Paris to the Moon (21 page)

Alex has seen some of the predicament at first hand. She is twenty-seven; she arrived in France five years ago and, after training in Burgundy, became a
commis
at Guy Savoys two-star place in the Seventeenth Arrondissement. Within a couple of years she had worked her way up to fish chef, and a little while later Savoy appointed her second-in-command at his bistro, La Butte Chaillot. (This is like a young Frenchman arriving in New York, all enthusiastic about baseball, and ending up five years later as the third baseman of the Yankees.)

The other day, over coffee on the avenue Kleber, Alex, who is from New York (she went to Barnard, Mom's an editor at Scribner's, Dad's a professor), said, "I decided I wanted to chop onions, so I tried the CIA"—the Culinary Institute of America, the MIT of American cooking—"but it was like eighteen thousand a year,
tout compris,
so I decided to go to Burgundy and chop. I started learning the French way, which is half beautiful

beyond belief and half 'Please shoot me.' It's by the book. Really, there's a book, and you learn it. There's a system for everything, a way to do it. You can't cut the fish that way, because
ca n'est pas bon
. You can't bone a chicken that way, because
that's
not good. 'We do it the way it's always been done in France.' When I first started at Savoy, there was one old stager who, every time I did something, would just frown and shake his head and say, 'It won't do it won't do.' Finally, I did
exactly
what he did, and he said, 'Good, now always do it exactly the same way.' So I did. You never get a real attempt to innovate, or to use new flavors. You can change an adjective, but the sentence stays the same.

"Whenever we make a classic sauce, everybody gathers around and
argues
about it. Once we got into a two-hour argument about whether you use chervil as well as tarragon in a true bearnaise. There are certain things these days that I will not do. I will not do mayonnaise or bearnaise. Uh-uh. I don't have time for the postgame analysis.

"Of course, there's that tomato at Passard's place," she went on. "But have you seen the way the poor kid has to work to make it?"

Alex's existence helps to explain why the new cooking went deeper in America than it could in France: In America the cooking revolution was above all a middle-class revolution, even an upper-middle-class revolution. A lot of the people who made the cooking revolution in America were doing it as a second career. At the very least they were doing it after a liberal arts degree; David Angelot started slicing carrots at fifteen. The most mocked of all modern American restaurant manners—the waiter who introduces himself by name—is, on reflection, a sign of something very positive. "I'm Henry, and I'll be your waiter tonight" means, really, "You and I belong to the same social class. Tomorrow night I could be sitting there, and you could be standing here."

The French system of education, unrenovated for a long time, locks people in place. Kids emerge with an impressive respect for learning and erudition, and intimidated by it too. For an American, getting a Ph.D. is a preliminary, before you go someplace else and find your real work, like opening a restaurant. Nobody thinks of changing metiers in France because it's just too hard. In America not only the consumers of the new cooking but, more important, the producers and dealers were college-educated. I once met a pair of American academics who had gone off to live with a flock of goats and make goat cheese. They had named the goats Emily, Virginia, Jessamyn, Willa, and Ursula. It was terrific goat cheese too.

Beyond these reasons—the missing grill, the resurgent nationalism, the educational trap—there may be an even deeper reason for the lull in French cooking. A new book,
L'Amateur de Cuisine,
by an unknown author, Jean-Philippe Derenne, which was published last year, offers an anatomy of French cooking—an effort to organize the materials, forms, and manners of the subject in a systematic way. "This cookbook is a book," the author writes on the first page, and then attempts to create a whole taxonomy of cooking based not on folk tradition or cosmopolitan recipes but on an analysis of plants and animals and the chemistry of what happens when you apply different kinds of heat and cold to them before you eat them. He begins his market section with the minerals (a crisp page and a half) and then passes to the plants (more than a hundred pages) and the animals, divided into those of the earth and the sky and those of fresh and salt water. (Even
"Serpents, Sauriens, Lezards, etc."
get their moment in the sun.) He gives a precise biological description of every imaginable thing there is to eat, then presents an exact analysis of every imaginable method of cooking it and shows how all the glories of cuisine rise out of the limitless intersections of these two forces. It is a vast, eleven-hundred-page volume, comprehensive and radiant; it resembles less a cookbook than a medieval almanac, offering a timeless, secure, benevolent universe of food. Its subject isn't cooking. It's
plenty.

