Dining at Le Bouillon Chartier

Virginia Woolf once said, “One cannot think well, love well, sleep well, if one has not dined well.” Taking the words of Woolf into consideration, I was hoping to enrich my Parisian experience by dining at the well-known restaurant, Le Bouillon Chartier. While I can now say that I have eaten at a restaurant that has been around for more than 100 years (which is quite an accomplishment considering the turnover of restaurants in today’s world), I was disappointed with the food and reputed service.

Walking into the dining room, I was overwhelmed with the décor. It was clear I was walking into a space much older in time than most other restaurants in the city just by glancing around; from the tall ceilings and barrel lights to the mahogany crown molding and mosaic-tiled floors. The staff creates a certain ambiance of elegance, as well, with their uniform of black waistcoats and bow ties. However, it turns out I was walking into the hype. With its beautiful setting and a reputation for quality service, I expected an unparalleled experience but left disappointed overall.

I was most impressed with the escargot, a starter I nibbled from the table in delight. The garlic butter sauce accompanied the dish well, and yet, did not seem to overpower the dish itself. While it was not the most amazing escargot I have ever tasted, it was definitely enjoyable and left me excited to try the rest of my food.

For my main meal, I ordered Poulet fermier roti avec frites; a simple roasted chicken with French fries. Overall, the dish was not horrible, but not what I was expecting, either. I imagined succulent, well-seasoned roasted chicken with meat that glided off the bones. Instead, my chicken was more bone than meat, and a bit dry. I have heard many people complain about receiving dark meat when ordering chicken, but after ordering quite a few poulet dishes throughout the month, I was not surprised or disappointed when I cut into my dark meat meal. However, someone I was dining with ordered the same dish and her serving included much more meat than bones, which furthered my dissatisfaction.

I also ordered a side dish of haricot verts, which I was glad about after the chicken. Although they tasted slightly bland to some people, I really enjoyed the green beans. It was a modest dish of warm green beans, with nothing more than salt for seasoning. They were simple, but very tasty and without the pretentiousness of other dishes. I ordered my green beans, and without fail, I enjoyed my green beans.

I was excited to see Coupe Mont Blanc on the menu, as I have seen this dessert at a number of restaurants and patisseries around the city. Each time, the mound of chestnut pulls me in and begs me to order it, but I resist. I thought Le Bouillon Chartier presented the best opportunity to try this dessert. This was the first time the dish looked differently than I had seen it before, but I attribute this to my lack of knowledge about the dessert rather than fault this particular restaurant. Keeping an open mind (since I have nothing to compare the taste to, anyway) I slid my spoon past the heap of freshly whipped cream down to the puree of hazelnut resting at the bottom of the dish. The taste was somewhat bitter, which the whipped cream helped to lighten, but it was the consistency I was least impressed with. I found it to be grainy and slightly uncomfortable on my tongue. I swiped the whipped cream off the top of the dish, and decided to leave the Mont Blanc hazelnut experience for another time.

In retrospect, I was forewarned that the food at Le Bouillon Chartier is simple, not five star dining. It is quite possible that I was expecting far greater food based off of the recommendations and reputation for the restaurant alone. Perhaps the food was not to my liking, but not the worst food I have ever tasted. As I mentioned above, the escargot and green beans were very nice, and my discontent with my dessert stems from the shock of receiving a dish far different from what I was expecting. The chicken, on the other hand, was just not that good.

Lastly, while the wait staff’s outfits are a defining characteristic of the restaurant, the service was not as amazing as I expected. With a reputation for having excellent service, I was looking forward to an “experience.” Our waitress muddled past left elbows and right shoulders to grab plates, and even handed me my dinner plate of hot food instead of placing it on the open space in front of me. I went with a larger group (14 persons), but for a restaurant claiming to have excellent service and basic, but still palatable dishes, I was not impressed. 

