Count Paris Quotes

Thierry was one.  An award winning documentary film producer based in Paris.  Her curiosity was not driven so much by his fame or talent, with which he was generously endowed on both counts, but by his elusiveness.  He had a reputation for chasing the most complicated and dangerous assignments that others considered too risky.  He had money for all occasions.  He had a reputation among men as a man with a reputation among women.

One or two of these scoundrel statesmen should be shot once a-year, just to keep the others on their good behavior.

Deprived of the infinite, man has become what he always was: a supernumerary. He hardly counts; he forms part of the troupe called Humanity; if he misses a cue, he is hissed; and if he drops through the trapdoor another puppet is in readiness to take his place.

After counting all the sheep in the world I enumerate the wildebeests, snails, camels, skylarks, etc., then I add up all the zoos and aquariums, country by country. By early light I am asleep in a nightmare about drowning in the Flood,

When you're in front of a camera, it's not the words that count but the way they sound. It hardly matters what you say as long as you say it with a smile.

Lucy Ashton, in short, was involved in those mazes of the imagination which are most dangerous to the young and the sensitive. Time, it is true, absence, change of place and of face, might probably have destroyed the illusion in her instance as it has done in many others.

And waking, once again, face smudged into Andrea's couch, the red quilt humped around her shoulders, smelling coffee, while Andrea hummed some Tokyo pop song to herself in the next room, dressing, in a gray morning of Paris rain.

This is the time for black people to stand and be counted.

Besides, what is required of a young man in Paris? To speak its language tolerably, to make a good appearance, to be a good gamester, and to pay in cash.

Towards the beginning of the year 1838, two young men belonging to the first society of Paris, the Vicomte Albert de Morcerf and the Baron Franz d'Epinay, were at Florence.

The first thing I did was dye my hair back to a Barbie platinum. (I’m a natural blonde, if you don’t count hair color.)

Valentine reposes within the walls of Paris, and to leave Paris is like losing her a second time." "Maximilian," said the count, "the friends that we have lost do not repose in the bosom of the earth, but are buried deep in our hearts, and it has been thus ordained that we may always be accompanied by them.

And I thought of us, years and years later, you and I, in Paris, and how you seemed to be saying we had every choice, every chance. You acted as though you were free, but you were a ransom note. I paid to watch. I watched your fingers, your red mouth. I watched you undress. I didn't see you go. Later I was still paying and I never counted the cost. You were worth it. Again and again you were worth it. My heart has unlimited funds. Draw on them. Draw them down. Draw me down on top of you. How much? Everything? All right.

Mexico, as it was in the 1970s—and isn’t now—was my Paris. With Mexicans, Europeans, and Americans I celebrated life and the journey, which took on qualities of a pilgrimage in which every moment was a movable feast and every place was a shrine. Among the intricately carved ruins in the jungle at Palenque, I partook of the Mayan sacrament, the sacred psilocybin mushroom, and there I learned to see.

Abstractions do us much harm by impelling us to the quest of the absolute in all things. Joy does not exist, but there are joys: and these joys may not be folly felt unless they are detached from neutral or even painful conditions. The idea of continuity is almost self-negating. Nature makes no leaps; but life makes only bounds. It is measured by our heartbeats & these may be counted. That there should be, amid the number of deep pulsations that scan the line of our existence, some grievous ones, does not permit the affirmation that life is therefore evil. Moreover, neither a continuous joy would be perceived by consciousness.

My little big friend Samy left me with one final scrap of wisdom. For once she didn’t shout—she tends to shout. She gave me a hug as I sat there, staring at the sea and counting the colors, and whispered very quietly to me: “Do you know that there’s a halfway world between each ending and each new beginning? It’s called the hurting time, Jean Perdu. It’s a bog; it’s where your dreams and worries and forgotten plans gather. Your steps are heavier during that time. Don’t underestimate the transition, Jeanno, between farewell and new departure. Give yourself the time you need. Some thresholds are too wide to be taken in one stride.

But after taking command of the Army of Italy in 1796, Napoleon took organized theft to a new level. ... The French also stole art at a new level: Napoleon requested that the government send him experts qualified to judge which paintings his men should steal; priceless canvases by Titian, Raphael, Rubens, and Leonardo da Vinci were shipped to Paris.

The chevalier’s multiple talents were well summed up by John Adams, visiting Paris in 1779: The “mulatto man,” wrote the future American president, “is the most accomplished man in Europe in riding, shooting, fencing, dancing, music. He will hit a button on the coat or waistcoat of the masters. He will hit a crown piece in the air with a pistoll [sic] ball.

York paper from Paris, cable rates had been reasonable.

Be willing to be sneered at than to be approved, counting the cross of Christ greater riches than all the treasures of Washington, London, Paris, or Moscow.

those who remain in Paris in July must be true Parisians.

So, then. You want a story and I will tell you one. But just the one. Don’t either of you ask me for more. It’s late, and we have a long day of travel ahead of us, Pari, you and I. You will need your sleep tonight. And you too, Abdullah. I am counting on you, boy, while your sister and I are away. So is your mother. Now. One story, then. Listen, both of you, listen well. And don’t interrupt.

Parbleu!" said Albert, "do you think we are going to run about on foot in the streets of Rome, like lawyer's clerks?" "No; and your excellencies will do well not to think of that any longer; at Rome things can or cannot be done; when you are told anything cannot be done, there is an end to it." "It is much more convenient at Paris, - when anything cannot be done, you pay double , and it is done directly.

In Rome, either things can be done, or they cannot. When someone tells you that they cannot, there’s an end to it.’ ‘In Paris, it’s much more convenient: when something can’t be done, you pay double and immediately you get what you wanted.’ ‘I hear all Frenchmen say this,’ said Signor Pastrini, a trifle stung by it. ‘So I don’t understand how they manage to travel.’ ‘But, then,’ said Albert, unhurriedly blowing his smoke towards the ceiling and leaning backwards, balancing on the two rear legs of his chair, ‘it is only fools and innocents like ourselves who travel. Sensible men stay in their apartments in

Dearest Reece, I know you think it improper, or at the very least imprudent, for us to write to one another, but I don't care.There are too many rules as it is and they would choke me if I let them. Between corsets and lessons and curtsies and etiquette, I am hardly myself, and that is how they want it. They would prefer we all dress and talk and think (or not think) alike, like paper dolls. I do not wish to be a paper doll. Surely you can see that I am stronger than that.I don't give a fig for the scandalbroth or the gossipmongers. Let us remove to Paris, where no one knows us to care and where they dine on scandal with eclairs every morning. You will say again that it is impossible but I refuse to believe it. I know with every touch of your hand on mine, with every stolen kiss, that nothing is impossible. Perhaps love isn't meant to be simple. Perhaps this is merely a test, such as Psyche went through to prove herself to Cupid. Would you have me count lentils, beloved? And as you claim I have the most to lose, I pray you will let me decide for myself what it is I want and need. Which is you. Not silks or lobster soup in crystal bowls or diamonds around my neck. Just you. You say again and again that you love me. Prove it.

Suddenly Paris fashion-that bellwether for the French mind-had to be à l'Amérique: tailors manufactured "insurgent coats" and "lightning-conductor dresses" (in honor of Ben Franklin, with two wires hanging to the ground).

The night was shining with stars. They were at the top of the Montee de Villedjuif, on the plateau from which Paris is a dark sea shimmering with millions of lights like phosphorescent waves; and waves they are, more thunderous, more passionate, more shifting, more furious and more greedy than those of the stormy ocean, waves which never experience the tranquility of a vast sea, but constantly pound together, ever foaming and engulfing everything!

I had to leave Paris the next morning. As always I would wonder why and start counting the days before I could go back. And then lose count and be lost again in the life that, by some strange twist of fate, I lived somewhere else. Au revoir Paris. Bonjour tristesse.

