partners:Zester Daily contributing writer and illustrator L. John Harris has lived and worked in and around Berkeley's Gourmet Ghetto since the 1960s. Since the sale of his cookbook publishing company, Aris Books, in 1990, Harris has worked as a journalist, cartoonist and documentary filmmaker. He is the author of "The Book of Garlic" (Holt, Rinehart and Winston, 1975) and the graphic memoir "Foodoodles: From the Museum of Culinary History" (El Leon Literary Arts, 2010). A vintage guitar collector, Harris launched the nonprofit Harris Guitar Foundation in 2013 in collaboration with the San Francisco Conservatory of Music.

 

 

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‘Café French': Of Brooms And Ennui On Ile Saint-Louis Image

La Vie en Rose: Île Saint-Louis, one of two small islands floating in the middle of the River Seine and hyped in travel literature as “a peaceful oasis of calm” in the heart of busy Paris, is anything but. A tourist mecca, bien sûr (of course), filled with snazzy shops and restaurants — and home to the legendary Berthillon ice cream — the scene is more Coney Island fun park than Parisian island oasis.

Our Café French lesson today takes us to the island’s trendiest cafe, Café Saint-Régis on Rue Jean du Bellay. Just across — via the Pont Saint-Louis bridge — from Paris’ other natural island, Île de la Cité, where Notre Dame resides in all its gloomy Gothic glamor. The Café Saint-Régis is what I would call faux belle, refurbished to evoke the gaudy Art Nouveau atmosphere of Belle Epoque Paris, with gaudy prices to match. It can be, like the island itself, cloying.

Living in a Parisian broom closet

Whatever joie de vivre Parisian cafes provide their devotees — like me — I’m just not buying it today at the Saint-Régis. Lest we forget, cafes have their dark side: Revolutions and assassinations have been plotted, even launched in Parisian cafes throughout history, and the despair-laden philosophy, Existentialism, was hatched in Jean-Paul Sartre’s favorite cafes after World War II.

My dark mood today is more ennui – that perfect French word for melancholy — than despair. I’ve been staying in a very small apartment on the island — much smaller than the rental agency photos indicated. So I vegetate (call it work) in the island’s cafes to escape domestic claustrophobia, something apartment-dwelling Parisians have been doing for centuries.

The only joie of note at the Saint-Régis today is triggered by my waiter waltzing (literally) around the cafe with his broom — a  push broom, a smaller version of the broom type we use in the U.S. for exterior cleanups. I could write a whole treatise on France’s bizarre broom methodology: In short, the French push, they don’t sweep!

A broom ballet on Rue Jean du Bellay

Googling broom history and etymology — in both French and English — I come across our lesson’s homophones, le ballet (the dance) and le balai (broom), identically pronounced — bal-ai.

Illustration credit: L. John Harris

Illustration credit: L. John Harris

Aha! My waiter, dressed in formal cafe black and white, is executing un ballet de balai – a broom ballet. Ennui morphs into bonheur (happiness).

But back at the apartment, my mood darkens again. The sight of the kitchen push broom leaning against the wall triggers gloom, not cafe joie. Maybe this is just a case of generic Island Fever (la fièvre de l’île), or the oppressive weight of French history that floats over the island like a giant bejeweled crown.

A whole lot-a Louis going on

Everywhere you go on Île Saint-Louis there are references to King Louis IX, the island’s beloved Saint Louis. Bridges, streets, hotels, churches and cafes carry the name or variants. Even the word régis in Café Saint-Régis, means “of the king.” My corner cafe/brasserie where I go for my morning petit déjeuner is Le Louis IX. It was Louis XIII in the 17th century, dubbed “the Just,” who developed the island’s urban plan — it had been a cow pasture — and named it in honor of Saint Louis.

À propos royal sobriquets, several of the 18 Frenchmen who have served as King Louis have earned less-flattering nicknames. In the ninth century there was “the Stammerer” (Louis II), in the 10th “the Lazy” (Louis V) and in the 12th, “the Fat” (Louis VI). You could say that the French have had a love/hate relationship with their mostly House of Bourbon Louises.

Shrimp Louis. Illustration credit: L. John Harris

Shrimp Louis. Illustration credit: L. John Harris

Honestly, I’m surprised there was never a “Shrimp Louis.” The likely candidate would be King Louis XVII, son of guillotined King Louis XVI and Marie Antoinette. Never attaining the throne after the revolution, the Dauphin died in prison at age 10. He didn’t live long enough to earn a snappy moniker.

