had a very pleasant voice, was small, very dark, with her hair cut like Joan of Arc in the Boutet de Monvel illustrations and had a very hooked nose. She was working on a piece of needlepoint when we first met them and she worked on this and saw to the food and drink and talked to my wife. She made one conversation and listened to two and often interrupted the one she was not making. Afterwards she explained to me that she always talked to the wives. The wives, my wife and I felt, were tolerated. But we liked Miss Stein and her friend, although the friend was frightening. The paintings and the cakes and the eau-de-vie were truly wonderful. They seemed to like us too and treated us as though we were very good, well-mannered and promising children and I felt that they forgave us for being in love and being married - time would fix that - and when my wife invited them to tea, they accepted.

To sit indoors was silly. I postponed the search for Savchenko and Ludmila till the next day and went wandering about Paris. The men wore bowlers, the women huge hats with feathers. On the café terraces lovers kissed unconcernedly - I stopped looking away. Students walked along the boulevard St. Michel. They walked in the middle of the street, holding up traffic, but no one dispersed them. At first I thought it was a demonstration - but no, they were simply enjoying themselves. Roasted chestnuts were being sold. Rain began to fall. The grass in the Luxembourg gardens was a tender green. In December! I was very hot in my lined coat. (I had left my boots and fur cap at the hotel.) There were bright posters everywhere. All the time I felt as though I were at the theatre.