It is not the critic who counts: not the man who points out how the strong man stumbles or where the doer of deeds could have done better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood, who strives valiantly, who errs and comes up short again and again, because there is no effort without error or shortcoming, but who knows the great enthusiasms, the great devotions, who spends himself for a worthy cause; who, at the best, knows, in the end, the triumph of high achievement, and who, at the worst, if he fails, at least he fails while daring greatly, so that his place shall never be with those cold and timid souls who knew neither victory nor defeat." Theodore Roosevelt "Citizenship in a Republic," Speech at the Sorbonne, Paris, April 23, 1910

There is much in our culture to affront the eye of the fervent terrorist postulant, things out there that do us no favors, to be sure. If, for example, it came to light that the dangerously thin, affectless, value-deficient, higher aspiration-free, amateur-porn chanteuse Paris Hilton was actually a covert agent from some secret Taliban madrassa whose mission was to portray the ultimate capitalist-whore puppet of a doomed society with nothing more on its mind than servitude to Mammon and celebrity at any cost, I wouldn't be a bit surprised.

Time has become the costliest commodity, so no one can afford the lavish extravagance of going home to-morrow morning and getting up late. Hence, there is no second soiree now but at the houses of women rich enough to entertain, and since July 1830 such women may be counted in Paris.

My smell stays with you? I ruined you…for what?” “Your smell keeps me going all the time. I’m in a clutch game or at practice and it’s full count? Your cloves and vanilla scent calms me down. I spray it on the front of my uniform and rub my right hand across like this.” I demonstrate by rubbing my chest and she watches me in fascination like a starstruck teenager watches a rockstar play his bass. “I went to three different stores before I found the exact scent. Expensive. French perfume. Chamade by Guerlain.” She nods looking fascinated or charmed by me at least for a few seconds. “I got it in Paris when I was there a few years ago. I love it.” “I do too. So yes, you ruined me. For anyone else.” She’s smiling but then it slowly disappears like a countdown does as it goes from ten to zero. “What are you doing to me, Elvis?” she asks, looking troubled.

Let us spend one day as deliberately as Nature, and not be thrown off the track by every nutshell and mosquito's wing that falls on the rails. Let us rise early and fast, or break fast, gently and without perturbation; let company come and let company go, let the bells ring and the children cry, -- determined to make a day of it. Why should we knock under and go with the stream? Let us not be upset and overwhelmed in that terrible rapid and whirlpool called a dinner, situated in the meridian shallows. Weather this danger and you are safe, for the rest of the way is down hill. With unrelaxed nerves, with morning vigor, sail by it, looking another way, tied to the mast like Ulysses. If the engine whistles, let it whistle till it is hoarse for its pains. If the bell rings, why should we run? We will consider what kind of music they are like. Let us settle ourselves, and work and wedge our feet downward through the mud and slush of opinion, and prejudice, and tradition, and delusion, and appearance, that alluvion which covers the globe, through Paris and London, through New York and Boston and Concord, through church and state, through poetry and philosophy and religion, till we come to a hard bottom and rocks in place, which we can call reality, and say, This is, and no mistake; and then begin, having a point d'appui, below freshet and frost and fire, a place where you might found a wall or a state, or set a lamp-post safely, or perhaps a gauge, not a Nilometer, but a Realometer, that future ages might know how deep a freshet of shams and appearances had gathered from time to time. If you stand right fronting and face to face to a fact, you will see the sun glimmer on both its surfaces, as if it were a cimeter, and feel its sweet edge dividing you through the heart and marrow, and so you will happily conclude your mortal career. Be it life or death, we crave only reality. If we are really dying, let us hear the rattle in our throats and feel cold in the extremities; if we are alive, let us go about our business. Time is but the stream I go a-fishing in. I drink at it; but while I drink I see the sandy bottom and detect how shallow it is. Its thin current slides away, but eternity remains. I would drink deeper; fish in the sky, whose bottom is pebbly with stars. I cannot count one. I know not the first letter of the alphabet. I have always been regretting that I was not as wise as the day I was born. The intellect is a cleaver; it discerns and rifts its way into the secret of things. I do not wish to be any more busy with my hands than is necessary. My head is hands and feet. I feel all my best faculties concentrated in it. My instinct tells me that my head is an organ for burrowing, as some creatures use their snout and fore-paws, and with it I would mine and burrow my way through these hills. I think that the richest vein is somewhere hereabouts; so by the divining rod and thin rising vapors I judge; and here I will begin to mine.

Law is never so necessary as when it has no ethical significance whatever, and is pure law for the sake of law. The law that compels me to keep to the left when driving along Oxford Street is ethically senseless, as is shewn by the fact that keeping to the right answers equally well in Paris; and it certainly destroys my freedom to choose my side; but by enabling me to count on everyone else keeping to the left also, thus making traffic possible and safe, it enlarges my life and sets my mind free for nobler issues. Most laws, in short, are not the expression of the ethical verdicts of the community, but pure etiquette and nothing else. What they express is the fact that over most of the field of social life there are wide limits within which it does not matter what people do, though it matters enormously whether under given circumstances you can depend on their all doing the same thing.

THE phrase Daring Greatly is from Theodore Roosevelt’s speech “Citizenship in a Republic.” The speech, sometimes referred to as “The Man in the Arena,” was delivered at the Sorbonne in Paris, France, on April 23, 1910. This is the passage that made the speech famous: “It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly; who errs, who comes short again and again, because there is no effort without error and shortcoming; but who does actually strive to do the deeds; who knows great enthusiasms, the great devotions; who spends himself in a worthy cause; who at the best knows in the end the triumph of high achievement, and who at the worst, if he fails, at least fails while daring greatly.…

Many of the Founding Fathers themselves foresaw that their compromise with southern states was a poison pill that would eventually lead to tragedy. But the French stalwarts of the new America found every way of glossing over the problem. Paris theaters staged plays about the idyllic life in Virginia, where black slaves and their masters sang songs of liberty as they worked together side by side.

Mr St. John entered the little telegraph office, gave in his message, and was exchanging a few words with the clerk, when a female voice was heard speaking in hurried accents. Frederick at the moment was behind the partition unseen by the newcomer. 'Young man, can I send a telegram off at once? It's in a hurry?' 'You can send a telegram,' responded the clerk. 'Where's it to?' 'Paris.' 'What's the message?' 'I've written it down, so that there may be no mistake. It's quite private, and must be kept so: a little matter that concerns nobody. And be particular, for it's from Castle Wafer. Will it reach Paris tonight?' 'Yes,' said the clerk, confidentially, as he counted the words. 'How much to pay?' 'Twelve-and-sixpence.' 'Twelve-and-sixpence! What a swindle.' 'You needn't pay it if you don't like.' 'But then the telegram would not go?' 'Of course it wouldn't.' The sound of silver dashed down on the counter was heard. 'I can't stop to argue the charge, so I must pay it,' grumbled the voice. 'But it's a shame, young man.' 'The charges ain't of my fixing,' responded the young man. 'Good afternoon, ma'am.' She bustled out again as hurriedly as she had come in, not having suspected that the wooden partition had any one behind it.

It was a lovely starlight night—they had just reached the top of the hill Villejuif, from whence Paris appears like a sombre sea tossing its millions of phosphoric waves into light—waves indeed more noisy, more passionate, more changeable, more furious, more greedy, than those of the tempestuous ocean,—waves which never rest as those of the sea sometimes do,—waves ever dashing, ever foaming, ever ingulfing what falls within their grasp.

THE original Alexandre Dumas was born in 1762, the son of “Antoine Alexandre de l’Isle,” in the French sugar colony of Saint-Domingue. Antoine was a nobleman in hiding from his family and from the law, and he fathered the boy with a black slave. Later Antoine would discard his alias and reclaim his real name and title—Alexandre Antoine Davy, the Marquis de la Pailleterie—and bring his black son across the ocean to live in pomp and luxury near Paris.