Speaking of salads

If I thought my one-bedroom apartment was small, I was corrected at a dinner in the chambre de bonne (maid’s quarters) of Paris guidebook author Annabel Simms, an English expat. Her book, “An Hour From Paris,” is a perennial seller in Paris and is designed to take tourists out of crowded Paris for memorable day trips.

The fifth floor studio walk-up on the island’s main drag, Rue Saint-Louis-en-l’Île (of course), is equipped with a tiny wall-mounted kitchenette — two burners, under counter fridge and sink. “And,” Simms boasts, “no microwave!” Simms, who is currently working on a cookbook geared to simple French apartment cooking, serves me her version of Elizabeth David‘s “Salade Parisienne,” from “French Provincial Cooking” (1962), composed of fresh vegetables, hard-boiled egg and slices of room-temperature roast beef, dressed with a vibrant vinaigrette. Simple, delicious and perfect for a warm summer night.

The conversation drifts toward my host’s mixed reviews of her island oasis lifestyle. She’s been living frugally and productively on the pricey Île Saint-Louis for more than 20 years and avoids the expensive touristy spots like Café Saint-Régis. “I love their baby Spanish sardines served in the tin with the lid rolled up,” she admits, “but I’d rather go to the cheaper Café Lutèce next door with its terrace facing north towards the Seine and the quieter right bank.”

The next day, back for a farewell crème at Café Saint-Régis before heading back to the States, I ponder Simms’ somewhat cloistered life on Île Saint-Louis. It’s telling that over the course of decades on the island, Simms has built her career as a writer in Paris based on a book that encourages tourists to get out of Paris. After only three weeks here, I’m ready to get out, too. Or is that just my Île Saint-Louis ennui speaking?

Main illustration: “Broom Ballet.” Credit: L. John Harris

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‘Café French': Uncle Wiggily, Voltaire And A Taste Of Paris Image

La Vie en Rose: As a sensitive and hungry boy, I learned valuable life lessons from the classic series of children’s books by Howard R. Garis featuring Uncle Wiggily Longears, an elderly, kind and wise rabbit. In each illustrated story, Uncle Wiggily takes on the vagaries of life in his forest habitat and solves a social or personal problem within his community of furry critters.

I can recall one episode with gastronomic implications. As best as I remember it, a young squirrel or possum with a taste for candy gets a terrible tummy ache that Uncle Wiggily helps to cure. At the end Uncle Wiggily concludes, “Too much of anything is not too good!”

Mark Twain’s taste for whiskey

Uncle Wiggily’s lesson in hunger management is like a Hallmark card version of Mark Twain’s earlier drollery: “Too much of anything is bad, but too much good whiskey is barely enough.” Truth be told, Twain’s version, despite wise Wiggily’s input into my early childhood development, comes much closer to the true “gastronomical me”: “Too much of anything is bad, but too much good food is barely enough.”

Which brings me circuitously to our next Café French™ lesson: the curious linguistic connection between biological and aesthetic taste (goût in French, pronounced goo), and the ailment, gout (goutte in French, pronounced goot), caused by too much taste for rich food and alcohol.

It’s all Greek, Latin, Old French and Anglo-Saxon to me

The use in English and French of the same words — taste and goût — for both aesthetic appreciation and perception of flavor — is deeply embedded in our two languages. As Voltaire, the French Enlightenment thinker, explained in his Philosophical Dictionary (1764), the English language  “… is a copy of ours in almost all the words which are not Saxon …”

The convoluted etymological links between French goût and English taste, and between French goutte and English gout, are no mere accident and took millennia to develop. Here is a cursory Café French glossary:

Goût (FR): From the Latin gustus, Old French goust = Taste. “Gustatory” in English and “gustative” in French come from the same sources. By the 18th century, goût was associated with aesthetic taste in France.

Goutte (FR): From the Latin gutta, Old French gote = Gout and Drop. It was thought as far back as the ninth century that this inflammatory ailment was caused by little drops of viscous humors seeping from the blood into the joints causing painful swelling — a theory close to the modern explanation.

Gout (ENG): Derives from the Old French gote (see goutte). Again, note Voltaire’s comment above about the origins of many English words.