Reviewing M.F.K. Fisher's "The Gastronomical Me"

Book Cover Image via NPR

“Paris was everything I had dreamed, the late September when we first went there. It should always be seen, the first time, with the eyes of childhood or of love. I was almost twenty-one, but much younger than girls are now, I think. And I was wrapped in a passionate mist” (49).

The quote above, from M.F.K Fisher’s “The Gastronomical Me,” is one of many from the book that captured my attention. At 21, I epitomize the young woman learning about Paris while living here; I can appreciate (and even empathize) with the idea of ‘the passionate mist’ that takes over during one’s time in Paris. Whether the mist she is referring to is her love affair with Al or the city itself during her first visit, it is true that Paris is a city waiting to captivate the most self-assured and least-willing visitor with its people, art and most importantly to Fisher, its food.

Despite her ongoing love affair with France and the people she encounters, Fisher’s greatest love will always be food. Whether she is tasting an oyster for the first time as an adolescent in boarding school or devouring gin and Beluga caviar in Chexbres’ apartment whilst dressed in her Easter best, food is more than a meal to Fisher.

Food creates the central notion of which all other interactions follow. “The Gastronomical Me” allows the reader into Fisher’s life, not merely through her stories, but by recreating experiences. Throughout the book, the reader is offered glimpses of Fisher’s evolution as an American in France (in addition to extraneous locations) by recounting the joys and lessons that have come from eating meals all over and with many different people.

Whereas in American culture food is a means to an end; the French do not satiate their hunger to keep going, but instead use food as a tool to socialize and reminisce. Fisher learns this early on, and is able to take the reader on a journey of not only her experiences with food, but that of an expatriate setting up life in a foreign country as a local, rather than a tourist.

Although I thoroughly enjoy the way Fisher describes her experiences, I was confused and found the stories difficult to follow, at times, due to her writing style. Fisher speaks as if she were having coffee with friends, her cup filled to the brim with enough café that it can be sipped until every detail is divulged, and yet, the last drop still touches warmly to the tongue. As the reader, I am intrigued until the last word on each page, but like a friend listening to the story of an experience I was not present to witness, I miss some of the details.

This passage, for example, is eloquently stated, but not an easy read at first glance. However, with time and consideration, it is clear that Fisher has a way with words:

“On land, the tuggings of the moons can somewhat safely be ignored by men, and left to the more pliant senses of woman and seeds and an occasional warlock. But at sea even males are victims of the rise and fall, the twice-daily surge of the waters they float on, and the willy-nilly the planetary rhythm stirs them and all the other voyagers” (40).

I recognize that others may find the fluidity in Fisher’s prose more alluring than I did. While it captivated my attention at the start, I had to reread certain passages throughout the book to keep up with what she was saying. Overall, I enjoyed the book despite the aforementioned criticism.

And yet, Fisher said it best in her own words:

“How can I write the love story of a woman I don’t know? There must be more than celebration, more than the skillful plotting of my thoughts” (229).

For me, M.F.K Fisher’s “The Gastronomical Me” sheds light on the experience of a woman who could have easily adapted to French culture at any age. She had the “upper hand” so to speak, in that she recognized from the beginning that she preferred the finer things in life and wanted to enjoy every moment, every bite—a French culture necessity. Moreover, Fisher learned from her friends and family to be decisive about her choices, and from her experiences she picked up the ability to be independent and confident. She was never the tourist, even during her first experience abroad. And yet, her experiences elucidate the expatriate experience. Her tales leave you hoping for more embarrassing anecdotes, another passionate rendezvous, and of course, new experiences with food--since we know that is the root of this love story.

Operetta at Theatre Antoine

Under the musical direction of David Costa, Operetta, performed at Theatre Antoine in Paris, offers an opportunity to witness the blending of theatrical styles, music from different operas, and contrasting fashion styles of the old and new. The aspect of the performance that stands apart, however, is the ability of the vocalists to both act and sing at the same time. Although it is expected in other forms of theatre, this is a special talent considering the amount of technique and breath required to perform an opera; and yet, the vocalists emulate athletes biking and skiing, run around the stage, and move props—all with grace and ease. Despite enjoying the performance thoroughly, I found myself wondering why certain movements were included. For example, in one of the final acts of the performance, it seemed as though there was a lot of head bobbing and an awkward rendition of “the wave,” segregating vocalists depending on vocal range (the altos went up to sing their part, then a group of sopranos would pop up on the other side, etc.). It was interesting at first, considering the stage formed some sort of level system and vocalists would disappear into the set scene. However, it became distracting after a while. This was the exception to the rest of the performance, though.

