Paris Funny Quotes

Um i'm happy to sit close to you and everything, but i had no idea you would like it so much,' Paris muttered.

I tell you, the old-fashioned doctor who treated all diseases has completely disappeared, now there are only specialists, and they advertise all the time in the newspapers. If your nose hurts, they send you to Paris: there's a European specialist there, he treats noses. You go to Paris, he examines your nose: I can treat only your right nostril, he says, I don't treat left nostrils, it's not my specialty, but after me, go to Vienna, there's a separate specialist there who will finish treating your left nostril.

He had no one but himself to blame, for he’d opened himself up to it. Just a fraction at first, like a crack in a window. But the funny thing was, once you welcomed in a breeze, there was no stopping what came next. A wind, a storm, thunder and lightning, until you could no longer reach the window to close it—and didn’t really want to anyway. That’s what this new darkness was. Evil in its purest form... -Paris

What is my perfect crime? I break into Tiffany's at midnight. Do I go for the vault? No, I go for the chandelier. It's priceless. As I'm taking it down, a woman catches me. She tells me to stop. It's her father's business. She's Tiffany. I say no. We make love all night. In the morning, the cops come and I escape in one of their uniforms. I tell her to meet me in Mexico, but I go to Canada. I don't trust her. Besides, I like the cold. Thirty years later, I get a postcard. I have a son and he's the chief of police. This is where the story gets interesting. I tell Tiffany to meet me by the Trocadero in Paris. She's been waiting for me all these years. She's never taken another lover. I don't care. I don't show up. I go to Berlin. That's where I stashed the chandelier.

Maybe I shouldn't scare off my date so quickly by shooting guns and telling stories about vomit, but, hey, the sooner he knows the real me, the better.

He was a humorist, and everyone knew the funny writers were the most serious sort under their skins.

It’s funny how quickly tomorrow becomes yesterday and then last week and then you run out of time.

What is it about Paris that I just can’t keep my hands off of you?” I ask him in between kisses. “It has nothing to do with Paris and everything to do with my raw sexuality, baby. I’m fucking irresistible,” he growls just before he shoves his tongue down my throat. I can’t argue with that.

She always called him Luca, in the Italian manner, and said it with that funny trans-European intonation, the accent oddly placed on the first syllable: 'Where's Loo-ka?', just like Audrey Hepburn saying, 'Take the pic-ture,' in Funny Face.

Now if you'll excuse me, I have to go out and greet those wonderful creatures and say a few nice words in a language invented by Tolkein. I've practiced, but I sound like Chewbacca making a New Year's speech.

It had been in a Paris house, with many people around, and my dear friend Jules Darboux, wishing to do me a refined aesthetic favor, had touched my sleeve and said, "I want you to meet-" and led me to Nina, who sat in the corner of a couch, her body folded Z-wise, with an ashtray at her heel, and she took a long turquoise cigarette holder from her lips and joyfully, slowly exclaimed, "Well, of all people-" and then all evening my heart felt like breaking, as I passed from group to group with a sticky glass in my fist, now and then looking at her from a distance (she did not look...), and listening to scraps of conversation, and overheard one man saying to another, "Funny, how they all smell alike, burnt leaf through whatever perfume they use, those angular dark-haired girls," and as it often happens, a trivial remark related to some unknown topic coiled and clung to one's own intimate recollection, a parasite of its sadness.

I wasn’t afraid of the Germans, not me,” an old bag would whine, “I went straight up to them and said, ‘This house belongs to the mother of a French officer’—and they didn’t say a word.” And another woman would say, “Bullets were flying all around me, but it’s funny, I wasn’t scared, not a bit.” It was understood that everyone would embellish their tales with terrifying scenes. As for Charles, he would simply reply, “That’s odd. Everything seemed quite normal to me. There were a lot of people on the road, but that’s all.” He imagined their surprise and smiled, feeling smug. He needed to feel smug. When he thought about his apartment in Paris, his heart broke.

I survived a divorce, no children and come to Paris three days per week. My cat ran away on a love adventure; don't know when he will be back.

Anecdotes are funny when you tell them," said Teffi. "But when you live through them it's a tragedy. And my life is one big joke-- in other words, a tragedy.

