coromandal


a man in his twenties in love with an older woman
May 7, 2010, 1:54 pm
Filed under: departure lounge, the sweet life | Tags: , , ,

”Every city has a sex and an age which have nothing to do with demography. Rome is feminine. So is Odessa. London is a teenager, an urchin, and, in this, hasn’t changed since the time of Dickens. Paris, I believe, is a man in his twenties in love with an older woman.”
– John Berger

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enlightened catastrophism
January 21, 2010, 1:49 am
Filed under: brave new world | Tags: , , , , ,

Different cultures react differently to security and risk.  Take for example the French and the Americans:  one reluctant and secretive and the other anxious and xenophobic.

From Urban Age’s Civilizing Security in New York:

What distinguishes New York and Paris?

1. Different national rhetoric

French Approach: “enlightened catastrophism” (Jean-Pierre Dupuy)

• Reluctance to overreact and to create “moral panics”.

• Culture of secrecy among high-ranking French bureaucrats.

• French state: pivotal role in the production of social trust and solidarity.

American Approach: anxiety without an object (Habermas)

• A discourse of “war”.

• A state of constant citizen alert and anxiety.

• The construction of referents of otherness, the alien, dirty and subversive.

Civilizing Security in New York:  A View from Europe, Sophie Body-Gendrot



the banks of the seine
June 9, 2009, 7:48 pm
Filed under: the sweet life | Tags: , , , ,

Here is a description of the consuming role education played for those lucky enough to get it in the Middle Ages in France.  Education was tied to the church but was broad enough to include, beside theology, medicine, law and the arts.  It was worth giving over everything for; a consuming passion.  For the student, in a very real sense, knowledge became home.

the wandering student, passing from Laon to Chartres to Angers, or to some obscure monastery made temporarily famous by a new teacher, would come at last to the banks of the Seine … There he would seek out, or drift to one master or the other.  There, as often as not, he stayed.

-E. R. Chamberlain, quoted in A Traveller’s History of Paris, by Robert Cole.



the flock of bridges is bleating this morning

(apollinaire, various iterations | gare saint-lazare | sante)

Luc Sante is the Belgian American writer who wrote Low Life. This is his description of how a poem by Guillaume Apollinaire described perfectly his experience of leaving Belgium. The poem, however, does far more than address his identity as an immigrant: it is a clear revelation, a flash, of his place in the world that lays bare his desire for the clarity of modernity in the face of the confusion of religion. He comes to a point of exhilaration and comfort.

“A la fin tu est las de ce monde ancien.” “In the end you are tired of this old world.” Thus began “Zone,” by Guillaume Apollinaire.

Bergère ô tour Eiffel le troupeau des ponts bêle ce matin “Shepherdess o Eiffel Tower the flock of bridges is bleating this morning.” The poem was speaking directly to me, to me alone, as proven on the second page: Voilà la jeune rue et tu n’es encore qu’un petit enfant / Ta mère ne t’habille que de bleu et de blanc. “Here is the young street and you are but a little child / Your mother only dresses you in blue and white,” which was exactly true of my early childhood; that tu clinched it. Tu regardes les yeux pleins de larmes ces pauvres émigrants / Ils croient en Dieu ils prient les femmes allaitent des enfants / Ils emplissent de leur odeure le hall de la gare Saint-Lazare. “You look with your eyes filled with tears at the poor immigrants / They believe in God they pray the women suckle infants / They fill with their odor the hall of the Saint-Lazare station”—I had been there and seen that! Furthermore, the poem seemed to be about a yearning for modernity in the face of confusion as to the truth of religion, a clairvoyant depiction of my own central inner drama of the time. But there was more: the poem was fluid, rhyming but in an elastic meter like an improvised song, with phrases strung together without punctuation but always clear in their meaning, with an unlabored syntax close to conversational, with capitalized names like cherries in a box of chocolates, with sudden movements in time and space executed with a casual legerdemain, with a flash and whirl and continual surprise that was just what I wanted from the modern world but with a palpable kindness that reassured me as the poem flung me about.

~excerpted from French Without Tears, by Luc Sante