A tomato grows in Bercy

On a tiny side street in the 3rd arrondissement near the market known as Les Enfants Rouges (named for a former orphanage where the children wore red jackets), we stumbled across a tiny garden, divided into even tinier plots, filled with flowers, herbs, and vegetables. A sign told us it was Le Potager des Oiseaux. Another time, Philippa found a similar little space in the 11th, called Le Jardin Nomade.

It’s somehow surprising to see food growing in Paris. We’re used to thinking of the city as a place where food is sold, cooked, consumed, and celebrated. But produced…? Not so much.

Paris’s food production hardly rivals that of France’s major agricultural areas, but if you know where to look, you can find it. There are beehives on the Opera Garnier, the Opera Bastille, the Grand Palais, the Tour d’Argent restaurant, and probably a few other rooftops. We once bought a little jar of honey from the Opera Garnier roof; it had an endearingly amateurish-looking label made on a photocopier and contained a pale honey with a faintly smoky taste.

And on the slopes behind Sacre-Coeur is the vineyard known as Clos Montmartre, at the corner of rue des Saules and rue St Vincent. It’s the only remaining vineyard in Paris. Once upon a time, the Butte Montmartre (Montmartre hill) was covered with vineyards and market gardens. Vincent Van Gogh painted them in 1887, with a mill in the background – no,  not the Moulin Rouge, the Moulin de Blute-Fin). All gone now. The original vines on the hill were killed by the phylloxera epidemic of the late 19th century that wiped out vines across the country. The Clos Montmartre was created some decades later, when a group of artists stopped a real estate development on the site and started a vineyard. The first grape harvest was in 1934. Today, the vineyard produces about 1,500 half-bottles of wine a year. Not much, admittedly, but it carries symbolic weight.

For growing veggies and fruit, the city offers about 50 jardins partagés (allotment gardens or community gardens), squeezed into leftover corners of land, mostly in the eastern and southern parts of the city. Gardening writer Marjorie Harris has also noticed these pocket gardens. “I was totally enchanted by the neighbourhood gardens tucked into corners and looked after by locals. It was like coming upon the most glorious oasis in a city full of them. There’s one in the 20th where we were staying and it was never unpopulated. People dropped in and out all day long.”

Some of these jardins partagés have wonderful names: Le Poireau Agile in the 10th (un poireau is a leek, and this name plays off the name of the famous inn called Le Lapin Agile), Le Jardin des Mots et des Merveilles in the 13th (the garden of words and wonders), Le Lapin Ouvrier in the 14th (the working rabbit), or Jardin de Perlimpinpin in the 17th (perlimpinpin comes from poudre de perlimpinpin, meaning a magic cure-all). We can’t help thinking that perhaps urban agriculture in other cities might find wider acceptance if community gardens were always given such charming names.

Even the ubiquitous windowboxes grow basil, mint, parsley, and tarragon, along with the typical geraniums. In the last apartment we rented, we had instructions to keep the herbs well watered.

The term “locavore” (that is, someone who seeks out locally grown food) has made the transition to French, and at least one book has even been written on the subject for a French audience. We find this a bit odd, as French people have been locavores for generations, and don’t seem to have as great a need to reconnect with the sources of their food as North Americans. Here, books like the 100-Mile Diet (about a couple in B.C. who survive for a year on local food) and Animal, Vegetable, Miracle (about a family’s experiences growing their own food in southern Appalachia) inspire fascination and awe. In most parts of France, 100-mile diets would probably not be a jaw-dropping feat, and growing your own is an experience common to all but the most jet-setting of urbanites.

Still, the generation that eats at McDo probably needs reminding about the origins of food now and then, so Paris provides educational gardens, including one in the Parc de Bercy, which welcome school tours.

Even the wife of the U.S. ambassador is getting into the act. She created a potager on the grounds of the embassy in the rue Faubourg St-Honoré, following the lead of Michelle Obama, who made a food garden on the White House grounds. Students from a local horticultural school helped plan it and plant it, and the embassy chef will use the produce (which includes artichokes, rhubarb, and red currants) in embassy menus.