I’m not going anywhere with you and your Mr. Darcy accent.”. . .“Wow, I’ve hit a nerve. Mr. Darcy, huh?” he chimed. “So the hopeless romantic bit is accurate.

In Paris, choosing a dress is a monumental decision. In Milan, it’s a kick.

Watching Paris is Burning, I began to think that the many yuppie-looking, straight -acting, pushy, predominantly white folks in the audience were there because the film in no way interrogates “whiteness.” These folks left the film saying it was “amazing,” “marvellous,” incredibly funny,” worthy of statements like, “Didn’t you just love it?” And no, I didn’t love it. For in many ways the film was a graphic documentary portrait of the way in which colonized black people (in this case black gay brothers, some of whom were drag queens) worship at the throne of whiteness, even when such worship demands that we live in perpetual self-hate, steal, go hungry, and even die in its pursuit. The "we" evoked here is all of us, black people/people of color, who are daily bombarded by a powerful colonizing whiteness that seduces us away from ourselves, that negates that there is beauty to be found in any form of blackness that is not imitation whiteness.

Jared was completely gone now, holding his stomach and laughing so hard that tears were running down his face. Matt turned on him and snapped, "It's not funny," which only made Jared laugh harder. "Any of you guys strict about top or bottom?" Angelo asked, "'Cause if so, you'll screw it all up-" "Literally," Cole said. "And we'll have to start all over." Angelo turned to Matt. "If you got a strong preference you better say so now." "Lay it all out, so to speak," Cole said. "On the table." Angelo said. "For all to see." "Zach does like to watch," Angelo said, winking at me, and I was relieved that with the direction the conversation was going, nobody took him seriously. "Then it's settled!" Cole said. "Who's going where with whom first? Zach, I think you're up." He winked at me. "Or you soon will be." "Oh dear God," Mat moaned, hanging his head. "I knew I shouldn't have come." "Don't worry about it a bit," Cole said. "I'm sure Zach can coax at least one more out of you." Jared laughed so hard, I was amazed he managed to stay in his chair.

The true sign is that he’s back to writing ‘The Passion of Boris.’ ” “What’s that?” “The history of the Library. Funny stories and statistics. He could dedicate an entire chapter to various ways people ask for The Grapes of Wrath: Grapes of Rats by Steinbaum, Grapes of Gravity, Grapevine Wrath, Vines of Grapes, Gabe’s Wrath, not to mention The Rapes of Wrath.

Everyone's here except for St. Clair." Meredith cranes her neck around the cafeteria. "He's usually running late." "Always," Josh corrects. "Always running late." I clear my throat. "I think I met him last night. In the hallway." "Good hair and an English accent?" Meredith asks. "Um.Yeah.I guess." I try to keep my voice casual. Josh smirks. "Everyone's in luuurve with St. Clair." "Oh,shut up," Meredith says. "I'm not." Rashmi looks at me for the first time, calculating whether or not I might fall in love with her own boyfriend. He lets go of her hand and gives an exaggerated sigh. "Well,I am. I'm asking him to prom. This is our year, I just know it." "This school has a prom?" I ask. "God no," Rashmi says. "Yeah,Josh. You and St. Clair would look really cute in matching tuxes." "Tails." The English accent makes Meredith and me jump in our seats. Hallway boy. Beautiful boy. His hair is damp from the rain. "I insist the tuxes have tails, or I'm giving your corsage to Steve Carver instead." "St. Clair!" Josh springs from his seat, and they give each other the classic two-thumps-on-the-back guy hug. "No kiss? I'm crushed,mate." "Thought it might miff the ol' ball and chain. She doesn't know about us yet." "Whatever," Rashi says,but she's smiling now. It's a good look for her. She should utilize the corners of her mouth more often. Beautiful Hallway Boy (Am I supposed to call him Etienne or St. Clair?) drops his bag and slides into the remaining seat between Rashmi and me. "Anna." He's surprised to see me,and I'm startled,too. He remembers me. "Nice umbrella.Could've used that this morning." He shakes a hand through his hair, and a drop lands on my bare arm. Words fail me. Unfortunately, my stomach speaks for itself. His eyes pop at the rumble,and I'm alarmed by how big and brown they are. As if he needed any further weapons against the female race. Josh must be right. Every girl in school must be in love with him. "Sounds terrible.You ought to feed that thing. Unless..." He pretends to examine me, then comes in close with a whisper. "Unless you're one of those girls who never eats. Can't tolerate that, I'm afraid. Have to give you a lifetime table ban." I'm determined to speak rationally in his presence. "I'm not sure how to order." "Easy," Josh says. "Stand in line. Tell them what you want.Accept delicious goodies. And then give them your meal card and two pints of blood." "I heard they raised it to three pints this year," Rashmi says. "Bone marrow," Beautiful Hallway Boy says. "Or your left earlobe." "I meant the menu,thank you very much." I gesture to the chalkboard above one of the chefs. An exquisite cursive hand has written out the morning's menu in pink and yellow and white.In French. "Not exactly my first language." "You don't speak French?" Meredith asks. "I've taken Spanish for three years. It's not like I ever thought I'd be moving to Paris." "It's okay," Meredith says quickly. "A lot of people here don't speak French." "But most of them do," Josh adds. "But most of them not very well." Rashmi looks pointedly at him. "You'll learn the lanaguage of food first. The language of love." Josh rubs his belly like a shiny Buddha. "Oeuf. Egg. Pomme. Apple. Lapin. Rabbit." "Not funny." Rashmi punches him in the arm. "No wonder Isis bites you. Jerk." I glance at the chalkboard again. It's still in French. "And, um, until then?" "Right." Beautiful Hallway Boy pushes back his chair. "Come along, then. I haven't eaten either." I can't help but notice several girls gaping at him as we wind our way through the crowd.