Berlin. November 18, 1917. Sunday. I think Grosz has something demonic in him. This new Berlin art in general, Grosz, Becher, Benn, Wieland Herzfelde, is most curious. Big city art, with a tense density of impressions that appears simultaneous, brutally realistic, and at the same time fairy-tale-like, just like the big city itself, illuminating things harshly and distortedly as with searchlights and then disappearing in the glow. A highly nervous, cerebral, illusionist art, and in this respect reminiscent of the music hall and also of film, or at least of a possible, still unrealized film. An art of flashing lights with a perfume of sin and perversity like every nocturnal street in the big city. The precursors are E.T.A. Hoffmann, Breughel, Mallarmé, Seurat, Lautrec, the futurists: but in the density and organization of the overwhelming abundance of sensation, the brutal reality, the Berliners seem new to me. Perhaps one could also include Stravinsky here (Petrushka). Piled-up ornamentation each of which expresses a trivial reality but which, in their sum and through their relations to each other, has a thoroughly un-trivial impact. All round the world war rages and in the center is this nervous city in which so much presses and shoves, so many people and streets and lights and colors and interests: politics and music hall, business and yet also art, field gray, privy counselors, chansonettes, and right and left, and up and down, somewhere, very far away, the trenches, regiments storming over to attack, the dying, submarines, zeppelins, airplane squadrons, columns marching on muddy streets, Hindenburg and Ludendorff, victories; Riga, Constantinople, the Isonzo, Flanders, the Russian Revolution, America, the Anzacs and the poilus, the pacifists and the wild newspaper people. And all ending up in the half-darkened Friedrichstrasse, filled with people at night, unconquerable, never to be reached by Cossacks, Gurkhas, Chasseurs d'Afrique, Bersaglieris, and cowboys, still not yet dishonored, despite the prostitutes who pass by. If a revolution were to break out here, a powerful upheaval in this chaos, barricades on the Friedrichstrasse, or the collapse of the distant parapets, what a spark, how the mighty, inextricably complicated organism would crack, how like the Last Judgment! And yet we have experienced, have caused precisely this to happen in Liège, Brussels, Warsaw, Bucharest, even almost in Paris. That's the world war, all right.

Most people haven't been to Paris at all." "Not unless you're counting Paris, Texas." "Or Paris, Illinois." "Paris, Maine," Neil countered. "Paris, Idaho," I added with a nod. "And Paris, Arkansas." "There's a Paris, Arkansas?" Neil asked, eyebrows high. "Yup. Kentucky, too. And a couple others..." "How do you know this?" "A potent blend of Where in America Is Carmen Sandiego?, curiosity, and the Internet." "Who said technology never offered anything useful?" "I'm guessing victims of e-mail scams.

...and I'm left there hanging on the bar stool pestering everybody with my poor loneliness which goes unnoticed in the crashing busy night, in the smash of the cash register, the racket of washing glasses. I want to tell them that we don't all want to become ants contributing to the social body, but individualists each one counting one by one, but no, try to tell that to the in-and-outers rushing in and out the humming world night as the world turns on one axis. The secret storm has become a public tempest.

He did not seem to care much about the Paris he was now seeing for the first time (I did not count the visit with his wife), and he accepted sights which must have been strange to him without any sense of astonishment. I have been to Paris a hundred times, and it never fails to give me a thrill of excitement; I can never walk its streets without feeling myself on the verge of adventure. Strickland remained placid. Looking back, I think now that he was blind to everything but to some disturbing vision in his soul.

I have considered the impudent accusations of Mr Dawkins with exasperation at his lack of serious scholarship. He has apparently not read the detailed discourses of Count Roderigo of Seville on the exquisite and exotic leathers of the Emperor's boots, nor does he give a moment's consideration to Bellini's masterwork, On the Luminescence of the Emperor's Feathered Hat. We have entire schools dedicated to writing learned treatises on the beauty of the Emperor's raiment, and every major newspaper runs a section dedicated to imperial fashion ... Dawkins arrogantly ignores all these deep philosophical ponderings to crudely accuse the Emperor of nudity ... Until Dawkins has trained in the shops of Paris and Milan, until he has learned to tell the difference between a ruffled flounce and a puffy pantaloon, we should all pretend he has not spoken out against the Emperor's taste. His training in biology may give him the ability to recognize dangling genitalia when he sees it, but it has not taught him the proper appreciation of Imaginary Fabrics.

He picked up a glass of Prosecco and handed it to me. “So you’re visiting here?” “I’m here for a year, studying at the accademia,” I said. “I got a bursary to take leave from my teaching job.” “Jolly nice. I’d make the most of it, if I were you. Venice is still one of the few civilized cities in the world. The racial laws created last year by Il Duce were supposed to exclude Jews from education and teaching and then to strip them of property. None of that has happened here. The Venetians still live quite happily and do business in the ghetto and turn a blind eye to those of Jewish origin, like our dear contessa here.” I looked at him with surprise and then turned my gaze to Contessa Fiorito. I remembered now that she had mentioned her parents were Jewish émigrés. “But her husband was an Italian count,” I said. “Indeed he was, but that has nothing to do with her racial origin. Born of a poor Jewish family in Paris, so I understand. Of course she is well respected here and does a lot in the way of philanthropy for the city. Most people don’t even know her heritage.” He drew closer to me. “I have advised her to have an escape plan ready, just in case.

He has been described as combining a theoretical love of mankind with a practical contempt for men. Well-meaning, impressionable and egotistical, he was so good at playing a part that Napoleon later dubbed him ‘the Talma of the North’, and on another occasion ‘a shifty Byzantine’. He claimed that he would happily abolish serfdom if only civilization were more advanced, but never genuinely came close to doing so, any more than he ever carried through the codification of Russian law that he promised in 1801 or ratified the liberal constitution he had asked his advisor Count Mikhail Speranski to draw up a few years later. Although La Harpe had initially enthused Alexander about Napoleon’s reforms as First Consul, when the tutor returned from Paris he was so disillusioned that he wrote a book, Reflexions on the True Nature of the First Consulship for Life, that described Napoleon as ‘the most famous tyrant the world has produced’, which had a great effect on the young tsar. Since Alexander ultimately did more than any other individual to bring about Napoleon’s downfall, his emergence on to the European scene with his father’s assassination was a seminal moment.

Youuuuuuuuuuuuuuuuuu left me. It’s a song about being abandoned. This was the message drilled into us during those endless sessions: Whoever you were counting on—family, friends, anyone who ever said they cared about you—just forget them. They lied. They left you. Just when you needed them most. Anyone who says they love you—they don’t. Because you are not worthy of love, and if you love yourself, you’re just fucking delusional. You are helpless. You are worthless. You will never be loved. Your family has rejected you. We’re your family now, and the only way to survive is to be like us.

The twice-tolling clock, the Count explained, had been commissioned by his father from the venerable firm of Breguet. Establishing their shop in Paris in 1775, the Breguets were quickly known the world over not only for the precision of their chronometers (that is, the accuracy of their clocks), but for the elaborate means by which their clocks could signal the passage of time. They had clocks that played a few measures of Mozart at the end of the hour. They had clocks that chimed not only at the hour but at the half and the quarter. They had clocks that displayed the phases of the moon, the progress of the seasons, and the cycle of the tides. But when the Count’s father visited their shop in 1882, he posed a very different sort of challenge for the firm: a clock that tolled only twice a day. “Why would he do so?” asked the Count (in anticipation of his young listener’s favorite interrogative). Quite simply, the Count’s father had believed that while a man should attend closely to life, he should not attend too closely to the clock. A student of both the Stoics and Montaigne, the Count’s father believed that our Creator had set aside the morning hours for industry. That is, if a man woke no later than six, engaged in a light repast, and then applied himself without interruption, by the hour of noon he should have accomplished a full day’s labor. Thus, in his father’s view, the toll of twelve was a moment of reckoning. When the noon bell sounded, the diligent man could take pride in having made good use of the morning and sit down to his lunch with a clear conscience. But when it sounded for the frivolous man—the man who had squandered his morning in bed, or on breakfast with three papers, or on idle chatter in the sitting room—he had no choice but to ask for his Lord’s forgiveness.