And why not livestock? Apparently Louis XV, a noted bird fancier, and his mistress, Madame de Pompadour, kept chickens and other birds in cages on the roof of Versailles, and presumably enjoyed a ready supply of fresh eggs. For all we know, some Parisians do the same. We can just imagine the gleam in a chef’s eye, contemplating the birds and the bunnies in the pet market on the Quai de la Mégisserie….

Vocabulary: The Moulin de Blute-Fin translates as the mill that grinds finely (blutage is the word for separating the flour from the bran). A vegetable or kitchen garden is un potager; a market garden is un maraîcher.

Links: For the full list of Paris’s community gardens (in French): see http://jardinons-ensemble.org/

Text and photograph copyright Philippa Campsie

Posted in Paris food, Paris gardens | Tagged , , , , , , , , | 2 Comments

The sounds of Paris

Blogs about the sights of Paris abound, and people write in swooning terms about the tastes of its food, but what about its sounds? How to convey the sounds of a city that is noisy, but is somehow less noisy that you’d think, given the number of people and vehicles crammed into its space?

If you Google “Paris soundscapes,” you will come up with some interesting efforts to document the distinctive sounds of the city. One Paris writer, Christopher Pitts, includes some Paris sounds on his website – our favourite is the sound of the Sunday Fontainebleau market. It is mostly human voices, the most distinctive Paris noise – people talking passionately about food, produce, and meals.

Like all cities, Paris has a fair bit of traffic noise at all hours, but you can also hear birds, children’s voices, church bells, merry-go-rounds, and music. We once stayed in an apartment with windows opening into a courtyard and in the early evening enjoyed the sound of a competent pianist practising, or just playing for enjoyment.

Some pieces of music immediately conjure up the city for us, and one of those is Ravel’s Piano Concerto in G, written in 1931 and premiered by Marguerite Long at the Salle Pleyel in January 1932. (You can hear the exquisite adagio movement here.)

The music makes us think of being on the water at sunset, drifting with the current of the Seine, perhaps on one of those elderly working barges (péniches), watching the world slide past and looking up at the buildings on either side.

The story of the concerto’s premiere is described in Marguerite Long: A Life in French Music, 1874-1966, by Cecilia Dunoyer. Marguerite Long, a gifted pianist, had been a friend of Ravel’s for decades. Ravel had originally wanted to premiere the work himself. But he eventually realized that Marguerite was the better player and would do the work justice. Marguerite fondly remembered that he had always wanted to be remembered as a pianist, with these words, “If he were told that [his opera] Daphnis and Chloe was worthless but that he was a great pianist, he would have been content!”

In 1931, he finally brought her the music. At one point, as she read it through, she found tears streaming down her cheeks. She later told Ravel that she was transported by the way the music “simply flows.” He snorted: “Simply flows! I wrote it measure by measure and nearly died from it!”

The premiere on January 14, 1932, as part of an all-Ravel program, was a huge success (un succès fou). Long and Ravel then left for a European tour to showcase the concerto. It was a bit nerve-racking (angoissant) for her, not only because Ravel was not most reliable of orchestra conductors, but also because he was dreadfully absent-minded and tended to lose his keys, his wallet, train ticket and luggage on a regular basis. At one point, he forgot to get off the train, leaving Long stranded on a Berlin platform without any German money. On other occasions, he would become distraught because he couldn’t find his patent-leather shoes, which he wore for concerts (he had very small feet, and replacements were hard to find).

Marguerite was the perfect travelling companion. She took everything in stride, and usually laughed about his scrapes. She used to say, “We are gathering memories!” She was also a faithful interpreter of his work, for Ravel was very insistent about exactly how he wanted his music played, and she followed his advice.

Ravel wrote very little after completing the concerto. Later that year, he suffered a head injury in a taxi accident, which undermined his already fragile health. He died in 1937. Before his death, as he fretted about his inability to work, Marguerite reminded him of all the beautiful music he had already written, but he insisted, “I have not said or composed anything yet of what I wanted to say.”

Marguerite outlived him by almost 30 years, a gracious and forgiving friend to a genius.

Vocabulary: A soundscape is usually translated as un paysage sonore. Les péniches are the long barges on the Seine – some have living quarters on them. Un succès fou is the term for a wild success. Absent-mindedness is la distraction, and an absent-minded person is distrait.

Text copyright Philippa Campsie; illustration copyright Norman R. Ball

Posted in Paris music | Tagged , , | 5 Comments