Are you from Paris? What do you do? Are you a worker? Of course not! I can tell by your hands. You work in business or maybe in the government?” “Just a student.” “Oh! You study? Why?” “My goodness,” he said after thinking a moment, “I wonder why myself sometimes!” It was funny … he and his friends had worked, sat and passed exams, earned diplomas, all the time knowing it was pointless, it wouldn’t do them any good because there would be a war … Their future had been mapped out in advance,

Well,Anna.It's Matt or the minivan. I'm not making the choice for you." I choose my ex.We used to be good friends,so I'm sort of looking forward to seeing him again. And maybe Cherrie isn't as bad as I remember.Except she is. She totally is. After only five minutes in her company,I cannot fathom how Bridge stands sitting with her at lunch every day.She turns to look at me in the backseat,and her hair swishes in a vitamin-enriched, shampoo-commercial curtain. "So.How are the guys in Paris?" I shrug. "Parisian." "Ha ha.You're funny." Her lifeless laugh is one of her lesser attributes.What does Matt see in her? "No one special?" Matt smiles and glances at me through the rearview mirror. I'm not sure why,but I forgot that he has brown eyes.Why do they make some people look amazing and others completely average? It's the same with brown hair. Statistically speaking, St. Clair and Matt are quite similar. Eyes: Brown. Hair: Brown. Race: Caucasian. There's a significant difference in height,but still. It's like comparing a gourmet truffle to a Mr. Goodbar. I think about the gourmet truffle. And his girlfriend. "Not exactly.

It won't work. You see, he is a liar and a thief. And he's been one for too long. He can't retire now. In addition to which. He has become, I'm afraid, a hack.' 'He may be all those things but she knows he's not.' 'What gives her that curious idea?' 'She's been with him constantly for the last few days. She's seen him shaking with terror, exhausted, ready to quit. She's watched him pull himself together again and she's also seen him be warm and tender. And funny. Not famous-international-wit funny but really funny.' 'Do you think she's an idiot? Do you think she doesn't know what kind of man he is? Or what he needs?' 'And what he needs is L-O-V-E? Uh-uh it's too late. He is 43 years old. Or will be this October. He's been married twice, both times disastrously and there have been too many years of... too much dough, too much bad writing and too much whiskey. He's got nothing left inside to give. Even if he could, which he can't.' 'But that's not true. You can, you have. I just know it.' 'No, you don't. It's lousy. In any case, the problem is you're not in love with the script. You're in love with me. And why shouldn't you be? When suddenly, waltzing into your life comes this charming and relatively handsome stranger. Me. Smooth as silk, with a highly practised line of chatter, specifically designed to knock relatively unsophisticated chicks like you Miss Simpson, right on their ears. Which I'm terribly afraid I've done. Well if it's the last decent thing I do in this world, and it very well may be, I'm going to fix that. I'm going to send you packing Miss Simpson before I cause you serious and irrevocable harm. You want the truth? Of course you don't. I'll give it to you anyway. I do not give one damn about anything.