The events in Poland were hailed far and wide. Political clubs in Paris voted to make Stanislaw Augustus an honorary member. Condorcet and Thomas Paine acclaimed the constitution as a breakthrough, while Edmund Burke called it `the most pure' public good ever bestowed upon mankind. For the same reasons, they alarmed Poland's neighbours. The Prussian minister Count Hertzberg was convinced that `the Poles have given the coup de grace to the Prussian monarchy by voting a constitution much better than the English', and warned that the Poles would sooner or later regain not only the lands taken from them in the partition, but also Prussia.

Since I set my foot in France, and knew the traitor lived in Paris, I have watched carefully. I live retired in the house of my noble protector, but I do it from choice. I love retirement and silence, because I can live with my thoughts and recollections of past days. But the Count of Monte Cristo surrounds me with every paternal care, and I am ignorant of nothing which passes in the world. I learn all in the silence of my apartments,—for instance, I see all the newspapers, every periodical, as well as every new piece of music; and by thus watching the course of the life of others, I learned what had transpired this morning in the House of Peers, and what was to take place this evening; then I wrote.

Oh, well, it might look like a patterned world, laid out in prim design, but to those living there it could never be so simple. They were as alive as she: that old peasant contriving to outwit the cold; that woman anxiously counting her comical flock lest one goose escape her vigilance; all those who slept, or toiled, or loved under the low-hung roofs or the sharp turrets. Those people out there, if they caught sight of her own face pressed close to the window pane, might be speculating about her. To them she was part of the pattern of the lumbering train with its trail of smoke and little boxlike carriages. Perhaps they envied her, riding at ease to distant Paris. How little they knew of that! How little she herself know what awaited her at the end of the journey!

On a trip to Paris one day, little Sophie Met a giant lady lighting up the night sky "What's your name, you magical monster?" "My many visitors call me the Eiffel Tower." "In all your attire, don't your sometimes tire Of being seen only as a humdrum tower? You, a dragon, a fairy watching over Paris, An Olympic torch held aloft in grey skies?" "How you flatter me! So few poets these days Ever sing the praises of my Parisian soul, As did Cocteau, Aragon, Cendrars, Trénet and Apollinaire... Since you're so good At seeing beneath the surface, you could -If you like, when you're back from France- Take up your pen and write down Why you like me -it would be nice and fun!" "You can count on me! There's so much to say! I'll write twenty lines... but who will read them?" "Well, I know a man who'll read your verse." "Really? Who?" "The President of France

Natasha, my boss at Ducat, was in her early thirties. She hired me on the spot when I came in for an interview the summer I finished school. I was twenty-two. I barely remember our conversation, but I know I wore a cream silk blouse, tight black jeans, flats—in case I was taller than Natasha, which I was by half an inch—and a huge green glass necklace that thudded against my chest so hard it actually gave me bruises when I ran down the subway stairs. I knew not to wear a dress or look too prim or feminine. That would only elicit patronizing contempt. Natasha wore the same kind of outfit every day—a YSL blazer and tight leather pants, no makeup. She was the kind of mysteriously ethnic woman who would blend in easily in almost any country. She could have been from Istanbul or Paris or Morocco or Moscow or New York or San Juan or even Phnom Penh in a certain light, depending on how she wore her hair. She spoke four languages fluently and had once been married to an Italian aristocrat, a baron or a count, or so I’d heard.

He carefully poured the juice into a bowl and rinsed the scallops to remove any sand caught between the tender white meat and the firmer coral-colored roe, wrapped around it like a socialite's fur stole. Mayur is the kind of cook (my kind), who thinks the chef should always have a drink in hand. He was making the scallops with champagne custard, so naturally the rest of the bottle would have to disappear before dinner. He poured a cup of champagne into a small pot and set it to reduce on the stove. Then he put a sugar cube in the bottom of a wide champagne coupe (Lalique, service for sixteen, direct from the attic on my mother's last visit). After a bit of a search, he found the crème de violette in one of his shopping bags and poured in just a dash. He topped it up with champagne and gave it a swift stir. "To dinner in Paris," he said, glass aloft. 'To the chef," I answered, dodging swiftly out of the way as he poured the reduced champagne over some egg yolks and began whisking like his life depended on it. "Do you have fish stock?" "Nope." "Chicken?" "Just cubes. Are you sure that will work?" "Sure. This is the Mr. Potato Head School of Cooking," he said. "Interchangeable parts. If you don't have something, think of what that ingredient does, and attach another one." I counted, in addition to the champagne, three other bottles of alcohol open in the kitchen. The boar, rubbed lovingly with a paste of cider vinegar, garlic, thyme, and rosemary, was marinating in olive oil and red wine. It was then to be seared, deglazed with hard cider, roasted with whole apples, and finished with Calvados and a bit of cream. Mayur had his nose in a small glass of the apple liqueur, inhaling like a fugitive breathing the air of the open road. As soon as we were all assembled at the table, Mayur put the raw scallops back in their shells, spooned over some custard, and put them ever so briefly under the broiler- no more than a minute or two. The custard formed a very thin skin with one or two peaks of caramel. It was, quite simply, heaven. The pork was presented neatly sliced, restaurant style, surrounded with the whole apples, baked to juicy, sagging perfection.

That stream, Arthur,’ said the elder traveller, as with one consent they stopped to gaze on such a scene as I have described, ‘resembles the life of a good and a happy man.’ ‘And the brook, which hurries itself headlong down yon distant hill, marking its course by a streak of white foam,’ answered Arthur,—‘what does that resemble?’ ‘That of a brave and unfortunate one,’ replied his father. ‘The torrent for me,’ said Arthur; ‘a headlong course which no human force can oppose, and then let it be as brief as it is glorious’.... This stream, by a devious and gentle course, which seemed to indicate a reluctance to leave this quiet region, found its way at length out of the sequestered domain, and, like a youth hurrying from the gay and tranquil sports of boyhood into the wild career of active life, finally united itself with the boisterous torrent, which, breaking down tumultuously from the mountains, shook the ancient Tower of Geierstein as it rolled down the adjacent rock, and then rushed howling through the defile in which our youthful traveller had well-nigh lost his life.

Paris,” a Seventh Army soldier wrote his wife. “It was wonderful, but I slept on the floor because the bed was just too much like sleeping in butter.” A woman working for the OSS described fleets of vélos, odd contraptions like “canvas-covered bathtubs and drawn or propelled by motorcycles or bicycles,” carting around GIs “who little count the cost in their exuberance at being alive.” The writer Simone de Beauvoir concluded that “the easygoing manner of the young Americans incarnated liberty itself.” Troops packed movie theaters along the Champs-Élysées, and two music halls featured vaudeville shows. Post Number One of the American Legion served hamburgers and bourbon, and bars opened with names intended to entice the homesick, like The Sunny Side of the Street and New York. Army special services organized activities ranging from piano recitals to jitterbug lessons, while distributing thousands of hobby kits for sketching, clay modeling, and leather craft. The Bayeux Tapestry, long tucked away for safekeeping, reemerged in an exhibit at the Louvre, with the segment depicting the Norman defeat of the Anglo-Saxons in 1066 tactfully

These two would have felt like old friends had they met just hours before. To some degree, this was because they were kindred spirits—finding ample evidence of common ground and cause for laughter in the midst of effortless conversation; but it was also almost certainly a matter of upbringing. Raised in grand homes in cosmopolitan cities, educated in the liberal arts, graced with idle hours, and exposed to the finest things, though the Count and the American had been born ten years and four thousand miles apart, they had more in common with each other than they had with the majority of their own countrymen. This, of course, is why the grand hotels of the world’s capitals all look alike. The Plaza in New York, the Ritz in Paris, Claridge’s in London, the Metropol in Moscow—built within fifteen years of each other, they too were kindred spirits, the first hotels in their cities with central heating, with hot water and telephones in the rooms, with international newspapers in the lobbies, international cuisine in the restaurants, and American bars off the lobby. These hotels were built for the likes of Richard Vanderwhile and Alexander Rostov, so that when they traveled to a foreign city, they would find themselves very much at home and in the company of kin.

