france

Going to war without France is like going hunting without an accordion.

France has been very good for me. It has given me a very worldly-cool attitude.

The blue-backed notebooks, the two pencils and the pencil sharpener (a pocket knife was too wasteful) the marble-topped tables, the smell of early morning, sweeping out and mopping, and luck were all you needed. For luck you carried a horse chestnut and a rabbit's foot in your right pocket. The fur had been worn off the rabbit's foot long ago and the bones and the sinews were polished by wear. The claws scratched in the lining of your pocket and you knew your luck was still there.

Sandrine opened her eyes to the soft gray light of early dawn. Recollections of sensual pleasure seemed to caress her body, bringing a smile to her lips. She lay back in the pillow and listened to the breathing of Philippe beside her. She lingered in the memory of the previous night, a memory that was like a warm and tender embrace, an evening of small intimate harmonies. As it should be.

This is what you British do not understand about the French. You think you must work, work, work, work and open on Sundays and make mothers and fathers with families slave in supermarkets at three o'clock in the morning and make people leave their homes and their churches and their children and go shopping on Sundays.''Their shops are open on Sundays?' said Benoît in surprise.'Yes! They make people work on Sundays! And through lunchtimes! But for what? For rubbish from China? For cheap clothes sewed by poor women in Malaysia? For why? So you can go more often to KFC and get full of fried chicken? You would rather have six bars of bad chocolate than one bar of good chocolate. Why? Why are six bad things better than one good thing? I don't understand.

You'd think the sight of beautiful Place Vendôme would lift my spirits but oddly the arc of jewellery - so obviously beyond the means of a jobless person like me - only depresses me more. I plod on feeling confused, guilty even, that I should feel unhappy in a place that looks like paradise.

Eiffel Tower" To Robert DelaunayEiffel Tower Guitar of the skyYour wireless telegraphy Attracts words As a rosebush the beesDuring the night The Seine no longer flowsTelescope or bugleEIFFEL TOWERAnd it's a hive of words Or an inkwell of honeyAt the bottom of dawn A spider with barbed-wire legs Was making its web of cloudsMy little boy To climb the Eiffel Tower You climb on a songDo re mi fa sol la ti do We are up on top A bird sings in the telegraph antennae It's the wind Of Europe The electric windOver there The hats fly away They have wings but they don't singJacqueline Daughter of France What do you see up thereThe Seine is asleep Under the shadow of its bridgesI see the Earth turning And I blow my bugleToward all the seasOn the path Of your perfume All the bees and the words go their wayOn the four horizons Who has not heard this song I AM THE QUEEN OF THE DAWN OF THE POLES I AM THE COMPASS THE ROSE OF THE WINDS THAT FADESEVERY FALLAND ALL FULL OF SNOW I DIE FROM THE DEATH OF THAT ROSE IN MY HEAD A BIRD SINGS ALL YEAR LONGThat's the way the Tower spoke to me one dayEiffel Tower Aviary of the world Sing SingChimes of ParisThe giant hanging in the midst of the void Is the poster of FranceThe day of Victory You will tell it to the stars

A beautiful white silk scarf was around her neck, tucked below the fur collar. Her lips were well painted into a bright red cupid__ bow. Cute as hell I always told myself, with a tinge of regret. She had a steady girlfriend.

He was a Parisian,_ he said. __ou can never be sure what Parisians believe in _ beyond Paris of course.

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.

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.

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.

She murmured, __ love the imagery of Sappho, the warm summer air across the velvety darkness, the lover between love__ thighs._ She stayed quiet a moment. __ut it takes a man__ kiss to put the fire to the metaphor.

Hitler was the archetype of the abstemious man. When the other krauts saw him drink water in the Beer Hall they should have known he was not to be trusted.

For example, in Paris, if one desires to buy something, you enter the store and say "Good morning, sir" or "madam," depending on what is appropriate, you wait until you are greeted, you make polite chitchat about the weather or some such, and when the salesperson asks what they can do for you, then and only then do you bring up the vulgar business of the transaction you require.

He wanted to tell the baby that Paris was like a poem in stone.

Out of the corner of his eye, he saw another woman sitting over in a wing chair, a pleasantly attractive lady wearing the tasteful clothes of a senior redactrice, or senior civil servant, the stylish black skirt, the dark stockings, the black pumps, and the starched white linen blouse of her caste. The dark hair was swept up in a chignon, elegant and functional, dark eyes glistened as she smiled at him in a professional manner. He could see that she was a woman who met men in a highly assured way__erene, and expert at creating a proper distance.

Reticence was clearly a national characteristic, even if the other person spoke French.