Spain is my favorite country mais ça m'empêche que Paris est toujours ma ville préférée. I long to be again among all those foolish people, running for métros and jumping off of buses and dodging motorcycles and having traffic jams and admiring all that crazy statuary in all those absurd parks. I weep for the fishy ladies in the Place de la Concorde. Spain is not like that at all. Whatever else Spain is, it is not frivolous. I think, really, that I would stay in Spain forever--if I had never been to Paris. Spain is very beautiful, stony and sunny and lonely. Buy by and by you get tired of olive oil and fish and castanets and tambourines--or, anyway, I do. I want to come home, to come home to Paris. It's funny, I've never felt anyplace was home before.

A few minutes ago, I felt as if I was back in Paris, sitting in a park. It is funny how our mind sometimes wanders back to times past. When each of my parents was dying, floating in a sea of pain medication, their minds drifted back to their early twenties when they were newly in love. They both talked as if they were lost, and they had to find each other. In one corner of my house, I display some things that my parents cherished: my mother's china and my father's fishing gear. I don't know if there is an afterlife, but if their ghosts visit me someday, then their cherished things will be waiting for them. I also display photographs of my late parents, not when they were old, but when they were a newlywed couple, young, happy, smiling and full of hope and love.

Does anyone like a fat old cow?" "Maybe other fat old cows?

What happened to the troubled young reporter who almost brought this magazine down The last time I talked to Stephen Glass, he was pleading with me on the phone to protect him from Charles Lane. Chuck, as we called him, was the editor of The New Republic and Steve was my colleague and very good friend, maybe something like a little brother, though we are only two years apart in age. Steve had a way of inspiring loyalty, not jealousy, in his fellow young writers, which was remarkable given how spectacularly successful he’d been in such a short time. While the rest of us were still scratching our way out of the intern pit, he was becoming a franchise, turning out bizarre and amazing stories week after week for The New Republic, Harper’s, and Rolling Stone— each one a home run. I didn’t know when he called me that he’d made up nearly all of the bizarre and amazing stories, that he was the perpetrator of probably the most elaborate fraud in journalistic history, that he would soon become famous on a whole new scale. I didn’t even know he had a dark side. It was the spring of 1998 and he was still just my hapless friend Steve, who padded into my office ten times a day in white socks and was more interested in alphabetizing beer than drinking it. When he called, I was in New York and I said I would come back to D.C. right away. I probably said something about Chuck like: “Fuck him. He can’t fire you. He can’t possibly think you would do that.” I was wrong, and Chuck, ever-resistant to Steve’s charms, was as right as he’d been in his life. The story was front-page news all over the world. The staff (me included) spent several weeks re-reporting all of Steve’s articles. It turned out that Steve had been making up characters, scenes, events, whole stories from first word to last. He made up some funny stuff—a convention of Monica Lewinsky memorabilia—and also some really awful stuff: racist cab drivers, sexist Republicans, desperate poor people calling in to a psychic hotline, career-damaging quotes about politicians. In fact, we eventually figured out that very few of his stories were completely true. Not only that, but he went to extreme lengths to hide his fabrications, filling notebooks with fake interview notes and creating fake business cards and fake voicemails. (Remember, this was before most people used Google. Plus, Steve had been the head of The New Republic ’s fact-checking department.) Once we knew what he’d done, I tried to call Steve, but he never called back. He just went missing, like the kids on the milk cartons. It was weird. People often ask me if I felt “betrayed,” but really I was deeply unsettled, like I’d woken up in the wrong room. I wondered whether Steve had lied to me about personal things, too. I wondered how, even after he’d been caught, he could bring himself to recruit me to defend him, knowing I’d be risking my job to do so. I wondered how I could spend more time with a person during the week than I spent with my husband and not suspect a thing. (And I didn’t. It came as a total surprise). And I wondered what else I didn’t know about people. Could my brother be a drug addict? Did my best friend actually hate me? Jon Chait, now a political writer for New York and back then the smart young wonk in our trio, was in Paris when the scandal broke. Overnight, Steve went from “being one of my best friends to someone I read about in The International Herald Tribune, ” Chait recalled. The transition was so abrupt that, for months, Jon dreamed that he’d run into him or that Steve wanted to talk to him. Then, after a while, the dreams stopped. The Monica Lewinsky scandal petered out, George W. Bush became president, we all got cell phones, laptops, spouses, children. Over the years, Steve Glass got mixed up in our minds with the fictionalized Stephen Glass from his own 2003 roman à clef, The Fabulist, or Steve Glass as played by Hayden Christiansen in the 2003