1. His back is full of knives. Notes are brittle around the blades. 2. He sleeps face down every night in a chalk outline of himself. 3. He has difficulties with metal detectors. 4. At birthday parties, someone might politely ask, may I borrow one of those knives to slice this chocolate cake? 5. He likes to stand with his back to walls. At restaurants, he likes the corner tables. 6. There is a detective who calls to ask him about the brittle notes. Also: a biographer, a woman who'd like to film a documentary, a curator of a museum, his mother. I can't read them, he says. They're on my back. 7. It would be a mistake for anyone to assume he wants the knives removed. 8. Most of the brittle notes are illegible. One of them, even, is written in French. 9. Every Halloween, he goes as a victim of a brutal stabbing. Once he tried going as a whale, but it was a hassle explaining away the knives. 10. He always wears the same bloody suit. 11. When he walks, he sounds like a tree still full of dead leaves holding on. 12. It is ok for children to count on his knives, but not to climb on them. 13. He saw his own shadow in a park. He moved his body to make the knives reach other people's shadows. He did it all evening. In the shadows, his knives looked like soft outstretched arms. 14. His back is running out of space. 15. On a trip to Paris, he fell in love and ended up staying for a few years. He got a job performing on the street with the country's best mimes. 16. The knives are what hold him together. It is the notes that are slowly killing him. 17. He is difficult to hold when he cries. 18. He will be very old when he dies and the Doctor will say, he was obviously stabbed, brutally and repeatedly. I'm sorry, the Doctor will say to a person in the room, but he's not going to make it.

She thought about all the baking therapy she and Char had done together during that time. Usually in the wee, wee hours. Those sessions never had anything to do with their respective jobs. And everything to do with salvation. Their worlds might be uncontrolled chaos, but baking always made sense. Flour, butter, and sugar were as integral a part of her as breathing. Lani had long since lost count of the number of nights she and Charlotte had crammed themselves into her tiny kitchen, or Charlotte's even tinier one, whipping up this creation or that, all the while hashing and rehashing whatever the problems du jour happened to be. It was the one thing she truly missed about being in New York. No one on Sugarberry understood how baking helped take the edge off. Some folks liked a dry martini. Lani and Char, on the other hand, had routinely talked themselves down from the emotional ledge with rich vanilla queen cake and some black velvet frosting. It might take a little longer to assemble than the perfect adult beverage... but it was the very solace found in the dependable process of measuring and leavening that had made it their own personal martini. Not to mention the payoff was way, way better. Those nights hadn't been about culinary experience, either. The more basic, the more elemental the recipe, the better. Maybe Lani should have seen it all along. Her destiny wasn't to be found in New York, or even Paris, or Prague, making the richest, most intricate cakes, or the most delicate French pastries. No, culinary fulfillment- for her, the same as life fulfillment- was going to be experienced on a tiny spit of land off the coast of Georgia, where she could happily populate the world with gloriously unpretentious, rustic, and rudimentary little cupcakes.

I knew you forever and you were always old, soft white lady of my heart. Surely you would scold me for sitting up late, reading your letters, as if these foreign postmarks were meant for me. You posted them first in London, wearing furs and a new dress in the winter of eighteen-ninety. I read how London is dull on Lord Mayor's Day, where you guided past groups of robbers, the sad holes of Whitechapel, clutching your pocketbook, on the way to Jack the Ripper dissecting his famous bones. This Wednesday in Berlin, you say, you will go to a bazaar at Bismarck's house. And I see you as a young girl in a good world still, writing three generations before mine. I try to reach into your page and breathe it back… but life is a trick, life is a kitten in a sack. This is the sack of time your death vacates. How distant your are on your nickel-plated skates in the skating park in Berlin, gliding past me with your Count, while a military band plays a Strauss waltz. I loved you last, a pleated old lady with a crooked hand. Once you read Lohengrin and every goose hung high while you practiced castle life in Hanover. Tonight your letters reduce history to a guess. The count had a wife. You were the old maid aunt who lived with us. Tonight I read how the winter howled around the towers of Schloss Schwobber, how the tedious language grew in your jaw, how you loved the sound of the music of the rats tapping on the stone floors. When you were mine you wore an earphone. This is Wednesday, May 9th, near Lucerne, Switzerland, sixty-nine years ago. I learn your first climb up Mount San Salvatore; this is the rocky path, the hole in your shoes, the yankee girl, the iron interior of her sweet body. You let the Count choose your next climb. You went together, armed with alpine stocks, with ham sandwiches and seltzer wasser. You were not alarmed by the thick woods of briars and bushes, nor the rugged cliff, nor the first vertigo up over Lake Lucerne. The Count sweated with his coat off as you waded through top snow. He held your hand and kissed you. You rattled down on the train to catch a steam boat for home; or other postmarks: Paris, verona, Rome. This is Italy. You learn its mother tongue. I read how you walked on the Palatine among the ruins of the palace of the Caesars; alone in the Roman autumn, alone since July. When you were mine they wrapped you out of here with your best hat over your face. I cried because I was seventeen. I am older now. I read how your student ticket admitted you into the private chapel of the Vatican and how you cheered with the others, as we used to do on the fourth of July. One Wednesday in November you watched a balloon, painted like a silver abll, float up over the Forum, up over the lost emperors, to shiver its little modern cage in an occasional breeze. You worked your New England conscience out beside artisans, chestnut vendors and the devout. Tonight I will learn to love you twice; learn your first days, your mid-Victorian face. Tonight I will speak up and interrupt your letters, warning you that wars are coming, that the Count will die, that you will accept your America back to live like a prim thing on the farm in Maine. I tell you, you will come here, to the suburbs of Boston, to see the blue-nose world go drunk each night, to see the handsome children jitterbug, to feel your left ear close one Friday at Symphony. And I tell you, you will tip your boot feet out of that hall, rocking from its sour sound, out onto the crowded street, letting your spectacles fall and your hair net tangle as you stop passers-by to mumble your guilty love while your ears die.

Every day counts.

The phrase Daring Greatly is from Theodore Roosevelt's speech "Citizenship in a Republic." The speech, sometimes referred to as "The Man in the Arena," was delivered at the Sorbonne in Paris, France, on April 23, 1910. This is the passage that made the speech famous: "It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly; who errs, who comes short again and again, because there is no effort without error and shortcoming; but who does actually strive to do the deeds; who knows great enthusiasms, the great devotions; who spends himself in a worthy cause; who at the best knows in the end the triumph of high achievement, and who the worst, if he fails, at least he fails while daring greatly..." The first time I read this quote, I thought, This is vulnerability. Everything I've learned from over a decade of research on vulnerability has taught me this exact lesson. Vulnerability is not knowing victory or defeat, it's understanding the necessity of both; it's engaging. It's being all in.

Where streetlights failed, there were lanternmen. The lanternmen—numbered, so the police could keep track of them—waited around the doors of townhouses in Paris whenever an entertainment was going on inside, and, for a few coins, one of them would accompany a reveler home, lighting his way even up the stairs and into his room.

then through the Indian Ocean, down around the Cape of Good Hope, and up to the Atlantic. The entirety of the world via water. So many of the places I went exist in my mind like a brochure when I try to recall them. Elephants in Tsavo East National Park, an elevator packed with people riding from Salvador’s upper to lower city. The rippling heat of Delhi and the bright turquoises, saffrons, and fuchsias of women’s saris. I learned about silk and sashimi, about wild animals and barren deserts. I also learned about intractable poverty, caste systems, indigenous tribes—things I might have learned about America if I’d been paying closer attention. But this is perhaps the most profound lesson of travel, that you don’t really know the place and culture you’ve come from until you’ve left it. Today, I think that even if I had someday left the States, without that voyage, I’d have trod the familiar: London, Paris, Amsterdam, Montreal. Instead, Semester at Sea gave me the courage to imagine a different kind of travel, and a blueprint for how to do it. To see the sights, certainly, but to understand that it was meeting people that really mattered. In this, I also count a legacy from my father, the salesman who could talk to anyone about anything.

