Paris Was Ours: Thirty-Two Writers Reflect on the City of Light

Paris Was Ours: Thirty-Two Writers Reflect on the City of Light

NOOK Book(eBook)

$10.99 $17.99 Save 39% Current price is $10.99, Original price is $17.99. You Save 39%.
View All Available Formats & Editions

Available on Compatible NOOK Devices and the free NOOK Apps.
WANT A NOOK?  Explore Now
LEND ME® See Details


Thirty-two essays—many never before published—of life in Paris from writers who were drawn by the city’s charms to take up residence there.

In thirty-two personal essays, more than half of which are published here for the first time, authors describe how they were seduced by Paris—and then began to see things differently. They came to write, to cook, to find love, to study, to raise children, to escape, or to live the way it’s done in French movies; they came from the United States, Canada, and England; from Iran, Iraq, and Cuba; and—a few—from other parts of France. And they stayed, not as tourists, but as Parisians; some are still living there.

In Paris Was Ours, these outsiders-turned-insiders share their observations and revelations about the City of Light. The collection includes entries from celebrated literary expats, such as Diane Johnson, David Sedaris, Judith Thurman, Joe Queenan, and Edmund White.

Together, their reflections form an unusually perceptive and multifaceted portrait of a city that is entrancing, at times exasperating, but always fascinating. They remind us that Paris belongs to everyone it has touched, and to each in a different way.

“[A] wonderful collection . . . The essays capture the mood of the city in all of its dark and light shades, evoking the spirit of Eugene Atget and Marcel Proust.” —Chicago Tribune

Product Details

ISBN-13: 9781616200367
Publisher: Workman Publishing Company, Inc.
Publication date: 02/08/2011
Sold by: Barnes & Noble
Format: NOOK Book
Pages: 298
Sales rank: 207,518
File size: 2 MB

About the Author

Edmund White is one of America’s preeminent twentieth-century writers. His fiction, essays, biography, and journalism explore the gay experience in the United States, from the closeted 1950s to the AIDS crisis. His autobiographical novel, A Boy’s Own Story (1982), is a classic coming-of-age tale that cemented his place as a fiction author. White’s works have earned and been shortlisted for numerous honors, including the National Book Critics Circle Award, which he received for the biography Genet in 1993. He is the recipient of the National Book Foundation’s 2019 Medal for Distinguished Contribution to American Letters; the PEN/Saul Bellow Award; and Publishing Triangle’s Bill Whitehead Award for Lifetime Achievement, and is the namesake of the organization’s Edmund White Award for Debut Fiction. He is a professor of creative writing at Princeton University’s Lewis Center for the Arts.

Read an Excerpt



L'Argent Is No Object

Iinterrupted her: "Tell me again. Why exactly am I supposed to put money away?" Her jaw dropped. "Excuse me?" she asked. She had managed my portfolio for more than ten years, and not once had I expressed doubts about the need to plan for the future or unhappiness regarding her long-term investment strategy. "Why not spend my capital now, while I am still in good health?" I asked. She hesitated. Was I joking? Momentarily deranged? Exhibiting early signs of Alzheimer's? She tucked a strand of hair behind her ear. But I made no move to get her off the hook. She groped for an answer. Opened her mouth. Forced a smile. "You are kidding, of course," she said.

In retrospect, I remember this uncomfortable pause as the exact moment when I made up my mind to move back to Paris.

THE YEAR 2007 looked pretty good as my plane was banking over the countryside surrounding the Charles de Gaulle Airport. I had just sold my Brooklyn Heights apartment at the top of the market and was moving into a one-hundred-square-meter rental in the first arrondissement. How bad could that be? As we were approaching the runway, the snow-dusted landscape appeared fastidiously groomed, with its meticulously mapped fields, thick hedges, and regularly spaced apple trees. The well-tempered farmland of the Île-de-France was shockingly unlike the urban sprawl surrounding JFK. The silhouette of a small village huddled around its pointy church steeple echoed that of Paris — the profile of the Eiffel Tower poking out of the fog in the distance.

The insidious power of numbers had turned my life in the United States into a system of checks and balances. I woke up every morning wondering how I could be more productive. My freelance income was no longer what it used to be. My husband would lie awake at night worrying about his bonus. He agonized about meeting his sales projections. The most fun we had as a couple was comparing notes with friends about real estate values. The fear of health care bankruptcy was paralyzing us. Only the prospect of capital gain kept us going. Going where? Eventually we found out: a divorce and Paris.