When living in Denver, me and my friend Tony – who’s actually up here now and does amazing photography and helped us with the photoshoot for this collection – we did this funny thing on the anniversary of the stock market crash. It was a protest at a mall in Denver, and we called it “Black Friday is the new Black Monday”. We wanted to make the hipster thing into something else, we wanted to see what potential it had. Because we were fascinated by Paris 68, we made these pamphlets that said stuff like “Real hipsters riot”. We tried to encourage that mythology of the hipster from Sorbonne, Paris. This guy you see in Godard movie. We went into Urban Outfitters, threw a bunch of shit, flipped over things, went outside, shot a bunch of fireworks. That was pretty cool. The IEF was grounded in certain theoretical premises of insurrectionist theory, continental philosophy, and critical theory. It was definitely all over the damn place.

1429 was a whole year long, and Paris is a big city. When in 1429, and where in Paris are two very big questions on a long list of big questions that we don’t know the answers to.” Funny, for a second there, I actually sounded rational and careful. As if leaping head-first into bad plans wasn’t my specialty. Ringo

Meredith Etherington-Smith Meredith Etherington-Smith became an editor of Paris Vogue in London and GQ magazine in the United States during the 1970s. During the 1980s, she served as deputy and features editor of Harpers & Queen magazine and has since become a leading art critic. Currently, she is editor in chief of Christie’s magazine. She is also a noted artist biographer; her book on Salvador Dali, The Persistence of Memory, was an international bestseller and was translated into a dozen languages. Her drawing room that morning was much like any comfortable, slightly formal drawing room to be found in country houses throughout England: the paintings, hung on pale yellow walls, were better; the furniture, chintz-covered; the flowers, natural garden bouquets. It was charming. And so was she, as she swooped in from a room beyond. I had never seen pictures of her without any makeup, with just-washed hair and dressed in jeans and a white T-shirt. She looked more vital, more beautiful, than any photograph had ever managed to convey. She was, in a word, staggering; here was the most famous woman in the world up close, relaxed, funny, and warm. The tragic Diana, the royal Diana, the wronged Diana: a clever, interesting person who wasn’t afraid to say she didn’t know how an auction sale worked, and would it be possible to work with me on it? “Of course, ma’am,” I said. “It’s your sale, and if you would like, then we’ll work on it together to make the most money we can for your charities.” “So what do we do next?” she asked me. “First, I think you had better choose the clothes for sale.” The next time I saw her drawing room, Paul Burrell, her butler, had wheeled in rack after rack of jeweled, sequined, embroidered, and lacy dresses, almost all of which I recognized from photographs of the Princess at some state event or gala evening. The visible relics of a royal life that had ended. The Princess, in another pair of immaculately pressed jeans and a stripy shirt, looked so different from these formal meringues that it was almost laughable. I think at that point the germ of an idea entered my mind: that sometime, when I had gotten to know her better and she trusted me, I would like to see photographs of the “new” Princess Diana--a modern woman unencumbered by the protocol of royal dress. Eventually, this idea led to putting together the suite of pictures of this sea-change princess with Mario Testino. I didn’t want her to wear jewels; I wanted virtually no makeup and completely natural hair. “But Meredith, I always have people do my hair and makeup,” she explained. “Yes ma’am, but I think it is time for a change--I want Mario to capture your speed, and electricity, the real you and not the Princess.” She laughed and agreed, but she did turn up at the historic shoot laden with her turquoise leather jewel boxes. We never opened them. Hair and makeup took ten minutes, and she came out of the dressing room looking breathtaking. The pictures are famous now; they caused a sensation at the time. My favorite memory of Princess Diana is when I brought the work prints round to Kensington Palace for her to look at. She was so keen to see them that she raced down the stairs and grabbed them. She went silent for a moment or two as she looked at these vivid, radiant images. Then she turned to me and said, “But these are really me. I’ve been set free and these show it. Don’t you think,” she asked me, “that I look a bit like Marilyn Monroe in some of them?” And laughed.