Taste (ENG): From the Vulgar Latin tastāre and the Old French tast = Touch. The Old English smaecken — to taste — derives from the German schmecken, which translates as “to taste, try, smell, perceive.”

Paris taste and gout. Credit: L. John Harris

But why the same words in English, French and most other Romance languages for both aesthetic and physical taste? The complex etymology is well-documented, but I have not found an acceptable answer why our sense of taste — the human faculty least associated with art with a capital “A” (the fine arts) — is used as the metaphor for discerning, as Voltaire put it, “the feeling of beauty and defects in all the arts.”

Our other senses are, in fact, used in some contexts to describe aesthetic taste: You can have an eye for design and an ear for music. But you can’t have an eye for music or an ear for sculpture. Why then does “taste” apply so universally?

Is it because when we taste something, we bring the object of that sense (food and beverage) into the body itself, which, I would argue, renders taste unique among the human senses in being more sensitive? This is a simple explanation I can live with. After all, bad food can kill you. Bad paintings just make you sick.

Uncle Wiggily meets Voltaire in Paris

Voltaire’s ideas about taste emerged at a time when Paris had become Europe’s capital of le bon goût — in art, style, fashion and gastronomy — during the reign of the Sun King, Louis XIV (1638-1715), the Ralph Lauren of French monarchs. The cafe had arrived as the chic nexus of good taste (both kinds) and the go-to spot for that new, exotic beverage — coffee. But cafes mainly catered to a small Parisian elite in Voltaire’s day. “Taste,” he noted, ” … like philosophy, belongs only to a small number of privileged souls.”

Today, the cafe serves good taste to a much broader swath of souls; less privileged perhaps, but still human. So, imagine for a moment that Uncle Wiggily had ventured out from his forest to travel to Paris with a group of young furry souls — chipmunks, possums, bunnies and bear cubs. They are seated at Voltaire’s favorite cafe, Café Procope (established in 1686 and still going strong), happily nibbling on wedges of quiche and sipping cups of chocolat chaud. The elderly, kind and wise Uncle Wiggily Longears would, of course, be admonishing his charges in his best rabbit French, “Trop de quoi que ce soit n’est pas trop bon!” Too much of anything is not too good …

Main illustration credit: L. John Harris

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‘Café French’: The Cafe Is Dead – Long Live The Cafe! Image

La Vie en Rose: Bitter brews, perfunctory pâtés, questionable quiches, insipid salads and tepid tarts? Has the Parisian cafe lost its culinary luster? Well, yes and no, but from my hard-core cafe-lover’s point of view, it really doesn’t matter!

Yes, Paris’ fall as the world capital of fine dinning and its efforts to revive are well-documented. The most recent, and fairly gloomy, report is by Mark Bittman in his July 22 New York Times piece, “French Food Goes Down.” Bittman is a bit late to the funeral. The media discourse on French gastronomy has brightened of late, and Nicholas Lander’s April 25 column in London’s Financial Times has even hinted at a renaissance of fine dining in Paris.

In any case, fine French food — dead, alive or somewhere in between — has never been the draw of the Parisian cafe.

Joie de Starbucks

L. John Harris' Paris Cafe Index. Credit: L. John HarrisIt’s true that traditional cafes in Paris, and France generally, are closing in growing numbers. Young cafe-going Parisians and tourists, if not older, die-hard loyalists, are opting for food-trendy, Internet-friendly (Wi-Fi gratuit or free Wi-Fi) alternatives. These include, incredulously, American fast food and coffee chains like MacDonald’s and Starbucks.

Most traditional Parisian cafe owners would rather close up shop than give out their Wi-Fi (pronounced whiff-ee) passwords. Or so it seems.  Last summer, I had to swallow my pride (and their “handcrafted’ lattes) and head to Starbucks to access a signal. I was conducting an online interview with Leonard Pitt, the Berkeley-based author of “Walks Through Lost Paris” (Shoemaker and Hoard, 2006), a fascinating visual guide to Baron Haussmann’s architectural transformation of 19th-century Paris.

Pitt responded from his computer at the cafe in Berkeley, California’s French Hotel, across the street from Cali/Frenchie Chez Panisse. Working from my computer at Starbucks Odéon, the irony seemed absurd and a little painful. Pitt is a passionate proponent of a cafe-centric lifestyle over the work-ethic culture of Puritan-influenced America. “Nothing better symbolizes,” writes Pitt, “the congeniality, the rhythm and sheer joie de vivre we ache to recapture in life than the cafe.”