Many of my French friends, who had fallen in love with New York decades ago and immigrated to the USA, as I had, could not afford to move back home because, paradoxically, they'd become too rich. The dreaded French Wealth Tax (ISF) would have taken too large a bite out of their life's savings. Mercifully, in spite of my portfolio manager's efforts, I didn't have this problem. But I could not have picked a worse time to convert my life from dollars to euros.

In Paris, no one talked about the looming international financial crisis. People read about it in the papers or heard about it on TV but somehow never discussed it. It was a presidential election year. Strikes, protest movements, and political rallies were aplenty, yet dinner table debates about how the dire state of the economy might affect one's pocketbook remained few and far between.

Apparently, public discontent was permissible, but not private disgruntlement.

With the Almighty Dollar in free fall, I would have loved to share my trepidations with someone, but details about my money worries were not deemed an appropriate topic of conversation. Parents, siblings, friends — no one would sit still when I tried to get their sympathy about my fiscal or financial situation. Each time I broached the subject, they would interrupt me, talk about something else, or find a pretext to leave the room. It was creepy. A couple of times I even wondered whether I was dead and only imagined that people could see me.

"You Americans talk about money all the time," my older sister eventually told me, as only an older sister would, her frosty tone resurrecting in me long-buried childhood terrors. In France, money is dirty. Very dirty. It was as if she had caught me playing with my merde. Seizing the moral high ground, she instructed me to call her accountant, an international expert who happened to be one of her former lovers. I traipsed to his fancy offices near the Champs-Élysées, where I was treated to a full-blown flip-board presentation, during which he feverishly scribbled a jumble of pie charts and diagrams. None of what he explained to me made any sense, but he was so tall and handsome, I didn't really mind.

As it turned out, he was the first of a string of expensive accountants I consulted subsequently, each one more attractive than the one before. My second attempt at elucidating my financial situation put me across the desk from a very busy yet utterly charming attorney who spoke at a breakneck speed and never stopped to listen to my questions. Finally, he advised me to waste no time and hire his own accountant, who lived in a project in a godforsaken suburb at the northern end of a subway line. I trudged there and found him eating a sandwich at his desk in an apartment whose front door was left open on a hallway resonating with the sounds of children crying, televisions playing, and vacuum cleaners running. He, too, was movie star material, which was a welcome treat, because by that time I had been rendered numb by the stress of trying to figure out my French fiscal status.

I HAD YET to meet someone who would listen to my story from the beginning. Even though private financial troubles are as widespread in France as they are everywhere else, they are not the stuff of narrative. For various reasons, mostly historical, tales of rags to riches are not part of the popular culture. The French bourgeoisie are notoriously tight lipped about their affairs, particularly in the provinces. Their love of secrecy is a legacy from prerevolutionary times, when tax inspectors snooped around the countryside, spying on everyone, listening to conversations, hoping to evaluate a person's fortune and figure out how much they could collect. For Parisians, mum's the word as well, but they deflect other people's curiosity about their money with more élan and panache than their country cousins. They'll wax poetic about the most modest objects in their possession but dismiss exorbitantly priced acquisitions as mere commodities.

Tourists are not expected to conform to this unspoken rule of silence. In Parisian restaurants, French patrons would never dream of discussing the credit crunch, promising stocks, or short-term loans, but they are remarkably forgiving of those "noisy guests" (translate "Americans") who are lamenting the cost of a six-day stay in intensive care or regaling their friends with their exploits in the stock market. In order not to be mistaken for one of those visiting Yankees (I have developed a slight American accent, and waiters still bring me the menu in English), I had to rid myself of certain habits I had picked up during my years abroad, such as pointing at merchandise and asking, "How much?" or blurting out "How's business?" when meeting an acquaintance.

When I tried to curb my money talk, though, I realized how much it dominated my thoughts. My dollar dependency was so ingrained, it tricked my brain. I'd confused not talking about money with talking about having no money. I'd assume that saying "I don't think that I can afford a three-hundred-thousand-dollar studio in Paris" was a show of restraint. I didn't understand why this comment only got me a glassy-eyed response from my French friends. They'd mark just a pause, but it was enough of a reprimand to fill me with shame. My blunders revealed to me how much I had been conditioned to rely on money as a universal system of reference. So I tried again, remarking in all earnestness that "I got the Epson Stylus printer because it was the cheapest option." Wrong again! Only after the fact was I able to figure out that I should not quote a price, bring up a cost, or mention an expense. How about, "It's either a small studio in Paris or three Cartier diamond necklaces. The Epson Stylus is neat, but no faster than a golf cart"?

"If you don't talk about money, what's left to talk about?" asked a Los Angeles friend who thinks that you'd have to be insane not to go crazy over the rising cost of everything.