It's funny. I'd never had a problem telling a white lie before, especially if it was to save the other person's feelings, but with Otto, lying just didn't seem to be an option. I felt as if he could see right through me

I broke one terrible night when Rufo, Ramon's younger brother, arrived at the house begging me to bring medicine for Ramon and Ester, who were suddenly burning up with fever. Carrying aspirin and a thermometer, I walked up the beach through the waves at high tide, under a billion blazing southern stars, the most furiously beautiful night of my life. But the contrast of that night with the utter squalor of Ramon's house, the sweating bodies, the delirium, their childlike faith that now that I had come everything would be all right, the pathetic collection of objects they had piled in bed around them - a plaster of Paris dog with half the paint peeled off, a rusty flit gun, a jar of watermelon seed, a pail of ground corn for the chickens, a pair of worn-out gringo shoes, all their treasures - so knocked me out that walking back along the beach I began to cry as I hadn't cried since I was six years old. What finally made it funny was that I couldn't stop and h ad to stay on the beach for almost an hour, embarrassed to go wailing through the sleeping streets of Rio Verde, announcing that I was cracking up.

Au contraire, and because I said that, that makes me French, unlike the Englishman at a Paris auction house who raised his '3' paddle after a Frenchman yelled, 'I bid you adieu.

And then he turned and left them, which would be a marvelous opportunity to escape—except that they were tied up. In a locked room. With a guard outside. “We’re going to die,” said Paris. “Eventually,” said Vai, “but not right now.” The joke wasn’t funny when eventually meant tomorrow morning. Actually, the joke wasn’t funny anyway. “Did you not notice that we got captured?” Paris demanded. “Don’t worry,” said Vai. “I have a plan.” “Does it start with not being tied into a chair?” asked Paris. “Because that’s not very helpful.” “No.” Vai tugged at the ropes without looking the least bit concerned. “It starts with admitting that we can’t solve this problem.” “That’s just giving up,” said Paris, his heart sinking a little. Of course they were doomed, but it didn’t feel right for Vai to admit it. “Step two,” said Vai, “is getting us a problem we can solve. Normally that might involve a lot of shouting or setting things on fire, but I’m betting that if nothing else, we’re too useful as necromancy fodder to be left alone for long.” Paris wasn’t sure there was any point to saying, What do you mean, you are insane, all over again.

It’s funny, isn’t it,” Joan added pensively, “you think if you’re being asked to do something by someone so senior, it must be all right. Even though you know it isn’t. But you convince yourself that you’re the one who’s wrong.

It’s funny that the word entrepreneur is French because they often seem so opposed to working for themselves.

Funny how the same person could be different people.

Great. Just flipping fantastic. He’s like a warm English fire after being caught in the rain, and I’m like a hillbilly tractor stuck in the mud.

Apparently, it wasn't every day there was such a spectacle in the Louvre. Funny, I thought the Mona Lisa would have brought it out in them. It sure did in me.

I was doing perfectly fine. I’m perfectly fine. I will make it to Paris on my own, unchaperoned and without assistance.” “Well, you will need the pilot and the plane. Probably the crew as well,” he said nonchalantly.