Well put, Pitt! But one man’s joie de vivre is another man’s (or woman’s) morning coffee ritual, writing studio, business office, evening gathering spot or flâneurian observation post. And often, all the above and more. The Parisian cafe is more than the sum of its parts.

Our Café French™ lesson today is based on my cafe-centric stay this June in the heart of Paris’ cafe-rich 6th Arrondissement — a perfect location for reflections on the traditional cafe’s basic functions. (See “Parisian Café Index” illustration.)

Wake up (se réveiller) and smell the coffee

When I go to a cafe to wake up with a café crème, the least important criteria for me is the coffee’s origin, quality or, I confess, taste. My critical connoisseur’s brain is still asleep even if my legs can get me there. So, I began each day at cafes within a few minutes walk of my apartment on rue Madame, mostly at my café du coin (corner cafe), Café Madame. There is nothing exceptional about Café Madame — they serve a typical petit déjeuner (decent coffee, acceptable croissant or buttered tartine, reasonably fresh orange juice) — except its convenient location.

After my morning coffee and a short stroll through the nearby Luxembourg gardens, I would arrive back at my apartment awake and ready for work — reading, writing and sketching — before heading out again to another cafe for lunch and more work.

Working (travailler): reading (lire), writing (écrire), sketching (faire des croquis)

Any cafe can be a working cafe, depending on one’s personal requirements. Kaaren Kitchell, an ex-pat novelist, poet and “Paris Play” blogger combines her daily one-hour walk with her writing and editing projects, so her cafe must be at least a 30-minute walk from home. Her other criteria include a quiet ambiance and, ergo, few tourists. “The French know how to modulate their voices,” says Kitchell, “Americans and Italians don’t.”

Chacun à son café! Ex-pat Paris author, tour guide and bon vivant, Terrance Gelenter, prefers to work in crowded and noisy icons, like Café de Flore. Every Sunday from 11 a.m. to 1 p.m., Gelenter holds “office hours” on the ever-popular terrace for his tour clients and visiting Anglophone writers, artists and musicians. His newsletter, “Paris Through Expatriate Eyes,” offers restaurant and hotel reviews, travel tips and a calendar of arts events.

Talking (parler)

Where better than at a cafe to talk? The cafe inhabits a middle world between public and private space, unlike bistros and brasseries, where spirited talking inter-table is welcome, if not required. For the 19th-century Impressionists who broke from the stifling restraints of the Academy, the cafe became a salon where they could engage in debates over aesthetic issues (with the help of addictive amounts of absinthe).

One artist, however, presents an amusingly downbeat view of the cafe’s talking function. That would be the legendary Marcel Duchamp, as quoted in “Marcel Duchamp: The Afternoon Interviews” by Calvin Tomkins:

“In the case of the Impressionists it could be a very useful thing — one artist would say a word that caught the imagination of the others, that’s true. But it’s a very, very artificial thing … full of new words and flourishing language and so forth, but no actual exchange and no understanding of the other one’s ideas.”

The inscrutable, tight-lipped Duchamp famously abandoned art and art talk when, in mid-career, he withdrew into the silence of chess competition. Which brings us to our final, nonverbal, cafe functions.

Watching (observer) and resting/napping (se reposer/sommeiller)

Much has been written about the cafe’s observational function. It’s as if the cafe, invented in 16th-century Istanbul, was destined for “… the eminently Parisian compromise between laziness and activity known as flânerie!” as 19th-century playwright Victorien Sardou was quoted in Edmund White’s book “The Flâneur.”

As for resting in cafes, it’s a touristic necessity after days filled with shopping and sightseeing. But napping? Well, I admit it’s a conceptual stretch. Nevertheless, while sketching one afternoon at Les Deux Magots toward the end of my summer cafe immersion, I drew three tables pushed together with a man sleeping on top. A visual punchline for my illustration of the cafe’s functions. Come to think of it, for us older, diehard cafe loyalists in search of that elusive joie de vivre — or, at least, an occasional afternoon nap — it’s not a bad idea.

