You never know what you’ll find when you wander. An unexpected conversation. A strange sight. Maybe you’ll even stumble upon a pink street, like Flickr user Michael Joseph Goldst…etc found in today’s photo from Bogota, Colombia. The bright pastel walls pocked with graffiti, atmospheric cobblestones and mysterious dark suited man make for an intriguing image. Wondering what else lies down this odd little alleyway? You’ll have to wander down to Colombia to found out for yourself.
Natives will tell you that Paris has everything necessary for the pursuit of happiness, including songbirds. The intensity and frequency of birdsong signals the end of winter, if not the arrival of spring. Spring comes and goes, hesitating on the threshold. That’s why accordions are Paris’ reliable bellweather. Their wheezing is a sure sign people are back outdoors filling cafés, or draping themselves over the double-backed park benches, staring at buds.
The other day the usual spring suspects began squeezing their red-and-white accordions in the square under our bedroom windows. Listening to them, I just happened to open an email and click a link to the biggest panoramic photo ever taken, “Paris 26 Giga Pixels“, composed of 2,346 individual shots stitched together.
Up came Paris, from the belltower of Saint Sulpice. And up came the accordion waltz from the cult movie “Amélie Poulain.” I closed my eyes. The soundtrack is a masterpiece of nostalgia. Baguettes and berets, Edith Piaf’s raucous croonings, and Robert Doisneau’s black-and-white photos floated above Montmartre painted by Utrillo and Modigliani, the merry-go-round spinning below Sacré Coeur.
The music distills the bittersweet essence of a certain Paris. It’s a Paris much of the world — and many Parisians — desire, a magical city of dreams and memories and merry-go-rounds, abstracted from the globalized, recessionary nitty-gritty of today.I opened my eyes. On screen were the domes and Gothic towers, the neoclassical palaces, the gardens and 19th-Century merry-go-rounds of my home of the last quarter-century. The digital technology is state-of-the-art, the definition astonishingly high. But the high tech didn’t diminish the nostalgic punch.
Carouseling on Amélie’s waltz, clicking, dragging or scrolling, the merry-go-round of images sped up, zooming in and out, unapologetically plucking at heart-strings. The effect was instantaneous and systemic. I reconsidered Paris from a rooftop perspective, eager to see what had changed. I flew to the places I’ve lived and worked in. So much seemed the same, at least outwardly. Better, the panoramic view pushed me out to climb a real tower, revisit Paris, and be an aimless wanderer in spring all over again.
Because the belltower of Saint-Sulpice isn’t accessible, I headed to the Panthéon. En route at arcaded Place des Vosges, the Internauts used free WiFi, blissfully oblivious to the 17th-century bricks and stones. Across the Seine, a carousel spun near giant sycamores in the Jardin des Plantes, Louis XIII’s lush botanical garden. To synthesized calliope music, shrieking todlers rode back in time to the days of their grandparents.
The Panthéon rises atop Montagne Sainte-Geneviève, an awkward imitation of the real Pantheon in Rome . A toothy guard from a former French colony informed me gleefully that the panoramic terrace wouldn’t reopen for another week. In the meantime, there was Foucault’s famous pendulum, and the tombs of France ‘s great and good.
Directly beneath the dome, the pendulum dangled from a wire over 200 feet long. Back and forth it swung in the damp gloom, demonstrating the rotation of the Earth, marking the seconds, minutes, hours and days. It was not the pendulum moving forward, but we the public, the church, the city, the Earth, moving around it.
Mesmerized, it seemed to me that the pendulum’s bob was Paris, marking timelessness, while the rest of the universe spun around. Paris was as eternal as Rome, the Eternal City. The real Paris, of the mind, did not exist and could never age.
By comparison, the vaulted tombs of the country’s great men — and one woman, Marie Curie — left me chilled, an exercise in mildewy propaganda. Rome’s Pantheon, dedicated to the pagan gods, was saved by being consecrated as a church. In Paris, a church was saved from Revolutionary vandalism by becoming a temple to the Republic.
The cult of the Republic may once have been a fine thing. It seems less so now, when France’s anti-immigrant policies and reactionary reinterpretations of liberty, equality and fraternity clash with a spinning Earth of many hues and infinite diversity. In the gift shop a visitor wondered why French patriot Léon Gambetta’s heart was in an urn. The attendant replied that a body part was needed. Clearly the cult of relics had not ended with the Revolution, the visitor remarked, buying a mug emblazoned with “Vive la République.”