Unlike musical theatre, operas do not use music to complement dialogue in story lines; rather, they rely on the music and expressions to convey a story. Operetta was traditional in that sense. Yet, it reminded me more of a musical because of all the acting and set/prop changes. This is the beauty of Operetta. It uses well-known songs from operas and accompanies them to modern day situations. From filming a movie, to falling in love, to watching a performance, Operetta gives new meaning to the traditional opera. 

Amy Winehouse Sings "A Song for You" || Critical Karaoke

(This piece is intended to be read while this song below plays in the background).

Sometimes it is the lyrics of a song that pulls a listener in. Other times it may be the melody and tone, and often it is a combination of the song on its own and the singer who performs the work. Leon Russell, an American rock singer, wrote this song, titled “A Song For You,” in the year 1970.

Donny Hathaway, an American soul musician from Chicago who became well known not only for his own take on music, but also for his collaborations with Roberta Flack, is often attributed to singing this song, as it became one of his most well known tracks.

The first time I heard this song was when American Idol contestant, Elliott Yamin, sang it during season 5 of the television show. His rendition gave me chills. I thought it was his voice, convinced that this man could sing this song unlike anyone else. Then I heard the original and I was convinced that only those with soul could sing this song. I still hold that belief.

It was Amy Winehouse, however, who added the most feeling to the song. Her rendition does not follow the original lyrics verbatim, and when I listen to her raspy, cockney accent I feel as though she sings from within. I always knew that I felt a connection to this song, but what I love about the way she sings it is that I can feel her connection, as well.

Everyone from Whitney Houston to Christina Aguilera to Michael Bublé and Ray Charles has covered this song. I didn’t hear Amy Winehouse’s version until the release of her album Lioness: Hidden Treasures, which came out after her untimely death. In fact, her music prior to her death did not interest me. I could not connect with songs like “Rehab” or “Back to Black” and her public persona dissuaded me from trying to connect to her as the artist. I could admire her obvious interest in a previous era-- from her beehive hairstyle to her winged eyeliner -- but the tabloids showed her as a coked-out matchstick, ready to ignite at any moment; saving her voice for her songs while her fists did the talking. 

And yet, perhaps her public persona is what enthralled me after her death. It was the 23rd of July, 2011, and E! News, along with every other entertainment channel, had breaking news: Winehouse had died in her home in Camden, London. The report said the following: “While the 27-year-old Back to Black crooner has faced a very public battle with drugs and alcohol, the official cause of her death has not yet been announced.”

“...but the tabloids showed her as a coked-out matchstick, ready to ignite at any moment; saving her voice for her songs while her fists did the talking”

And yet, immediately everyone assumed it was an overdose. Beyond the shock of her death, it was her music I could hear on the television and radio stations. Everyone from other musicians to music journalists and public opinions agreed that Winehouse had a unique sound, a voice unmatched, and a talent that would not be forgotten. Only a few days later, I bought my first Amy Winehouse track. Soon after, I had accumulated songs from different albums, and was beginning to see the vocal transformation and how her music style had evolved.

This particular version of the song is an uncut, studio version, and when Winehouse stops singing, she remarks on the influence of Donny Hathaway. She says, “You know what, I think Donny Hathaway is like my Carleen Anderson, like Marvin Gaye is great, but Donny Hathaway, like, he couldn’t contain himself. He had something in him, you know.”

