Escort Girl Paris, France Travel Guide

II River Seine: Quai de Montebello

Hemingway loved to walk the quais and browse the bookstalls. He found English books, discarded from nearby tourist hotels, from the Quai Voltaire to the Quai des Grands Augustins and further on at a bookstall near the Tour d'Argent. He also loved to watch the fishermen, some of whom he knew. Hemingway, who did not own tackle, saved his own fishing experience for Spain. But he wrote with authority about fishing the Seine: 'The good spots tQJ fish changed with the height of the river and fishermen used long, jointed, cane poles but fished with very fine leaders and light gear and quill floats and expertly baited the piece that they fished', he wrote in A Moveable Feast. The fish 'were delicious fried whole and I could eat a plateful. They were plump and sweet-fleshed with a finer flavor than fresh sardines even.'

In By-Line ('Christmas in Paris'), he exclaims:
it is wonderful in Paris to stand on a bridge across the Seine looking up through the softly curtaining snow past the grey bulk of the Louvre, up the river spanned by many bridges and bordered by the grey houses of old Paris to where Notre-Dame squats in the dusk.

... sometimes, if the day was bright, I would buy a liter of wine and a piece of bread and some sausage and sit in the sun and read one of the books I had bought and watch the fishing .... With the fishermen and the life on the river, the beautiful barges with their own life on board ... the plane trees and in some places the poplars, I could never be lonely along the river.

Anai"s Nin, an American writer born in France, lived on a houseboat on the Seine in the 1930s when she hung out with Henry Miller and at Whitman's bookshop when it was called Mistral. She describes the tramps along the Seine as 'comical, humorous, their delirious oratory ... often ironic and witty'.

12 Gertrude Stein on the quais

Stein also loved the Quai de Montebello. Before taking a stairway across from Notre Dame to descend to the quai of the river, you will see the bookstalls, which have old pictures, postcards, and books, and down-river the Petit-Pont (small bridge), the oldest river-crossing in the city. The Romans

built a wooden bridge there at the end of their road from Orleans (now rue Saint-Jacques). The architect of Notre Dame, Bishop Maurice of Sully, had a stone bridge constructed in 1185 and allowed minstrels to cross toll-free. Eleven times this bridge has been destroyed by fire or flood.
Stein describes the Quai de Montebello, facing Notre Dame, in Paris France in 1940:
The quays in Paris have never changed, that is to say they look different but the life that goes on there is always the same. It was only last year that 1 really got to know them. 1 had put my car in a garage below Notre Dame and every morning and every evening 1 went the length of the quays forward and back. 1 found that going down below near the water 1 could let my dogs loose because we crossed no streets and then 1 found the life there below was very pleasant, it had nothing whatever to do with the life of a city.
Hemingway remembered, 'I would walk along the quais when 1 finished work or when 1 was trying to think something out'. Henry Miller also loved to wander along the Seine at night, 'going mad with the beauty of it, the trees leaning to, the broken images in the water'.

13 Cathedral of Notre Dame

The cathedral of Paris has been for more than seven centuries one of the masterpieces of art. From the square in front, ground zero, all the road distances in France are measured. The popularity of Victor Hugo's The Hunchback of Notre Dame (1831) led to significant restoration of the cathedral in the 1840s.
Numerous American writers have mentioned the Notre Dame in their fiction or poetry. Typical of the response is that of Sinclair tewis in Dodsuorth, where 'the whole cathedral seemed to expand' before his eyes, 'the work of human hands seemed to tower larger than the sky'. Where Lewis sees French 'strength and endurance and wisdom' in Notre Dame, William Faulkner was amused by the pagan images.

William Faulkner, who was in Paris for nearly five months (see map B) in 1925, describes the 'grand' cathedral covered with cardinals mitred like Assyrian kings, and knights leaning on long swords, and saints and angels, and beautiful naked Greek

figures that have no religious significance whatever, and gargoyles - creatures with heads of goats and dogs, and claws and wings on men's bodies, all staring down in a jeering sardonic mirth. Paris; this April sunset completely utters utters serenely silently a cathedral before whose upward lean magnificent face the streets turn young with rain.

This spring vision contrasts to his earlier mention in The Enormous Room, when just before Christmas in 1917 he walked past the cathedral without describing it: he was on his way from prison camp and the chill went through his mittens as he headed for the train and home.

As with other artistic and historical monuments of Paris, Hemingway occasionally mentions Notre Dame in his fiction and nonfiction. He observed Paris with a cinematic eye, documented its sharp scenes and captured living moments. The following scene, one of a group of six 'true sentences' he wrote in 1922 or 1923, illustrates the sharp eye witness of Hemingway and is closer to the spirit of Cummings than Faulkner:
I have stood on the crowded back platform of a seven o'clock Batignolles bus as it lurched along the wet damp street while men going home to supper never looked up from their newspapers as we passed otre Dame grey and dripping in the rain.

Walk D begins on the smaller island behind the Cathedral and across the bridge. If you start the next walk now, begin with Site No. 3 and then find No. 1. If the external carving fascinated Faulkner, it was the romantic effect of the cathedral at twilight that captured the poetic eye ofE. E. Cummings


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