Main illustration: The basic functional modes of the Parisian café. Credit: L. John Harris

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‘Café French': Bouillon Meets Bullion In A Soup Pot Image

La Vie en Rose: Our Café French™ lesson today takes us to Bouillon Chartier, which opened on rue du Faubourg Montmartre in 1896. It’s not a cafe or bistro or brasserie. Chartier is a bouillon, one of a few surviving members of a class of mid- to late 19th-century Parisian restaurants that specialized in hearty faire — especially meaty soups and broths. The low prices at the bouillons attracted workers, artists and shopkeepers in and around the sprawling food markets of Les Halles during the period of rapid commercial expansion during the Second Empire.

Credit for the creation of the bouillon (pronounced “bul-yon” in French, with a silent “n”) goes to Pierre-Louis Duval, an enterprising butcher whose first “broth Duval” opened in 1855. By 1900, the year of the Universal Exposition in Paris, there were hundreds of bouillons in Belle Epoque Paris, some fancier than Duval’s originals (Art Nouveau interiors were the rage), catering to the increasingly affluent bourgeoisie.

Primordial soup

It’s well documented that the modern restaurant (the word and the place) evolved from the restorative meat broths (called restaurants in French, pronounced “res-toe-rone) served at “health food” establishments in Paris beginning in the late 18th century. Going back still further to the 15th century, a very interesting recipe for a “restaurant” is documented in Rebecca Spang’s fascinating book “The Invention of the Restaurant” (2000).

The recipe is from the French master chef, Chiquart Amiczo, in his cookery book, “Du fait de cuisine” (1420). Amiczo’s instructions call for cooking a freshly killed chicken in an alchemist’s glass kettle along with 60 gold ducats. Not exactly the recipe my grandmother used when she made her famously golden chicken soup to cure my colds.

Courting the golden bouillon

Today’s Café French lesson explicates the linguistic trajectory between bouillon/broth and bullion/gold, health and commerce, restaurants (restorative broths) and restaurants (dining establishments).

The English pronunciation of bouillon, with a hard “n”—yone — is the same as for the English word bullion. Bullion, usually in the form of gold bars (ingots in English and lingots in French) has no linguistic faux ami in French (literally, false friend, or “unrelated sound-alike”). Both words, bouillon and bullion, derive from the Latin bullireto boil or make bubbles.

Compare: To make gold bullion one has to “boil” the gold to liquefy it for the ingot molds. To make a golden court-bouillon (“quick bouillon,” pronounced “coor-boo-yone), the vegetable-based broth used for poaching fish and light meats, one boils carrots, celery, onion, parsley, bay leaf, thyme and lemon in water, adding white wine or vinegar. Gold ducats optional.

Or one can cheat and avoid culinary/alchemical complexity by using dehydrated bouillon cubes (in French, bouillon cubes), like the Kub Or (gold cube) brand from Maggi, a French division of Nestlé Global.

Follow the monnaie

The pot thickens! Let’s look at a small slice of French history that is as startling as it is inconsequential, the almost simultaneous arrival of two men to the court of King Louis XIII (son of Henry IV) in the first half of the 17th century, one named Bullion and the other Bouillon. (You can’t make this stuff up.)

Claude de Bullion was a French aristocrat who served as Minster of Finance under Louis XIII from 1632 to 1640. He is credited with the creation of the Louis d’Or gold coin, which replaced Spanish doubloons, then in use in France for their coined money — monnaie (pronounced mon-et, as in, “A Monet costs beaucoup de monnaie). At least one authoritative source insists that the etymology of the word bullion derives from Lord Bullion’s name.

Henri de la Tour d’Auvergne, the Duc de Bouillon, was born in 1555 into the royal line associated with the Duchy of Bouillon in northeastern France, which later became incorporated into Belgium. Today, the Dutch city of Bouillon attracts tourists to its medieval castle, Château de Bouillon. Louis XIII was still a boy in 1610 when the Duc de Bouillon became a member of the Council of Regency and a favorite of the Queen Regent, Marie de Médici.

I have found no evidence that Bullion and Bouillon knew each other, but it’s interesting to speculate about what might have happened when M. Gold met M. Broth.

Taking stock at Chartier

Cafe French No. 4 translation exerciseSeated at a small table at Chartier, I find no bouillon on the menu — no soup, potage or consommé of any kind. My waiter explains that the weather is too hot for soup. Imagine a Parisian cafe on a hot summer day with no café crème!