What's left to talk about? The asparagus season, the Tour de France, Japanese art, the films of Jean-Luc Godard, photojournalism, Yoko Ono, how to silence creaky floorboards, women's sports, the wonders of foot surgery, Cartier-Bresson, revisionist history, great radio programs, the latest Grand Palais contemporary art exhibition, and, last but not least, best recipes for beef bourguignon.

Not talking about money is what cultural life in Paris is all about.

DURING MY FIRST year in Paris I didn't just learn not to mention the content of my wallet, my bank account, or my retirement investment portfolio; I also familiarized myself with the body language of monetary moderation. The new gestures associated with the distribution of funds were strangely exacting. Tipping waiters and cabdrivers demanded that I dole out small change with homeopathic precision. An overgenerous contribution to the cash economy could be construed as a criticism of people's hard-won, union-negotiated salaries. God help me if I tried to grab the check at the end of a meal with good friends. They felt insulted. I'd embarrassed my dinner companions whenever I waved my credit card in the direction of the waitress, to attract her attention and let her know that I wanted the check. When it came at long last, I was chastised for not studying it carefully to make sure that the amount was right. "Don't look like you are throwing your money around," I was told.

No one seems in a rush to make the cash register ring. To postpone as long as possible the moment when money will have to change hands, a lot of verbal reciprocity takes place across oak-veneered checkout counters or on either side of zinc-covered bar tops. In Paris, small talk with shopkeepers and waiters rates high as a health and longevity factor, as high as being happily married, exercising regularly, or eating at least three vegetables a day.

When finally it's time to close a deal, the transaction takes place on a downbeat, with merchants taking your cash or credit card almost reluctantly. Instructed to look away as customers type in their PIN, cashiers and waiters glance at the ceiling or examine their shoes to give you a moment of privacy. There is a hush, a strange stillness in the air, one that confers a delicious surreptitiousness to the act of spending.

PARISIANS APPROACH PARTING with money as they do foreplay: with plenty of time to spare. On more than one occasion I have stared in disbelief as French friends couldn't figure out whether to pay for their sandwich with a personal check or a credit card. Apparently, they enjoyed the suspense. Rushing the proceeding would have been crass. Standing by as they waffled, patiently waiting for them to make up their minds, was not unlike watching an excruciatingly slow sex scene in a foreign film.

In Paris, before possessing an object of desire, one tries to covet it for as long as one can. Yearning for something is believed to be more enjoyable than buying it. Monetary or amatory, preliminaries are savored leisurely. The same man who takes his sweet time deliberating over the best method of payment for an eight-euro tab will win you over by creating equally awkward diversions d'amour as he attempts to lead you from the bistro table to the bedroom. On the way, he will probably manage to get his car towed away, buy you flowers, ask you to tag along as he retrieves a package from the post office, and take you to visit his aunt in Neuilly. You are an emotional wreck by the time he decides to kiss you as you ride up in his creaky elevator. Alone with you at last, he might forget, in the heat of the action, to remove his black socks, step out of his trousers scrunched up around his ankles, or mention that he has a wife and two kids. He will most likely choose the moment when you are on all fours on his Oriental rug, looking for your lost earring, to declare that you are the most beautiful woman on earth.

With a man like this — a typical Parisian artist — the topic of money simply never comes up. At least not until you decide, as I did, to acquire one of his paintings. The occasion was an open-studio event, with all his friends milling around, munching on cheese and crackers and drinking champagne. A monumental canvas was beckoning me. I could not reasonably afford to squander rent money on such a frivolous purchase, but even in Paris, being broke is seldom an incentive to thrift. There was no price list, and so I could not evaluate what it would cost for me to buy this particularly handsome piece. However, trying to handle the situation like a pro was a challenge I could not resist.

"Would you part with it?" I asked him, motioning in the direction of the painting. He was surprised. "Is there a wall in your apartment large enough for it?"

Now, the sex had been pretty good, but this turned out to be even better. I bought the painting from him without either of us ever having mentioned a price or negotiated an amount. The exercise presented itself as an equation in which not only was x an unknown, but so were all the other letters of the seduction alphabet. I finessed it by writing a series of random checks, which I mailed to him in envelopes containing other unrelated information regarding various art shows. When he called me, we talked over the phone about his recipe for rabbit stew. He e-mailed me pictures of his daughters taken that summer in Normandy. We made plans to go to New York to visit the Dia:Beacon museum. And then one day he rang my bell and showed up with the huge canvas wrapped in crisp paper the color of candied chestnuts. Our affair had been over long before, with no repeat performance scheduled anytime soon, but suddenly we were in love.

