Posts Tagged ‘Paris’
November 17, 2014 | by Dan Piepenbring
I’ve been enjoying The Smile Revolution, Colin Jones’s trenchant, very readable history of the smile—specifically its evolution in eighteenth-century Paris, where smiling was once, as the jacket copy puts it, “quite literally frowned upon.”
Obviously the emergence of the smile owes plenty to the emergence of dentistry, but the story as Jones tells it owes as much to shifting social mores as it does to science—and much of the fun in The Smile Revolution is in reading about this cultural shift. Here, for a taste, is the story of Le Grand Thomas, a charlatan who made a career of yanking people’s teeth out. Apparently you could find him standing on the bridge every day, barking and hawking his talents, dressed in a baggy scarlet coat. He traveled with a pair of musicians and a large cart with an enormous tooth (“Gargantua’s awesome molar”) hanging from it. Here’s Jones:
Every day, from sometime in the 1710s until his death in 1757, Jean Thomas stood on the Pont-Neuf, alongside the cheval de bronze … and offered to pull out the teeth of all and sundry.
[…] His portrait proudly proclaimed:
Our Grand Thomas, beplumed in glory,
The Pearl of Charlatans (or so’s the story).
Your Tooth aches? You need never doubt
Le Grand Thomas will yank it out.
[…] The demeanor of le Grand Thomas was such that it seemed that he could terrify peccant teeth into submission. Everything about him exuded mythic power. The medicines he described were made up in doses suitable as much for a horse as a man. He himself weighed the same as three men, and ate and drank for four. His barking voice could be heard across the city. If a client’s tooth resisted his assaults he would, it was said, make the individual kneel down in front of him and then, with the strength of a bull, lift him three times into the air with the hand still clenched on the recalcitrant tooth.
Le Grand Thomas was no mere physician—he was a folk hero. In 1743, toward the peak of his massive popularity, there was a character based on him in a play called Le Vaudeville. A few of his lines:
Beware the lure of windy exaggeration
Which doctors use—for our assassination.
Tho’ I, Thomas, am tongue-tied in truth
At least I can help with the ache of a tooth.
I pull it right from the root.
Crack! Right from the root.
In all my years of dental, orthodontic, and periodontal care—years of care that, don’t get me wrong, I’m quite grateful for—I’ve never encountered a figure with such panache.
October 28, 2014 | by Sadie Stein
Or, the hazards of wearing a Paris Review shirt.
While I was shopping for milk, I felt a hand tap my shoulder. It was a lady of perhaps sixty, wearing arty jewelry. “Excuse me,” she said. “I was just wondering … are you from … Paris?” She said the last word with an exaggerated French accent: Par-ee.
I stared at her blankly for a moment. She, in turn, was staring at my breasts. I looked down and realized that I was wearing a Paris Review T-shirt, the dark blue 2013 version that’s modeled on a design from early in the magazine’s life. THE PARIS REVIEW, it says, along with an image of the hadada ibis in its Frisian bonnet.
“Oh, no,” I said apologetically. “No. I’m from here.”
This is not, of course, an uncommon error; as names go, The Paris Review—which denotes a magazine based in New York, one that publishes zero reviews—is among the most misleading out there. I can’t think of another title that’s quite so dishonest. To paraphrase Mary McMarthy’s remark about Lillian Hellman, every word here is a lie, including The. (Okay, maybe not The.)
I was prepared to explain that the American founders had indeed started the magazine in Paris in 1953; that they’d moved to New York in 1973; that upon George Plimpton’s death they’d relocated operations from his Seventy-second Street apartment to an office. I was not going to say—but was thinking—that in any case, in my experience, Parisians don’t tend to advertise their Parisian-ness on their clothing. Or maybe they do; as I’ve stated, I’m not one.
As is so often the case, the clarification resulted in palpable disappointment.
“Oh,” said the woman. “I was going to ask you about baguettes.” She indicated the bakery section.
“You can!” I said. “I think I’ve tried all the breads here, and some are way better than others.”
“No,” she said. “That’s okay. Thanks.” And she walked away.
October 20, 2014 | by J. C. Gabel
In the late fifties, Calvin Tomkins, a longtime staff writer for The New Yorker, moved his family from New York City to a little community on the Hudson River called Sneden’s Landing. “The houses are built on the side of a hill fairly close together,” Tomkins told me by phone this past summer, “but in those days there were no real property lines. Everybody knew each other, and the kids wandered all over.”
Tomkins’s two daughters, Anne and Susan, eventually found their way to Gerald Murphy, then in his sixties, pruning his rose garden. As kids do, they struck up a conversation with Gerald, and when Tomkins and his wife caught up with them, Sara, Gerald’s wife, emerged from the house, taking orders for ginger ale.
“The Murphys didn’t talk about the past in those days, and it was some time before I realized they were the people F. Scott Fitzgerald had used as models for Dick and Nicole Diver in Tender Is the Night,” Tomkins wrote in 1998. In the twenties and early thirties, the couple, along with their three children, spent part of the year in the south of France, on the Riviera, and the rest of it immersed in the salad days of modernism and surrealism in Paris, where they had befriended, among others, Picasso and his first wife, Olga Khokhlova; Ferdinand Léger; Dorothy Parker; Cole Porter; the Fitzgeralds; the Dos Passos; and the Hemingways. It was a fascinating life, though shrouded in mystery and tragedy.
Tomkins urged Murphy to write a memoir, but Murphy “scoffed at the notion … he had too much respect for the craft of writing, he said, to attempt something which could only be second-rate.” Tomkins reported the piece instead. It was called “Living Well Is the Best Revenge,” a reference to the seventeenth-century poet George Herbert’s mordant epigram, which Murphy had once jotted down on a piece of paper. The piece ran in The New Yorker on July 28, 1962. By the time Tomkins had expanded it into a book, in 1974, “Gerald had been dead for ten years, and Sara, who died in 1975, was no longer aware of the world around her.”