But as disappointed as I am, I can almost taste the history of Parisian broth in Chartier’s Belle Epoque interior. You feel as if you have traveled back to the Paris of Emile Zola’s “The Belly of Paris,” his novel set in Les Halles and the market stalls, charcuteries and bistros of the Second Empire.

During that extraordinary period, Duval’s chain of bouillons had made him a “bouillonaire.” But his son, Alexandre, according to fellow Francophile, Susan Griffin, author of “The Book of Courtesans,” squandered much of the family’s wealth on the notorious and exquisite courtesan, Cora Pearl.

When Pearl dumped young, naive Duval, he tried to shoot her with a pistol that miss-fired and almost took his own life instead. The scandal that rocked tout Paris tilted in favor of the scorned Duval and brought down Pearl. The “affaire Duval” was a wake-up call for the bouillon heir who recovered and rebuilt his broth empire.

The golden age of Parisian bouillons is past, along with courtesans, Art Nouveau and the Belle Epoque. The fabled Bouillon Chartier is, at least today, a sad and soupless shadow of its former self. Luckily for cafe and coffee lovers, the thirst for hot coffee, a universal, all-weather restorative brew, will never dry up.

Main illustration credit: L. John Harris

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‘Café French': Palate, Palette & Picasso’s Ghostly Palace Image

La Vie en Rose: Our Café French™ lesson takes place today at Le Sélect in the former bohemian stronghold of Paris, Montparnasse. Where better than at this legendary literary cafe to consider the linguistic and aesthetic connections between cuisine and art? The list of the cafe’s celebrated patrons reads like a who’s who of literary and artistic Paris going back to the 1920s. Le Sélect may be the only cafe in Paris with its own biography, “Paris Café: The Sélect Crowd” by Noël Riley Fitch.

My guests (or should it be ghosts?) of honor today are the great novelist, dandy and gourmand, Honoré de Balzac (1799-1850), and the Sélect’s most celebrated alum, Pablo Picasso (1881-1973). We are gastro-philologists, exploring via my Café French learning system a love of words and texts about art and food and the art of cooking.

The cook (le cuisinier, pronounced qui-zee-nyea) observes the materials arrayed on his work surface, just as a painter (le peintre, pan-truh) views the pigments on his palette (la palette, pah-let). The cook “sees” the possibilities before he even begins to chop, mix, sauté and roast.

As the cook engages with his culinary palette, his anatomical palate (le palais, pah-lay) anticipates taste – le goût (pronounced goo) — via the physiological mechanism of anticipatory arousal (salivation and memory). This parallel between the artist and cook, the palette and the palate, was noted by Balzac when he commented on the practice of that inscrutable 19th-century urban type, the flâneur.

The gastronomy of the eye

Balzac described flânerie (la flânerie, flan-er-ee) as “the gastronomy of the eye.” The flâneur was the ultimate urban observer, not merely a stroller, who would emerge at mid-century as the bohemian artist, an ironic dandy roaming the commercial arcades and grand Haussmann-designed boulevards of Paris. Drinking in its novelties, the flâneur, like a cook, served forth his aestheticized observations as poetry, prose, music and art. The poet, Charles Baudelaire (1821-1867), was the archetypical flâneur, and perhaps the first modern Paris artist.

Balzac understood flânerie (he shared a social circle with Baudelaire) but fancied himself a flamboyant dandy and even wrote the first philosophical study of the type, “Treatise on Elegant Living” (1830). More gourmand than dandy — he was described by one critic as a binge eater — Balzac’s slovenly corpulence always gave him away.

Gastronomy was in the air in Paris and in the restaurants that flourished after the French Revolution. The City of Light was becoming the gastronomic (and art) capital of Europe. Balzac was 26 years old when Jean Anthelme de Brillat-Savarin’s “Physiologie du Goût” was published in 1825.

The cook as artist

Cafe French Translation Exercise. Credit: L. John Harris If, in Balzacian terms, the observing flâneur practices the eye’s gastronomy, the cook as artist operates as gastronomy’s eye — he/she sees/tastes something we don’t. The ingredients on the cook’s culinary palette are transformed through aesthetic expression and registered on the eater’s palate much as the painter’s colors, poet’s words or musician’s notes are transformed and registered on their respective sense organs.