AT LONG LAST, I am getting the hang of it. Paris is becoming my personal tax haven, my Liechtenstein, my Gibraltar, my Aruba, my state of Delaware. Here I can evade greed, find respite from acquisitiveness, dodge my self-aggrandizing ambitions. I no longer feel the urge to rage against the hidden costs of banking operations, the abysmal exchange rates, or the extra charges on my phone bills. Give me a couple of months and I will stop fretting when the stock market takes yet another plunge. I may not even notice when it goes back up again. I can almost see the day when being broke will bother me about as much as breaking a fingernail.

Only last month I met a young Frenchwoman who had spent six years as a successful artists' representative in Los Angeles and had recently moved back to Paris, her hometown. Reentry was proving so grueling that she was exhibiting symptoms usually associated with road rage. She became incoherent as she tried to convey to me her vexation at being turned down by a local bank that had refused to let her open a checking account. I was not unsympathetic: that morning I had received a threatening letter from URSSAF, one of many organizations that levy heavy taxes on individuals to offset the cost of paying for the French government's generous social services. So I understood what she was going through — I understood, yet I refused to feel sorry for her. I knew that she would soon appreciate the irony of it all. Living in Paris is "priceless," but it will cost you. It ain't cheap, yet it is one of the greatest bargains on earth. In our day and age, there are only two ways to get free of money worries: either accumulate wealth, lots of it, or move to Paris.



Learning French Ways

When we moved to Paris, fifteen years ago, I trusted that all I had heard about Frenchwomen — their perfect clothes, dedicated cookery, and elaborate wiles — would turn out on closer inspection to be untrue, and I would find they were just like the rest of us. Instead I learned that there's a lot to these stereotypes. I was sure of it with the first recipe I tried from the Sunday newspaper magazine, marked "Très facile": you began by removing the fish's backbone, rinsing the fish for twenty minutes, then boiling it for twenty minutes with leek, laurel, and thyme, then cooling, straining, and reducing the broth for twenty minutes — all this before you began cooking the fish. It was then that I knew there were some serious lessons ahead of me. Americans at their foodiest don't employ fourteen ingredients to make stuffed courgettes.

Much is expected of a French hostess, who presents an exquisite dinner — notice I don't say "cooks" it. When I gave my first Parisian dinner parties, I would buy poulet masala from Marks and Spencer (there was one here then), on the theory that no Frenchwoman would have heard of it, or none would use preprepared food, but I was wrong about that, too. They are not complexées (their word) about making things from scratch, and whereas we might cheat but conceal it, they blatantly use frozen food and the microwave with no sense of transgression. Their object is, after all, a delicious repas, not competition. My game was up when, therefore, French hostesses also began to serve dishes from Marks and Spencer, to great enthusiasm.


Excerpted from "Paris Was Ours"
by .
Copyright © 2011 Penelope Rowlands.
Excerpted by permission of ALGONQUIN BOOKS OF CHAPEL HILL.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

Table of Contents

Introduction: L'Arrivée,
Véronique Vienne, L'Argent Is No Object,
Diane Johnson, Learning French Ways,
Walter Wells, Becoming a Parisian,
Caroline Weber, Love without Reason,
Samuel Shimon, Keep Your Distance,
Joe Queenan, Friends of My Youth,
Valerie Steiker, Fledgling Days,
David Sedaris, The Tapeworm Is In,
Jeremy Mercer, My Bookstore High,
Mark Gaito, Chantal's Gift,
Alice Kaplan, My Day with Mr. D.,
Janine di Giovanni, Parenting, French-Style,
Patric Kuh, Deal With It,
C. K. Williams, Two Paris Poems,
Natasha Fraser-Cavassoni, Understanding Chic,
Julie Lacoste, It's My Home, That's All,
Janet McDonald, Just Another American,
Judith Warner, Toward a Politics of Quality of Life,
Roxane Farmanfarmaian, Out of the Revolution,
Lily Tuck, My Literary Paris,
Zoé Valdés, The Tribulations of a Cuban Girl in Paris,
Richard Armstrong, Montparnasse and Beyond,
Judith Thurman, Guillaume à Paris,
Karen Schur, Ma Vie Bohème,
Edmund White, A Mild Hell,
Alicia Drake, The Sky Is Metallic,
Stacy Schiff, In Franklin's Footsteps,
Brigid Dorsey, Litost,
Noelle Oxenhandler, La Bourdonneuse,
Marcelle Clements, Paris Is Gone, All Gone,
David Lebovitz, Enfin,
Penelope Rowlands, Le DÃ(c)part,
Credits and Permissions,

Customer Reviews