Yet this third-rate and mediocre action is counted, with Waterloo and Gettysburg, among the decisive battles of history; and Goethe was not the only man there who knew that the scene before him was the beginning of a new epoch for mankind. With 36,000 men and 40 guns the French had arrested the advance of Europe, not by skilful tactics or the touch of steel, but by the moral effect of their solidity when they met the best of existing armies. The nation discovered that the Continent was at its mercy, and the war begun for the salvation of monarchy became a war for the expansion of the Republic. It was founded at Paris, and consolidated at Valmy. Yet no military event was less decisive. The French stood their ground because nobody attacked them, and they were not attacked because they stood their ground. The Prussians suffered a strategic, though not a tactical defeat. By retiring to their encampment they renounced the purposes for which they went to war, the province they occupied, and the prestige of Frederic.

Make it count, Sophie. Every day after this one. Make it all count.

Something is about to happen. You can count the minutes in your life when something happens. Strokes of light sweep the ground, shining red and green; it’s a gala evening, a late-night party—my party…. There. It’s happened. I’m flying to New York. It’s true…. I’m leaving my life behind. I don’t know if it will be through anger or hope, but something is going to be revealed—a world so full, so rich, and so unexpected that I’ll have the extraordinary adventure of becoming a different me.

By the fourteenth century, Romance dialects belonged to two broad categories. Those in which “yes” was pronounced oc—mostly south of the Loire River—were called langues d’oc (oc languages). Those in which speakers said oïl for “yes”—in the north—were called langues d’oïl, a term which came to be used interchangeably with Françoys. Oïl and oc are both derivatives of the Latin hoc (this, that), which at the time was used to say yes. In the south they simply chopped off the h. In the north, for some reason, hoc was reduced to a simple o, and qualifiers were added—o-je, o-nos, o-vos for “yes for me,” “yes for us” and “yes for you.” This was complicated, so speakers eventually settled for the neutral o-il—“yes for that.” The term was used in the dialects of Picardy, Normandy, Champagne and Orléans. Other important langues d’oïl were Angevin, Poitevin and Bourguignon, spoken in Anjou, Poitiers and Burgundy, which were considerably farther south of Paris. Scholars debate who created the designations langues d’oïl and langues d’oc. The poet Dante Alighieri, in his De vulgari eloquentia of 1304, was one of the first to introduce the term langue d’oc, opposing it to the langue d’oïl and the langue de si (Romance from Italy). A fifth important langue d’oïl was Walloon, the dialect of the future Belgium. The langues d’oc attained their golden age in the eleventh and twelfth centuries, when groups of wandering musicians, or troubadours, travelled from city to city spreading a new form of sung poem that extolled the ideal of courtly love, or fin’amor. This new poetry was very different from the cruder epic poems of the north, the chansons de geste, and it enjoyed great literary prestige that boosted the influence of two southern rulers, the Count of Toulouse and the Duke of Aquitaine. Even many Italian courts adopted the langue d’oc, which is also known today as Occitan. Wandering poets of the north, the trouvères of Champagne, also borrowed and popularized the song-poems of the south.

This gray little town fifty miles north of Paris acquired an outsized reputation for royal scandal, misbehavior, and debauchery, which in eighteenth-century France was saying something.

By the time I get to the dual carriageway, the rain is coming down hard. Stuck behind a huge lorry, my wipers are no match for the spray thrown up by its wheels. As I move out to pass it, lightning streaks across the sky and, falling back into a childhood habit, I begin a slow count in my head. The answering rumble of thunder comes when I get to four. Maybe I should have gone back to Connie’s with the others, after all. I could have waited out the storm there, while John amused us with his jokes and stories. I feel a sudden stab of guilt at the look in his eyes when I’d said I wouldn’t be joining them. It had been clumsy of me to mention Matthew. What I should have said was that I was tired, like Mary, our Head, had. The

Will you marry me, Genevieve?” He kissed her cheek while Jenny flailed about for a response, any response at all. “The paint fumes are affecting you, Elijah, or you’ve spent too much time imbibing His Grace’s wassail.” “You affect me. I paint better when you’re near, and I was warned about His Grace’s wassail—or Her Grace’s—by the regent himself. Marry me.” She wanted to say yes, even if this declaration was not made out of an excess of romantic love. “If I marry you, I cannot go to Paris.” He leaned back, resting his head against the stones behind them, closing his eyes. “I’ll take you to bloody Paris, and you can appreciate for yourself that the cats have ruined the place. Rome isn’t much better, though I suppose you’ll want to go there and sniff it for yourself too.” He’d promise to take her there, probably to Moscow as well if she asked. “Babies put rather a cramp in one’s travel plans.” Because if she were married to him, and Windham proclivities ran true, babies would follow in the near, middle, and far terms, and all hope of painting professionally would be as dead as her late brothers. “Your siblings all managed to travel with babies. What’s the real reason, Genevieve? We’re compatible in the ways that count, and you’re dying on the vine here, trying to be your parents’ devoted spinster daughter. Marry me.” He was tired, and he felt sorry for her. Of those things, Jenny was certain, but not much else. She hadn’t foreseen an offer from him that would ambush her best intentions and be so bewilderingly hard to refuse. “You need to go home, Elijah. I need to go to Paris. Painting with you has only made me more certain of that. If I capitulate to your proposal, I will regret it for the rest of my days, and you will too. You feel sorry for me, and while I appreciate your sentiments, in Paris I will not be an object of pity.

We are not surprised at Romeo loving Juliet, though he is a Montague and she is a Capulet. But if we found in addition that Lady Capulet was by birth a Montague, that Lady Montague was a first cousin of old Capulet, that Mecutio was at once the nephew of a Capulet and the brother-in-law of a Montague, that count Paris was related on his father’s side to one house and on his mother’s side to the other, that Tybalt was Romeo’s uncle’s stepson and that the Friar who had married Romeo and Juliet was Juliet’s uncle and Romeo’s first cousin once removed, we would probably conclude that the feud between the two houses was being kept up for dramatic entertainment of the people of Verona.

And that's exactly the trouble with having celebrities take the "SNAP challenge": Gwyneth would hardly feature a spaghetti-and-hot dogs meal on GOOP.com, unless the spaghetti was artisinal, hand made only by women over the age of 70, in an Italian town that doesn't have the Internet yet and relies on goats to deliver important messages to the next village, wrapped lovingly in antique parchment and flown in on a private jet, while packed in ice hammered out of the Alps and carefully reformed into crystal clear "ice globes," served only with hot dogs fashioned from macrobiotic tofu, made of hand-selected soybeans in rural Japan, aged to perfection in the bosom of a 16th century Samurai warrior's armor, and then hand cut with a 24-karat gold wire. The very thought of setting foot in a discount grocery store where she has to pack her own generic, store-brand dried fruit and expired milk in a cardboard box after counting out her pennies probably breaks her out in such nasty hives, she has to have an allergy-banishing skin cream custom mixed for her in Paris by trained monkeys in bellhop uniforms.

Manners count. Be polite and seek out the common ground, not just the high ground.

group of aspiring young Mormon painters who called themselves “art missionaries” arrived from Utah, many to enroll at the Académie Julian. Their expenses were being provided by the Church of Jesus Christ of Latter-day Saints in return for work they would later contribute, painting murals in the Temple at Salt Lake City. As one of their leaders, an especially gifted painter named John Hafen, said, their motivation was the belief that “the highest possible development of talent is the duty we owe to our Creator.” Though no exact count was made of the American art students in Paris at the time, they undoubtedly numbered more than a thousand. And

Kitty's remark stuck in my mind. It was true, I thought, that we had experienced miraculous luck again and again. Was it all luck or was it the guiding hand of Providence? And could we always count on such good chance? Or were we perhaps being led deeper and deeper into actions from whose consequences there could be no escape, by a capricious fate which would turn against us only when we were completely enmeshed in its toils? I remembered the verse from Job: 'Great things He does which we cannot comprehend.