Is this 12B? This is going to be fun!” The British accent cut through the air like a wire cutter through clay. It sliced into me and my peaceful serenity that I had created. “No, no, no, no,” I said, a little too emphatically.  “No, this isn’t 12B or no, this isn't going to be fun?” “You’ve got to be kidding me!

the white tents. 17. Two views of The Wild West in Paris, igo5. Colonel Cody, a Hawkeye by birth, is personally lionized by the Parisians, and his unique exhibition, so full of historical and dramatic interest, made a wonderful impression upon the susceptible French public. The twenty lessons I took in French, at the Berlitz School of Languages, London, only gave me a faint idea of what the language was like, but as I was required to make my lectures and announcements in French, I had my speeches translated, and was coached in their delivery by Monsieur Corthesy, editeur, le journal de Londres. Well, I got along pretty fair, considering that I did not know the meaning of half the words I was saying. Anyway it amused them, so I was satisfied. I honestly believe that more people came in the side show in Paris to hear and laugh at my "rotten" French than anything else, and when I found that a certain word or expression excited their risibilities, I never changed it. I can look back now and see where some of my own literal translations were very funny. Colonel Cody's exhibition is unique in many ways, and might justly be termed a polyglot school, no less than twelve distinct languages being spoken in the camp, viz.: Japanese, Russian, French, Arabic, Greek, Hungarian, German, Italian, Spanish, Holland, Flemish, Chinese, Sioux and English. Being in such close contact every day, we were bound to get some idea of each other's tongue, and all acquire a fair idea of English. Colonel Cody is, therefore, entitled to considerable credit for disseminating English, and thus preserving the entente cordiale between nations. 18. Entrance to the Wild West, Champs de Mars, Paris, Igo5. The first place of public interest that we visited in Paris was the Jardin des Plantes (botanical and zoological garden) and le Musee d'Histoire Naturelle. The zoological collection would suffer in comparison with several in America I might mention, but the Natural History Museum is very complete, and is, to my notion, the most artistically arranged of any museum I have visited. Le Palais du Trocadero, which was in sight of our grounds and facing the

La Revue Nègre was a bold statement, drawing from the long history of both Black American vernacular dance and the minstrel and vaudeville theater in which Baker had performed in the United States. It contained elements of the shimmy and the shake, and challenged traditional Western European ideas of dance. “All of these moves that in the European mode would have been considered awkward become beautiful, sexy, silly, and savvy at the same time,” explains Dixon Gottschild. Later, as the performance evolved, Baker incorporated her famous banana skirt and, eventually, a pet cheetah who regularly made his way into the orchestra pit—elements that played into the idea of Baker as an exotic creature and added notes of vaudeville humor. Baker’s performances were complex, as are their legacy. Some have characterized her as a twentieth-century Sarah Baartman, another Black woman put on display for the titillation of fascinated, scandalized bourgeois white spectators. But she is often also criticized for exoticizing herself, knowingly participating in her own exploitation, playing into African stereotypes with her nudity, the banana skirt, and the cheetah. Others interpret La Revue Nègre as a means of reclaiming those stereotypes: Baker enthusiastically, and freely, participated in the performances and made lots of money doing it, and she surely understood that she was engaging with, and even subverting, stereotypes of Black femininity. She was also funny, and her performances always contained elements of humor and parody. From her early days as a chorus girl, she would add an element of knowingness by feigning being a bad dancer onstage for a laugh. She may have been sexualized and objectified by her largely white audience in Paris, but she also maintained significant control over what she was doing.

I tell her all the time to stop reading books it makes her talk funny.

Quel Dommage!” That was “bummer” in French, or maybe “too bad,” or “scrambled eggs.

When she backed up the Petmobile it made a Beep! Beep! Beep! that attracted even more attention than the average minivan dressed like a cat–dog.

We were going for cake with…wait for it…a six-foot snake.

Like the time JTC sent me an invitation to MaryEllen Marini’s costume party, which might have been okay if I was actually invited to her party, and it had been a costume party.

The slippers aren’t funny now. All they’ll do is play into the narrative the media keeps trying to create, which is that Paris is a rich, self-entitled asshole.

you can sit outside in Paris and drink little cups of coffee, but why this is more stylish than sitting inside and drinking large glasses of whiskey I don’t know. I

I brought you some pictures of my work,” he said proudly. His name was William Weinstein, which may have explained why he left Jews off his hate list. He had been born in Brooklyn, and moved to Santa Fe ten years before. He took an envelope out of his pocket, rifled through some pictures, and handed them to Paris. They were ten-foot phallic symbols made of clay. The man had penises on the brain. “It’s very interesting work,” Paris said, pretending to be impressed. “Do you use live models?” she asked more in jest, and he nodded. “Actually, I use my own.” He thought that hysterically funny and laughed so hard he almost coughed himself to death. Along with the clay under his nails, enough of it to create another sculpture, his fingers were stained with nicotine. “Do you like to ride?” “Yes, but I haven’t in a long time. Do you?