Down the street in the Luxembourg Gardens, the merry-go-round turned dreamily. Nearby, children rode ponies. Gaggles of pimply teens fiddled with hand-held devices as others devoured obsolete printed matter. Everyone smoked, even the tennis players.
The pendulum swings, the Earth and the merry-go-rounds spin. Paris stays the same.
Skipping Montparnasse, I aimed for the Eiffel Tower, last experienced by me in 1976. Bookstores in the notoriously literate 6th and 7th arrondissements displayed the sensation of late-winter, La Paresse et l’oubli, a novel by 29-year-old David Rochefort. The title means “sloth and oblivion” or perhaps “laziness and forgetfulness.” The cover is wrapped by a banner promising “Les battailes perdues de la vie” — life’s lost battles.
How someone not yet 30 could know such things, be compared to Flaubert and Balzac, dead for 150 years, and how such a clear-eyed and pessimistic oeuvre could be published and embraced by all in a world of corporate sameness, seem unanswerable questions to non-Parisians. The other big literary noise, this one written with tongue firmly in cheek: Mai 1958: Le Retour du Général de Gaulle. Did he ever go away?
At the Eiffel Tower’s base the requisite merry-go-round wheezed. Accordionists serenaded the waiting lines. Why not hang Foucault’s Pendulum here, I wondered?
Riding up, I calculated the number of merry-go-rounds in Paris. There are dozens. Dozens. But there are many more bookstores selling difficult novels. Both are subsidized, like public transit, health care, and much else. Culture is propped up at both ends of the spectrum. French movies are too. And the Eiffel Tower.
Might that help explain Paris’ abiding popularity even among lovers of free enterprise?
Amélie’s waltz replayed in my mind’s ear as I gazed down at 17 centuries’ worth of cityscape, from the Roman baths at Cluny, to the National Library and other remarkable monstrosities of the 1980s and ’90s. The messy reality of Paris glimpsed from above seemed immeasurably more satisfying than Paris 26 Giga Pixels.
Amid the jumble below I spied two more merry-go-rounds, one in the Tuileries and one in front of City Hall, my next destinations. As I walked through the Tuileries, the same children rode the same ponies. Had they trotted over from the Luxembourg or was I hallucinating?
Beyond the merry-go-round fronting City Hall’s neo-Renaissance façade, the line to enter “Izis: Paris des Rêves,” a photo exhibition, was as long as the lines at the Eiffel Tower. ” Paris through a Dreamer’s Lens” is the French Dream, the European Paradise as dreamed by Izraël Biderman, better known as Izis. A Lithuanian Jew determined to escape persecution, Izis wound up in the City of Light, soon dimmed and Occupied. Like other Jews and undesirables, Izis was hunted by Nazis aided by zealous Frenchmen. But he kept loving Paris. It belonged to him and the world, not his persecutors.
Like those of Doisneau or Brassai or Cartier-Bresson, Izis’s black-and-white photos capture the allure, the sleaze, the enchantingly bleak Paris of the 1930s, ’40s and ’50s. Everyone smokes, especially the Résistance fighters. Everyone dresses in the shades of gray that are fashionable again today. One haunting, wall-sized image shows a merry-go-round in the Tuileries, its battered horses standing out against the snow.
On the sidewalk outside City Hall an outdoor exhibition currently hails 150 years of immigration to Paris. As I walked home past it I thought of Izis, Brassai, Chagall, Picasso, Piaf, Yves Montand and others. Many others. I thought of Chopin, a Pole, and how Paris is celebrating his 200th birthday, as if he were a native son. The cafés I looked into were staffed by immigrants. The restaurants, museums, monuments and City Hall were too. Even the accordionists in the square beneath our windows are immigrants. And so am I.
The pendulum swings, the accordions play, people, politicians and recessions come and go on an ever-spinning merry-go-round. Paris remains.
David Downie is an American writer and journalist based in Paris. He is the author of nine books, including Paris, Paris: Journey into the City of Light and Paris City of Night. He has written for Bon Appétit, Gourmet, Town & Country Travel, Departures, Travel + Leisure, salon.com, and concierge.com. His website is www.davidddownie.com.