Amy Winehouse had something, too. She was a powerful vocalist who opened doors for artists who felt they had to conform to popular music. She made soul music relevant to the masses. She made her music distinguished from who she was as a celebrity. She was respected by musicians whose songs constantly rank at the top of music charts today. Her legacy and voice will be anything but forgotten.

Perhaps the lyrics to “A Song For You” resonate with Winehouse’s struggle with drugs and the media:

“I’ve been so many places in my life and time/ I’ve sung a lot of songs I’ve made some bad rhyme/ I’ve acted out my love in stages/ with ten thousand people watching/ But we’re alone now and I’m singing this song for you…

But now I’m so much better and If my words don’t come together/ Listen to the melody cause my love is in there hiding...

And when my life is over, remember when we were together/We were alone and I was singing this song for you”

“A Song For You” is about forgiveness and about love, two aspects of Amy Winehouse that deeply affected her in the course of her short life.

She may not have been the first artist to sing this song, but she was one of the most talented.

The Art in Architecture

From inside the Louvre Museum, looking out

The Louvre Museum offers tourists the quintessential Parisian experience. Built in the 12th century and having been the home to King Louis XIV, there are many years of history and Parisian pride that can be traced in the walls of one of the world's most famous museums. In addition to housing some of the most renowned paintings and sculptures, the Louvre itself (its buildings and architecture) offers glimpses of art and context about French life.

I was enthralled as I walked through the Louvre, not only with the artwork, but with the building structures. Inside each room I entered were moldings outlined in gold, preserved and seemingly untouched. And surprisingly, unnoticed.

I understand that people come to the Louvre Museum to see their favorite works of art in person, and sometimes even just to say they have been there. Others "bee line" straight to the Mona Lisa, although many of them probably leave feeling less than inspired after reaching over other cameras and dodging other people's pictures to see the smaller-than-expected painting.

Few, however, look up. Just one small glance in any number of the rooms I visited would reveal the beauty that is the Louvre. I was especially captured when I walked towards the Pavillon Mollien, which leads to the Italian sculptures. It was after looking up, however, that I had to stop and stare.

The ceiling of Pavillon Mollien is adorned with a painting titled, "Glory Crowning the Arts", by Charles- Louis Müller. There are sculptures placed in the corners representing "Painting by Ernest Hiolle, Sculpture by Duchoisel, Architecture by Justin Chrysostome Sanson and Engraving by Louis-Charles Janson" (Musée de Louvre). These creations were a part of Napoleon III's "Nouveau Louvre" plan and were completed in 1914, 57 years after the Pavillon Mollien building was completed on August 14, 1857.

Inside Pavillon Mollien

"Glory Crowning the Arts", by Charles- Louis Müller

Perhaps I am drawn to these details within the buildings because of my love for design and adornment. Contemporary interior design reuses and translates these immaculately executed and intricately detailed pieces of art into smaller scale additions to homes and businesses. We see crown moldings all around in home design, but never to this extent and beauty, so it is something to appreciate.

Other building additions have been equally recognized for their symbolism, if not always for their beauty. For example, in 1989, the 3 glass pyramids by architect, I.M. Pei were introduced as a hub for visitors of the museum. Now an instantly recognizable aspect of the Louvre, the pyramids were initially met with distaste and discontent from the Parisians who felt that the architecture did not create a cohesive look with the rest of the museum. As Paul Goldberger said in his article for The New York Times just days before the inauguration of the new pyramids, "the pyramid was at first bitterly denounced by many prominent people in the arts, who viewed it as an unwelcome intrusion of harsh modernism into the sacred precincts of Paris."

Looking out from within I.M Pei's triangle

Alas, it seems Parisians have been more welcoming the second time around, as the Islamic Galleries became the newest addition to the museum in 2012. Designed by Mario Bellini and Rudy Ricciotti and described as "a scarf floating within the space," the wing holds over 17,000 works of art spanning 17 centuries and numerous civilizations.

Clearly, art is not limited to the walls and inside glass frameworks at the Louvre Museum. The buildings, with their vast architecture and incredible histories, are just as beautiful, memorable and important.