Helen Donovan started to write a novel about her three days in Paris. But the first two lines she wrote put her right out of the novel business again. “Love is a funny thing,” she wrote. “I don’t think I’m old enough yet to understand everything there is to know about it

Funny how you plod through childhood wishing for the clock to move faster, so you can enter the coveted world of adulthood where you can make your own decisions and plot your own course. Next thing you know you’re wading through the uncertainty of your twenties and then trying to fix the mistakes you made in your thirties. Then without warning the pace quickens, The forties come and go and by fifty—everything takes off at warp speed.

No matter how highly placed they were, they were still officials, their views were well established and well known, famous. It could have rained frogs over Tan Son Nhut and they wouldn’t have been upset; Cam Ranh Bay could have dropped into the South China Sea and they would have found some way to make it sound good for you; the Bo Doi Division (Ho’s Own) could have marched by the American embassy and they would have characterized it as “desperate”—what did even the reporters closest to the Mission Council ever find to write about when they’d finished their interviews? (My own interview with General Westmoreland had been hopelessly awkward. He’d noticed that I was accredited to Esquire and asked me if I planned to be doing “humoristical” pieces. Beyond that, very little was really said. I came away feeling as though I’d just had a conversation with a man who touches a chair and says, “This is a chair,” points to a desk and says, “This is a desk.” I couldn’t think of anything to ask him, and the interview didn’t happen.) I honestly wanted to know what the form was for those interviews, but some of the reporters I’d ask would get very officious, saying something about “Command postures,” and look at me as though I was insane. It was probably the kind of look that I gave one of them when he asked me once what I found to talk about with the grunts all the time, expecting me to confide (I think) that I found them as boring as he did. And just-like-in-the-movies, there were a lot of correspondents who did their work, met their deadlines, filled the most preposterous assignments the best they could and withdrew, watching the war and all its hideous secrets, earning their cynicism the hard way and turning their self-contempt back out again in laughter. If New York wanted to know how the troops felt about the assassination of Robert Kennedy, they’d go out and get it. (“Would you have voted for him?” “Yeah, he was a real good man, a real good man. He was, uh, young.” “Who will you vote for now?” “Wallace, I guess.”) They’d even gather troop reflections on the choice of Paris as the site of the peace talks. (“Paris? I dunno, sure, why not? I mean, they ain’t gonna hold ’em in Hanoi, now are they?”), but they’d know how funny that was, how wasteful, how profane. They knew that, no matter how honestly they worked, their best work would somehow be lost in the wash of news, all the facts, all the Vietnam stories. Conventional journalism could no more reveal this war than conventional firepower could win it, all it could do was take the most profound event of the American decade and turn it into a communications pudding, taking its most obvious, undeniable history and making it into a secret history. And the very best correspondents knew even more than that.

The Paris couturier, Hubert de Givenchy, who sketched all Audrey’s dresses for Funny Face and who designed her personal wardrobe, called her ‘the perfect model’.

With a score that included such imperishable tunes as ‘S’Wonderful’, ‘He Loves and She Loves’, ‘Bonjour Paris!’, ‘Clap Yo’ Hands’, ‘Let’s Kiss and Make Up’, and the title song, ‘Funny Face’, it was a musical which really sang. And, in ‘How Long Has This Been Going On?’, Audrey’s glorious rendition made this classic ballad uniquely intimate, lyrical and affecting. Here, as in her other numbers, Audrey staked her claim to be considered the most entrancing ‘non-singer’ in the history of the art.

I am three-quarters Irish and one-quarter German, which makes me a very meticulous drunk. My father’s side was half Irish, half German, my mother is full Irish. Come to think of it, I don’t know of any German comedians. Most Germans don’t have a sense of humor. They are very literal. Someone once said that more funny things are said at a cocktail party in Paris than in an entire year in Germany.