Interesting to note that the French word for palate — le palais  (pah-lay) — is also the French word for palace. Of course! The palate is our palace of gustatory pleasure. Before the discovery in the late 19th century of taste buds — les papilles gustatives — distributed throughout the oral cavity, especially on the tongue, it was thought that the human palate (soft and hard) was the sole site (or seat, as in “the seat of government”) of taste. Run your tongue along the roof of your mouth — it is a pleasure dome, no mere roof, and we are the kings and queens of the realm.

Another palette. Credit: L. John Harris

Another palette. Credit: L. John Harris

Back at Picasso’s palace

The haunted ambiance at Le Sélect is palpable today. Squeezed into a cozy booth, I am reading now about the “select crowd” in Fitch’s homage to the cafe and its resident ghosts, including Ernest Hemingway, Luis Buñuel, Henry Miller and, most famously, Pablo Picasso. You can almost taste the history of 20th-century modernisme at Le Sélect, or at least its mythology.

The cafe’s resident cat (chat), a long-haired bohemian fellow, is asleep on the bar, adding a je ne sais quoi (a little something, or literally, “I don’t know what”) to the cafe’s ambiance. Perhaps it’s a soupçon (a little bit) of domesticity, the cafe in its historic role as an extension of the home.

The servers are scurrying from table to table, like penguins in their black and white garb. I glance out the window at the passersby, expecting my friend, the food writer, cookbook author and now French pastry expert, Martha Rose Shulman, who will be joining me for lunch today.

I have important questions for Martha — about Picasso not pâtisserie. She spent the 1980s living in Paris and operating her “Supper Club chez Martha Rose.” While there, Martha grew close (and still is) to her landlord, Christine, who she soon discovered was the widow of Pablo Picasso’s son, Paulo. Martha is my connection to the real, historic Picasso, Picasso outside the myth.

I’ve read a lot about the palette of the artist Picasso, but I know little of his palate. Señor Picasso was an Andalusian Spaniard, and I presume that he loved garlic, peppers, sherry and grilled sardines, a specialty of his native Málaga. Martha will know. We will sit at Le Sélect and, like good gastro-flâneuring bohemians, observe the action on Boulevard du Montparnasse and the action at our table – salade niçoise, croque-monsieur and café crème. I will drink in Martha’s stories about le palais de Picasso and the cafe’s nosy ghosts will be all a-twitter.

Main illustration credit: L. John Harris

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‘Café French': Fish, Poison And James Beard’s Fork Image

La Vie en Rose: The key to mastering the art of the café lifestyle in Paris is to be vigilant. My Café French™ language system can help. Did your French server just scowl at you because you ordered poison (in French, poison, pronounced pwah-zon) instead of fish (poisson, pronounced pwah-son)? The grammatical rule here is that a single “s” appearing between two vowels — “i” and “o” in the case of poison — is pronounced “zz.” And a double “ss” appearing between two vowels, as in poisson, is pronounced “ss.”

Something’s fishy here

There may be reason enough in our polluted world to worry about being poisoned by fish without ordering it that way! That prompts the question: Where does Paris actually get its fish? All 100-mile locavores take note: Paris is a long way from its Atlantic and Mediterranean coasts. Although the River Seine and smaller rivers and streams around Paris were once sources of freshwater fish, this is no longer the case because of industrial waste, especially from nuclear power plants. So even with its spectacular ocean bounty, France is today a net importer of seafood.

But despite discouraging trends in French gastronomy brought on by social, political, environmental and economic stressors — read Michael Steinberger’s book on France’s declining haute cuisine status, “Au Revoir to All That” — much of the gastronomic apparatus that made France the envy of the Western world over the last several centuries remains intact, theoretically, if not always visible on the plate.

The gastronomic reach of Paris

It was the legendary French writer and gastronome Curnonsky — born Maurice-Edmond Sailland in 1889 — who christened Paris a “tentacular” city and the digesting “belly” of France. Gastronomic France was built like a huge wheel with spokes that radiated out from the hub — Paris. And like some gourmandizing Goliath, Paris reached out over La France Profonde (“deep France”) to rake in the regional treasures of its incomparably fertile terroir.