Derenne is a modest and gentle scholar, not a cook or a critic or even a gourmand. He is a doctor, the head of the pulmonary department at a Paris hospital. Over lunch one afternoon at Arpege, Derenne, a small, good-natured man, with the open face and happy appetites of a Benedictine monk, said, "The same week that
L'Amateur de Cuisine
came out, I published another book, called
Acute Respiratory Failure of Chronic Obstructive Pulmonary Disease."
That was another thousand pages. This, surely, is a record for total weight by one author published in one week.

Derenne wrote the cookbook in seclusion, in the garden of his little house near Fontainebleau, only to find himself, on its publication, a new lion of the French culinary establishment: the man who wrote the book. He gets reverential,
cher maitre—type
letters from Paul Bocuse. Passard himself sees him as a friend. Dr. Derenne doesn't know quite what to make of it all.

"My editor said to me, when I gave him the manuscript, 'Why, you've written the first humanist history of food.' I said, 'No, not humanist. It's a religious book, really.' I was inspired by a history of religion by Mircea Eliade, which attempted the same kind of logical organization, rising upward from the types of religious apparition into the possibilities of organized faith. I've done for cooking what that author did for belief: shown an underlying logic without attempting to make it logical."

He went on to talk about a second volume, which he's just started: "It may be called free cuisine, but really it will be about the rejected cuisine. About everything the world throws out. Shells and guts and leaves—the whole world of the rejected. This is religious too, because religion depends on being able to find the holy in the ordinary. It's putting together things banal in themselves which nonetheless become transformed into something transcendent. You know who else has this quality? Duke Ellington—he simply used what he had."

There was something surprising about Derenne's talk, an expansive, open, embracing ardor that a hundred years ago would have seemed more American than French. It seems possible that the different fates of the new cooking in France and America are a sign of a new relation between the two places.

A century ago Americans used to say that what brought them to Europe was its history. At home, there was "no sovereign, no court... no aristocracy . . . nor ivied ruins; no cathedrals," as Henry James's famous list has it. What really brought Americans to the Old World, though, was the allure of power: cultural power, political power, military power—imperial power, as it existed in Europe and only there. What fascinated Whistler and James in the Old World was not its age but the extreme self-consciousness that comes with power, the way that power could be seen to shimmer through manners—the way that what you wore or how you stood (or what you ate) spelled out your place in a complicated and potent social hierarchy.

Now that that power has passed into American—or, anyway, English-speaking—hands, the trappings of power that come from extreme self-consciousness are ours too. Even our cooking—especially our cooking—has become involved with power. Where you stand on, say, the spread of McDonald's is a political issue, just as where you stood on the outdoor cafe was in France a century ago. Even the smaller issues of the palate count. Most American women define their feminism, at least in part, in terms of their attitude toward the kitchen. A century ago the modern form of that self-consciousness was invented in Paris. The limitlessly complicated relation of what you eat and where you eat it to where you stand in the social order is the subject of, for instance, the first two chapters of Maupassant's
Eel-Ami.
But now food and cooking in France have begun to take at least a small half turn back toward their other role, as sources of nourishment, comfort, cohesion. The role of food as anxious social theater, seen at its crudest in the endless worry in Los Angeles and New York about power tables—where you sit at Spago, what time you leave the Four Seasons—is diminishing in France. We are the worldly, corrupt ones at the table now, and the Europeans, in this regard at least, are the innocents. Even their philosophers eat for pleasure.

***

When the
tomate confite,
which David Angelot had been working on since nine o'clock, came out at last, Derenne tasted it. Then he said, "You see, he demonstrates for us what we knew from the first: that the tomato is a fruit. Would you call that arrogance or modesty?"