At first, the Jacobin Club was not the most radical club. It was known for its lively, collegial debates and for attracting diverse and prominent revolutionaries to its ranks. Though it would one day command the loyalty of the Paris “street,” its initial membership was largely professional and bourgeois, mainly because it charged hefty subscription fees to join. The Duke d’Orléans’s son Louis-Philippe—who in the nineteenth century would become king of France—joined; so did the Viscount de Noailles.

I was reeling. I was so hurt by Luc and Asher, and there you were, showing up to declare your love for me like I'd always dreamed you would. I wanted to believe that maybe after everything, we could be each other's happy ending. Except you were still the same person who spent all those years hurting me. The same person who wasn't brave enough to date me when you could have, when you wanted to, because you couldn't picture getting serious with someone who looked like me." "But I got over that!" Ray protested. "I went on television to tell the whole world I love you - doesn't that count for something?" "My body isn't something you 'get over'." Bea said coolly. "I have no intention of devoting the rest of my life to a man who's ashamed of me." "I know I've given you reason not to trust me," Ray pleaded. "But Bea, I promise, I won't hurt you again." "I know you won't," Bea's tone was sad but resolute. "Because I'm not going to let you. All these years, you put your needs above mine - which is exactly what you did when you showed up in Paris, by the way - and I couldn't see it, because I idealized you as the perfect man. But I see who you are now, Ray. And I know that I deserve better.

Memory couldn’t be counted on. Time was unreliable and everything dissolved and died – even or especially when it looked like life. All around us, the grass grew. Birds made a living racket in the trees. The sun beat down with promise. From that moment forward, Ernest would always hate the spring.

Now the château was empty except for herself and the butler, who had been instructed by him to see her out of the château and to then escort her wherever she wished to go in the city. [She] had delayed her departure with one excuse or another, as she waited for everyone to leave. There was an unfinished piece of business. She hoped she would encounter no trouble from the butler, who had reported the count's instructions with what she thought was thinly disguised enthusiasm. Whatever his orders, she knew she could bribe him if need be. When she saw the carriage pull away and disappear at the end of the drive, she hurried down the back stairs, carrying a large leather bag. She hesitated, listening for the butler. She heard him in the kitchen. No doubt stealing the wine. She entered the drawing room next to the study and crossed to the wall safe. She fumbled twice, but managed to get it open, and began stuffing its contents into the bag. There were securities and cash and jewelry, and even a few deeds. As she hurried to pack it all in, she felt a glimmer of bitter satisfaction. He might throw her out, but he had not succeeded in stealing everything that belonged to her. There was more than enough in the safe to enable her to leave Paris and avoid poverty. It wasn't what she deserved, but it was something.

For when word had reached the Count of the Tsar’s execution, he had set out from Paris at once. Over twenty days, he had made his way across six nations and skirted eight battalions fighting under five different flags, finally arriving at Idlehour on the seventh of August 1918, with nothing but a rucksack on his back. Though he found the countryside on the verge of upheaval and the household in a state of distress, his grandmother, the Countess, was characteristically composed. “Sasha,” she said without rising from her chair, “how good of you to come. You must be famished. Join me for tea.

Give me an army of three active corps and I will agree to become Governor of Paris; on this condition, formal and explicit, you can count on me for its defense.” Messimy thanked him so effusively, “shaking my hands several times and even kissing me,” that Gallieni felt assured “from the warmth of these demonstrations that the place I was succeeding to was not an enviable one.

you had likely anticipated that you would feel different and be different there, that you would be some sort of “new you” in Paris or Rome. What you discover is that you are still just you. You have brought your personality with you, the same personality that was having trouble writing that novel at home. This is a double disappointment, because not only are you left to deal with the same old you, but you now see that this really is you, that you are going to be this exact you wherever you go. There is no geographic salvation. This is quite a body blow, because you had been counting on change, on transformation, and all you have is more of you.

On through the seventies, eighties, nineties, the decades now counted like years, his reputation and his store constantly grew. Room by room, Shakespeare and Company expanded, until it spread over three floors of the building, “a giant literary octopus,” as Ferlinghetti described it.

Employees who think and act like owners don’t need a lot of oversight. Accordingly, just 250 employees work at Vinci’s Paris headquarters—about 0.1 percent of total head count. Says Huillard, “It is useless having armies of auditors who just get in the way.

And so Paris is not merely the largest town in France, not merely the political and intellectual capital where all the smartest and most ambitious people from the provinces go to seek fame and fortune. If the origins of many of the Parisians lie in La France Profonde, the origins of the French identity nonetheless lie in Paris. Le tout Paris in this sense means something more than the gathering of the small number of people in town who count moss socially, though of course it does mean that as well. It also suggests that to be Parisian' is to have an identity that transcends social class, economic distinction it is to belong to a world apart, to an intellectual and moral category, nor or class, race, or gender, but of a qualitative difference from the rest, an essential worldliness, a heightened expectation--as F. Scott Fitzgerald put it in a different context- of the possibilities of life. Many people, foreigners who belonged to Paris and Parisians exiled from it, put it their own way. Rainer Maria Rilke, the German poet, identified Paris as the place where the elan vital, Bergson's phrase for the life force, is stronger than elsewhere. "Elan vital," Rilke asked, "is it life? No. Life is calm, vast, simple. It is the desire to live in haste, in pursuit; it is the impatience to possess all of life right away, right there. Paris is full of this desire; that is who it is so close to death." Victor Hugo, the great novelist and poet, exiled for many years of his life, meant the same thing when he wrote: "Ever since historic times, there has always been on the earth what we call the City. . .. We have needed the city that thinks. ... We have needed the city where everybody is citizen. … Jerusalem unleashes the True. Athens the Beautiful; Rome the Great. Paris is the sum of all three of these great cities.

I don't remember all our duties, but they included making tea, coffee and chocolate, fetching meals from the kitchen, wines from the cellar, and fruit and so forth from the dining-room, slicing bread, making toast, rolling pats of butter, measuring jam, opening milk-cans, counting lumps of sugar, boiling eggs, cooking porridge, pounding ice, grinding coffee - all this for from a hundred to two hundred customers. (...)

In theorizing about the counter-revolution, men have too often assumed that this counter-revolution should and could be solely the result of popular deliberation. ‘The people fear,’ they say, ‘the people want, the people will never consent, it does not suit the people, etc.’ What a pity! The people count for nothing in revolutions, or at most count only as a passive instrument. Four or five persons, perhaps, will give France a king. Letters from Paris will announce to the provinces that France has a King, and the provinces will cry ‘Long live the king.

Paris courtroom where an

Martyrs were innumerable, among them, Saint Denis, 3rd century bishop of Paris, who, when beheaded, calmly picked up his severed head and walked several miles to the site of the abbey that bears his name while preaching a sermon on repentance. It seems a long way but, as the French regularly point out, 'c'est le premier pas qui compte', it's the first step that counts.

Having acknowledged that a man must master his circumstances or otherwise be mastered by them, the Count thought it worth considering how one was most likely to achieve this aim when one had been sentenced to a life of confinement. For Edmond Dantes in the Chateau d'If, it was thoughts of revenge that kept him clear minded. Unjustly imprisoned, he sustained himself by plotting the systematic undoing of his personal agents of villainy. For Cervantes, enslaved by pirates in Algiers, it was the promise of pages as yet unwritten that spurred him on. While for Napoleon on Elba, strolling among chickens, fending off flies, and sidestepping puddles of mud, it was visions of a triumphal return to Paris that galvanized his will to persevere. But the Count hadn't the temperament for revenge; he hadn't the imagination for epics; and he certainly hadn't the fanciful ego to dream of empires restored. No. His model for mastering his circumstances would be a different sort of captive altogether: an Anglican washed ashore. Like Robinson Crusoe stranded on the Isle of Despair, the Count would maintain his resolve by committing to the business of PRACTICALITIES. Having dispensed with dreams of quick discovery, the world's Crusoes seek shelter and a source of fresh water; they teacher themselves to make fire from flint; they study their island's topography, its climate, its flora and fauna, all the while keeping their eyes trained for sails on the horizon and footprints in the sand.