Fortunately, Tomkins was, and Living Well Is the Best Revenge remains one of the most ingeniously reported profiles of the Lost Generation, with the Murphys serving to illuminate the nearly century-old American expat scene that flourished in Europe between the two World Wars. The book had gone out of print until MoMA reissued it earlier this year in a beautiful flex-cover format. I spoke to Tomkins, who’s now eighty-eight, about the Murphys’ past, Gerald’s career as an artist, and his reporting for the book.
Before you got to know them, did you know much about Gerald and Sara Murphy?
I had heard about them. The Murphys were legendary because people knew vaguely about their life in Paris in the twenties, but nobody really knew them very well. They had a party a year, I think—a garden party with candles in paper bags. More or less the whole community was invited. But otherwise, they kept to themselves. We were all very curious about them. It seemed to us that we had these exotic creatures living in our midst. Read More »
October 7, 2014 | by Dan Piepenbring
Say you’ve got to skip town in a hurry. Maybe you owe somebody a lot of money; maybe the mayor’s daughter is in love with you and you’re below her station; or maybe it’s 1870, the Franco-Prussian War is on, and you have to ditch Paris because it’s under fierce siege and you’re the minister of the interior. In any case, here’s what history advises:
Flee in a hot-air balloon.
Léon Gambetta did it on October 7, 1870. Worked like a charm.
Okay, Paris ultimately lost the war, so “worked like a charm” may be overstating things, but still—Gambetta lived, didn’t he? He did. He became a prominent statesman.
At the time of his spectacular escape, Paris had been shelled by the Germans and Napoleon’s empire had fallen; Gambetta helped to improvise a new government and advised running it from someplace other than the capital, given the city’s precarious condition. A delegation left for Tours to organize the resistance, but Gambetta himself had to be sure to elude capture by the Prussians.
The safest way, against all odds, was by balloon: couriers had been delivering the mail to Paris that way with great success. And so they smuggled him out on the sumptuously named (if not sumptuously appointed) Armand-Barbès, one of some sixty-six balloons. He made it to Tours intact and resumed his post with vigor.
After this comes the part where the French lose anyway, but let’s skip that and wonder instead how Gambetta felt up there, in transit. I mean, I’m sure he was terrified, at least partially—his capture would be the end of him—and yes, there must’ve been a good bit of patriotism coursing through the old veins, but I hope he took a deep breath and saw the bigger picture, saw himself wafting into the history books on a hot-air balloon, Prussians cursing the sky and stomping on their hats.
And how, once he’d reached safety, could he find it in himself to talk about anything else?
Hello, I would say by way of introduction for the rest of my life, It is I, the man who fled Paris by balloon. No, no, remain seated. Hold your applause.
October 2, 2014 | by Patrick Monahan
Ludwig Bemelmans’s Paris bistro, La Colombe, combined two of his passions: art and innkeeping.
“It was precisely what I had been looking for—a lovely house, half palace, half ruin, an old house covered partly with vine,” Ludwig Bemelmans wrote in his 1958 illustrated memoir, My Life in Art. In 1953, he’d bought the hôtel particulier that once belonged to La belle Ferronnière (mistress of François I) at 4 rue de la Colombe, in the shadow of Notre Dame. “It had a bistro on the ground floor frequented by clochards and a small garden in front in which people sat.”
He christened the bistro La Colombe and covered its walls with near life-size frescoes of café society—Bemelmans’s own Bemelmans Bar. But it was not to last.
“Fifty three was a marvelous year for him, and a terrible year at the same time,” explained Jane Bayard Curley, the curator of the New York Historical Society’s current exhibition, “Madeline in New York: The Art of Ludwig Bemelmans” (on view through October 19). “He was doing La Colombe, he was painting the murals for Aristotle Onassis, he was publishing his Caldecott Award–winning Madeline’s Rescue. So many good things were happening that year and then the wheels came off.” Read More »
September 24, 2014 | by Dan Piepenbring
The Paris Review was saddened to learn that Pati Hill, a frequent contributor and longtime friend of the magazine, died last Friday at ninety-three. A native of Kentucky, Hill worked during the forties and fifties as a model in France, where she was part of the same community of expats that included George Plimpton and the founders of the Review.
Over the years, beginning with our second issue, Hill published six stories and an essay with the Review; her last contribution, part of a series of sketches, came in Spring 1981. She wrote a pair of well-regarded books—a novel and a memoir—in the fifties, but today she’s probably best known for her art, which made early and innovative use of an IBM photocopier, as an obituary in the Times says.
To celebrate Hill, we’re posting her essay “Cats,” from our Summer 1955 issue, in its entirety, with a pair of illustrations by B. Whistler Dabney. It begins:
I like cats as far as creatures go. I like almost any animal that does not have horns or scales on it for that matter, but I especially like cats. Any sort and denomination: spotted or solid, fat or thin, with and without fleas. I like them and admire them and almost anything they do is a pleasure to me.
The way they can walk around the rim of a bathtub, for instance, without falling in and the way they can get comfortable in any old place. There is nothing better than a cat looking out from behind a pot of geraniums on a windowsill or walking slowly down a country road of a summer evening. There is something at once comforting and disquieting about a cat which makes him attractive.
They are wonderful when they stick their noses cautiously into a hole and then back out again, and when they flatten down their ears the tops of their heads look like giant bumblebees. Also they have marvelous feet. When a cat puts his paw on the head of a half eaten fish it is at once delicate and dainty and fierce and when he retracts his claws again he is most beautifully innocent like firearms in a shop window or a pin-cushion with no pins in it.