The Gastronomic Reach of Paris. Credit: L. John Harris

Illustration of Paris Gastronomic Reach. Credit: L. John Harris

You might say that culinary Paris was, in the first half of the 20th century, Curnonsky himself. In a 1927 newspaper poll, he was voted by 3,000 Parisian chefs “The Elected Prince of Gastronomy” (Le Prince-élu de la Gastronomie) and was the first modern French food and wine critic powerful enough to make or break important restaurants. It has been claimed that top chefs would keep a table empty just in case Curnonsky should walk in.

The gastronomic wheel of France circa early 20th century was, of course, made of rubber, as in the Michelin tire company. Curnonsky helped usher in the Michelin era and its starred rating system, becoming the company’s first spokesman and the creator of what is known today as gastro-tourism, or back in the day, “motor-tourism.”

Promoting France’s increasingly-accessible regional cuisine was Curnonsky’s real passion. Similarly, a generation later, American food legend James Beard (1903-1985) would advocate for the regional cuisines of the United States, including the new California cuisine that emerged in the 1970s. Curnonsky had divided French cuisine into four hierarchical categories: At the top was haute cuisine (fancy restaurant cooking), followed by traditional family cooking, regional cooking and finally at the bottom, “impromptu” or “camper” cooking. The resemblance of California’s simple, local, fresh-is-best cooking style — discovered and championed by Beard — to the lowest rung in Curnonsky’s French cuisine hierarchy is worth noting.

Forks and rakes

Like Paris raking in the bounty of France, Curnonsky and Beard did prodigious amounts of personal gastronomic raking, as to which their growing rotundity would testify. The French word for a rake or pitchfork is fourche (foorshhh). A dinner fork, fourchette (pronounced foor-shett), is a “little rake.” (Café French™ tip: Don’t forget to emphasize the second syllable in the word fourchette when you ask your scowling Parisian café server for another fork. It’s bad enough you dropped the first one on the floor without asking to replace it with a rake.)

The physical resemblance of our outsized French and American gourmands went well beyond their balding pates, mustaches and signature bow ties. The expansive real estate they each wore around their middles (the French call a paunch a brioche) like suburban sprawl around an urban core, was their professional trademark. Larger than life (obesity became a “problem” only after World War II), Curnonsky and Beard personified the material abundance of the foods and wines they celebrated and gorged on.

There is something both hilarious and poignant in the discovery that at the James Beard Foundation in New York there is a long telescoping extension fork that Beard would use at meals to skewer food from across the table, especially bread I am told.

Historical rakes and rascals

Appearing a century or two before Curnonsky and Beard, the “rake” (in French, un débauché, pronounced day-bo-shay) was a dandy, rascal or libertine whose large, often refined appetites were, from the perspective of a growing bourgeois culture, out of control. Cafés in Paris and tea salons in London of that period were full of rakes.

The character is featured in English artist William Hogarth’s series of devilishly humorous paintings cum lithographs called “The Rake’s Progress.” The social and personal dramas portrayed in Hogarth’s masterpiece reveal the troubles of one Tom Rakewell (a wordplay on “rakehell” from the Middle English “rakel”) whose “… pursuit of pleasure and sensual satisfaction … shows hedonistic, Epicurean, and anti-rationalist patterns of thought,” as Wikipedia puts it.

I wouldn’t necessarily apply the “anti-rationalist” component here, but Curnonsky and Beard certainly shared “rakish” tendencies. Our twin epicures did not hesitate to pursue their “sensual satisfaction” publicly through their gargantuan devotions to the pleasures of the table, and privately, no doubt, through “hedonistic” behaviors not relevant to our Café French™ discourse.

Meanwhile, back at the café

Seated at my favorite corner table at Café de Flore in Paris’ chic 6th arrondissement, I come across an astonishing line in Beard’s 1961 cookbook “Paris Cuisine,” where he comments on the declining post-WWII cafés in Paris and their “ … very mixed crowd of phony artists, haywire poets and every possible nationality of sightseer.”

Muffling my guffaw in a glass of chilled rosé — a Café French™ survival technique — my thoughts shift back to Monsieur Curnonsky. I wonder what he would think about today’s Michelin-endorsed avant-garde cooking and an artsy cuisinier de poisson (fish cook) who serves a purée de poisson poché (poached fish purée) splattered over a sheet of baked parchment paper and calls it “Jackson’s Pollock”?

Top illustration: Poisson = Fish. Poison = Poison. Credit: L. John Harris

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