Physicians amassed knowledge, but that knowledge did not lead to improved patient management. Visitors to France from Britain and the United States even expressed serious moral reservations about Paris and its priorities. They noted that all too often physicians were little concerned about alleviating suffering or preserving life; surgeons, it was said, regarded operations as primarily a means to achieve greater manual dexterity, and the curriculum did not stress that the primary mission was to heal. Knowledge and its advancement were all that counted. Patients were objects to be observed as if they were displays in a natural history museum or stage props in a theater, and their presence on a ward was principally a means to serve science. Dr.

the traders of Saxony are little beholden to count Brühl’s dissipations; his shoes come from Paris, 100 pair at once, and his wigs by the dozen; and even his tarts used to be sent by post from the same city, that mother of abominations of the earth. Dresden and Leipsic make very good chocolate, but that for his Excellency must come from Rome or Vienna; in short, I scarce saw anything in his house which was either the produce or manufacture of Saxony.

Ten shockingly arty events What arty types like to call a ‘creative tension’ exists in art and music, about working right at the limits of public taste. Plus, there’s money to be made there. Here’s ten examples reflecting both motivations. Painting: Manet’s Breakfast on the Lawn, featuring a group of sophisticated French aristocrats picnicking outside, shocked the art world back in 1862 because one of the young lady guests is stark naked! Painting: Balthus’s Guitar Lesson (1934), depicting a teacher fondling the private parts of a nude pupil, caused predictable uproar. The artist claimed this was part of his strategy to ‘make people more aware’. Music: Jump to 1969 when Jimi Hendrix performed his own interpretation of the American National Anthem at the hippy festival Woodstock, shocking the mainstream US. Film: In 1974 censors deemed Night Porter, a film about a love affair between an ex-Nazi SS commander and his beautiful young prisoner (featuring flashbacks to concentration camp romps and lots of sexy scenes in bed with Nazi apparel), out of bounds. Installation: In December 1993 the 50-metre-high obelisk in the Place Concorde in the centre of Paris was covered in a giant fluorescent red condom by a group called ActUp. Publishing: In 1989 Salman Rushdie’s novel Satanic Verses outraged Islamic authorities for its irreverent treatment of Islam. In 2005 cartoons making political points about Islam featuring the prophet Mohammed likewise resulted in riots in many Muslim cities around the world, with several people killed. Installation: In 1992 the soon-to-be extremely rich English artist Damien Hirst exhibited a 7-metre-long shark in a giant box of formaldehyde in a London art gallery – the first of a series of dead things in preservative. Sculpture: In 1999 Sotheby’s in London sold a urinoir or toilet-bowl-thing by Marcel Duchamp as art for more than a million pounds ($1,762,000) to a Greek collector. He must have lost his marbles! Painting: Also in 1999 The Holy Virgin Mary, a painting by Chris Ofili representing the Christian icon as a rather crude figure constructed out of elephant dung, caused a storm. Curiously, it was banned in Australia because (like Damien Hirst’s shark) the artist was being funded by people (the Saatchis) who stood to benefit financially from controversy. Sculpture: In 2008 Gunther von Hagens, also known as Dr Death, exhibited in several European cities a collection of skinned corpses mounted in grotesque postures that he insists should count as art.

Belle is planning to host a series of salons," said Lio, appearing out of nowhere to fill her silence. It had been his first promise to her, in those wild days right after they broke the curse, when they talked feverishly about their most cherished dreams and whispered their deepest fears to each other. Back then, Belle's only fear had been her own ignorance. She had told him of her wish to travel to Paris and attend a salon herself, perhaps one that counted some of her favorite philosophes and encyclopédistes among its members. He had said her dream was toon small and that she herself should host one. The Mademoiselle de Vignerot smiled politely. "What will the subject be?" "Oh, everything," said Belle. Her enthusiasm elicited laughter, but she was entirely serious. The comte de Chamfort cleared his throat, his lips curling into a sneer. "That is very broad, madame. Surely you have a more specific interest? My parents used to attend the famous Bout-du-Banc literary salon in Paris, but that was a very long time ago." Belle gave him her best patient smile. "I don't wish to be limited, monsieur. My salons will invite scientists, philosophers, inventors, novelists, really anyone in possession of a good idea." The comte guffawed. "Why on earth would you do such a thing?" "To learn from them, monsieur. I would have thought the reason obvious." Marguerite snorted into her glass. Belle sipped her drink as Lio placed his hand on the small of her back. She didn't know if it was meant to calm her down or encourage her. "Whatever for?" the comte asked with the menacing air of a man discovering he was the butt of a joke. "Everything that is worth learning is already taught." "To whom?" Belle felt the heat rising in her cheeks. "Strictly the wealthy sons of wealthier fathers?" Some of Bastien's guests gasped, they themselves being the children of France's aristocracy, but Belle was heartened when she saw Marguerite smile encouragingly. "I believe that education is a right, monsieur, and one that has long been reserved exclusively for the most privileged among us. My salons will reflect the true reality." "Which is what, madame?" Marguerite prompted eagerly. Belle's heart rattled in her chest. "That scholarship is the province of any who would pursue it.

Memory couldn’t be counted on. Time was unreliable and everything dissolved and died—even or especially when it looked like life. Like spring. All around us, the grass grew. Birds made a living racket in the trees. The sun beat down with promise. From that moment forward, Ernest would always hate the spring.

So, then. You want a story and I will tell you one. But just the one. Don’t either of you ask me for more. It’s late, and we have a long day of travel ahead of us, Pari, you and I. You will need your sleep tonight. And you, too, Abdullah. I am counting on you, boy, while your sister and I are away. So is your mother. Now. One story, then. Listen, both of you, listen well. And don’t interrupt…..Once upon a time, in the days when divs and jinns and giants roamed the land, there lived a farmer named Baba Ayub.

So, then. You want a story and I will tell you one. But just the one. Don’t either of you ask me for more. It’s late, and we have a long day of travel ahead of us, Pari, you and I. You will need your sleep tonight. And you, too, Abdullah. I am counting on you, boy, while your sister and I are away. So is your mother. Now. One story, then. Listen, both of you, listen well. And don’t interrupt…..Once upon a time, in the days when divs and jinns and giants roamed the land, there lived a farmer named Baba Ayub.

在澳购买毕业证【咨询Q、微:2026614433】（办理LTU毕业证成绩单原版）如何在澳洲办理拉筹伯大学毕业证本科学位和硕士学位毕业证。 SSBNSVBSSVBNSVBSNCSVSCSSKJSLKSJSKLSJKSLSJSNMSSNBVSBNVSNBSVSBN A deeply researched and transporting exploration of the legacy of slavery and its imprint on centuries of American history, How the Word Is Passed illustrates how some of our country's most essential stories are hidden in plain view--whether in places we might drive by on our way to work, holidays such as Juneteenth, or entire neighborhoods like downtown Manhattan, where the brutal history of the trade in enslaved men, women, and children has been deeply imprinted. Clint Smith is a staff writer at The Atlantic and the author of the poetry collection Counting Descent. The book won the 2017 Literary Award for Best Poetry Book from the Black Caucus of the American Library Association and was a finalist for an NAACP Image Award. He has received fellowships from New America, the Emerson Collective, the Art For Justice Fund, Cave Canem, and the National Science Foundation. His writing has been published in The New Yorker, The New York Times Magazine, Poetry Magazine, The Paris Review and elsewhere. Born and raised in New Orleans, he received his B.A. in English from Davidson College and his Ph.D. in Education from Harvard University.

And the books? All of them! he had said with such bravado. But in the light of day, he had to admit that this instruction had been prompted less by good sense than by a rather childish impulse to impress the bellhops and put the guards in their place. For the books were not even to the Count’s taste. His personal library of majestic narratives by the likes of Balzac, Dickens, and Tolstoy had been left behind in Paris. The books the bellhops had lugged to the attic had been his father’s and, devoted as they were to studies of rational philosophy and the science of modern agriculture, each promised heft and threatened impenetrability.