Not long after that I finally did what I had dreaded doing, though it would have been the practical thing to do all along, which was to go back to that first restaurant and see what it was like now. I walked back and found both the hotel and the restaurant, though both had changed their names—the hotel belonged now to the Best Western chain—and while in memory I had kept them on the same street, they were in fact a street apart. But the exterior of the restaurant was unmistakable; I found it by getting the Eiffel Tower in exactly the same area of my eye as it had occupied when I was fourteen. It was not far from—I am not making this up—the avenue Marcel-Proust. The restaurant is now called the Tournesol, and the less expensive prix fixe is 114 francs, or about twenty dollars. I ate a la carte. I had a little foie gras, sole meuniere, and a cassis sorbet.

The food was even better than I had remembered. This proves either that (a) Proust was wrong, and you can always recapture the pleasures of your youth if you just go back to the places where you had them, or (b) there is more good cooking left in Paris than I knew, or (c) I went to the wrong place. Anyway, there's hope.

Barney in Paris

When people ask why Martha and I, not long after the birth of our first child, left New York for Paris, we can usually think of a lot of plausible-sounding reasons. They vary in tone from the high-mindedly agonized (we couldn't endure the mailing of our SoHo neighborhood) to the cloyingly whimsical (we wanted to live within walking distance of the Gerard Mulct bakery, on the rue de Seine). The real reason was Barney. We had seen one after another of our friends' children—charming children of parents who parse Greek texts or write long metafictions set in the eighteenth century—sunk dumbly in front of a television set watching a man in a cheap purple dinosaur suit sing doggerel in an adenoidal voice with a chorus of overregimented eight-year-old ham actors. Just a glimpse was enough to scare a prospective parent to death: the garish Jeff Koons colors, the frantic prancing, the cynically appropriated public domain melodies. And, finally, that anthem of coercive affection—"I love you/you love me we're a happy family"—sung, so incongruously, to the tune of "This Old Man."

The experienced reader will know of course that Barney stands here for the whole of American kiddie video culture. The experienced reader, though, is wrong. We looked forward to introducing Luke to Bugs and Bullwinkle and Bert and Ernie, and even Steve and Norm on
This Old House.
We just couldn't bear the idea of his watching Barney The only way, we thought, to be sure that he wouldn't was to pack up everything we had and move to another country.

So, Paris. "We want him to grow up someplace where everything he sees is beautiful," we said, and though we realized that the moment our backs were turned our friends' eyes were rolling, we didn't care. We knew that our attempt to insist on a particular set of pleasures for our kid—to impose a childhood on our child—might be silly or inappropriate or even doomed. We couldn't help it, entirely. The romance of your child's childhood may be the last romance you can give up.

In our first week in our new home on the Left Bank, we were awakened early one morning by loud, oddly fugitive organ music;

it sounded like a carousel yet seemed to be moving closer. We opened the long French windows, looked out—and there was an honest-to-God organ grinder coming along the street, "La Ronde" playing as he turned the crank on his hand-painted hurdy-gurdy. I found a ten-franc piece and threw it down to the street; Luke applauded; the organ grinder caught it with one hand and cheerily, nattily, tipped his cap. Things looked good.

That first year we went to a lot of circuses; in Paris there are usually six or seven in residence. We saw the Moreno-Bormann family circus, which is a true family circus: When any performer does anything slightly dangerous, the rest of the family stand around the ring calling out "Careful!" under their breaths and averting their eyes. We also saw the Mongolian National Circus, in a little tent pitched at the Arsenal. It consists of six broad-faced, smiling Mongolians, who do circus tricks appropriate to a nomadic scarcity economy—they eat a
little bit
of fire, walk on
one
broken bottle and save the shards—and finish off with an elaborate, pointless thirty-minute trick using a magician's cabinet that must have been left in Mongolia by an American illusionist sometime around 1860. (A Mongolian girl gets in the cabinet; Mongolian circus members slowly slide the swords through the slots; spend twenty minutes removing the swords from the slots; and then the girl gets out.)