Moving and shaking

Often, after crossing the border, the first stop we make is for coffee. We love France, but in all honesty, we don’t love French coffee. In fact, top on our list of what to pack when preparing for our summer stay there is an adequate supply of Illy or Lavazza.

This morning, to cement my return to Milanese life, I indulged in the ritual of the homemade “Caffè Scecherato”—pronounced: you can figure out the “caffe” part, followed by “shakerato.” This is the Italian-ized past participle of the American verb “to shake.” In other words, “shaken” as a Martini. You can search this sublime drink on the internet and find more elaborate versions, but here are the basics of this Italian take on my Southern-girl standard, iced coffee.

A single shot of espresso, just made ideally in a Bialetti moka, vigorously agitated in a cocktail shaker full of ice, with the addition of sugar (at home I use one teaspoon of the granular variety but in a bar they are likely to use liquid sugar) and—optionally—vanilla syrup. I add a tablespoon of milk at home, but none in the bar. If you’re a bartender, you shake this over your shoulder, while doing a perfect waist-down imitation of Elvis.


When the shaker is so cold that it burns your hands, and the cacophony of the ice cubes has evolved into a soft, slushy percussion, you strain the chilled coffee into a glass then remove the strainer and top with the foam. Again, the bar presentation is different here. Imagine your frosted coffee in a martini glass, or something else created precisely for this purpose. But the real beauty of this drink isn’t the glass. It’s the fact that, between the action of the moka and the cocktail shaker, the coffee emerges in a creamy state, even though it contains no cream. Then it’s bottoms-up for a morning or afternoon, depending on your preference, successfully underway.

NOTE: I apologize for the slightly out-of-focus imagery, but that’s what happens when you attempt to photograph your coffee before you drink it.

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The other side

As sad as it was to leave France this morning, the sadness faded as the ribbon of road unwound toward Italy. The drive from Bourgogne to Milan is a good one. Varied, visually rewarding, and—at one point in particular—thrilling.

The thrill to this small-town girl is crossing the border by driving through the nearly 12-kilometer Mont Blanc Tunnel / Tunnel de Mont Blanc / Traforo di Monte Bianco. France on one side. Italy on the other. Three languages on the inside.

The rules of the road are strict. You must maintain a speed between 50 and 70 kph. Your car must be 150 meters away from the car in front of it, a distance you can maintain by using the blue lights on the side of the tunnel as markers. You’re advised to keep your radio turned on and tuned in.

I’ve never driven through the tunnel without having this thought: It’s long enough for a life-changing event to occur. I’ve long imagined a film that takes place—beginning to end—within its confines. A baby is born. A love disintegrates. A terrorist changes his mind. An opinion turns 180 degrees.

Any of these plots, of course, is about transformation, rebirth and the fact that much of what we experience happens to us “in the dark.” We enter into situations under certain conditions (fog, snowfall, rain) and we exit them under others (haze, heat, sunshine). Predictably unpredictable. We go into the dark; we come out again. And, quite miraculously, it’s a new world out there.

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Peaceful

I’ve never been particularly fascinated by cemeteries. I’ve seen beautiful ones—Paris, Savannah, Washington—but I never sought them out. In fact, aside from those that were proclaimed beautiful and worthy of a visit by some reputable source, I avoided them altogether. And then I got older, and people I loved started to die. Friends, too young, taken by cancer. My father, perhaps of “the age,” but nevertheless I wasn’t ready. These jolts, these shifts in the tectonic plates of ourselves, change how we see many things. For me it changed how I see the places where these people are often “laid to rest.”

I’m not big on the euphemisms associated with death. “Laid to rest” is one of them. And yet, when I see the cemeteries of small French towns, the idea of rest seems appropriate. There is something truly restful about them, and whatever I once thought of as “creepy,” nonexistent. Perhaps the phrase has a double edge. The ones we loved are laid to remain. But we, who visit them, are given a peaceful place to rest with our meditations and feelings. The restfulness is for the living and dead. A place of quiet, calm.

The cemeteries here are beautiful. Filled with old stone, intricate ironwork. Porcelain flowers that have long lost their color, and in their decline gained a poetic beauty. The word “hush” comes to mind. Hush. Hush.

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For Ev: Your carriage awaits

I have a dear friend. She’s been a friend for a long, long time. When we were young, we’d tool around Atlanta in her green beater, dreaming of our futures. She’d been to France, spoke French and swore: “Char, one of these days, I’m gonna have a Deux Chevaux.” That’s what she’d say. Ev isn’t and wasn’t the sort of person to pin her ambitions to a car, so I think of that car as a metaphor of many things.

Consistent with the peculiar and unpredictable ins and outs of life, I wouldn’t be where I am today if it weren’t for her, so I owe her—a lot. She may not want that car anymore, but nevertheless, these are for her. These cars, these metaphors. They’re not all the make and model of her dreams, but they are “spiritually”—if a car can be spiritual and somehow I think some of them can be—in the same category. Every time I see one of these old beauties, I think of her. I’ve thrown in a road for her too, just for good measure. A metaphorical one, leading up into some beautiful metaphorical hills. I miss her.

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Vendredi = market day = bliss

Last days of summer. Last open market in France for me, at least until my next stay. So I had to capture some small parts of it to immortalize in the digital realm.

Markets, here and in Italy, have long lifted me out of any mood that could vaguely be considered blue. Perhaps it’s the colors. Or the chatter. Or the fact that you have to come “out” of yourself and conduct transactions in a personal fashion, even if you’re not fluent in the language. Or the shared state of mind: everyone seems happier.

Perhaps the contentment is a reaction to the presence of dirt clinging to roots, the absence of wax and other cosmetic treatments to beautify the already beautiful. The human scale. The tight-knit triangular relationship between you, the person selling the rhubarb and the rhubarb itself. The nod. The handshake. The cheese-monger who compliments the color of your eyes. The French lesson on the fly. The relationships, even outlined as they are by a commercial transaction, that will ripen season in, season out. Year in, year out. Or maybe it’s coming home with your full bag, unloading its contents into your kitchen, knowing that the happiness you just bought by the bunch, kilo, or bagful will nourish your mood for days to come.

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Summer’s end

Summer is almost over. Again. We are counting down the days, inserting all the incremental fractions to make them last longer.

It’s hard to believe that what seems like yesterday was the day we arrived, exhausted from our year, ready to refuel here in France. But it wasn’t yesterday; it was weeks ago. And now it’s coming, quite sadly, to a close. The days are still warm, but they mask an underlying chill. The sky has that undeniable clarity that means Autumn is setting in. It’s darker earlier. You can feel the year gearing up, and along with it, your own nerves.

For better or worse, it is my tendency to memorialize things. To build shrines. To try and capture moments or entire passages of time. To hold on. This summer’s project began last year at a vide-grenier. For 4 euros, I bought (what I take to be) an antique typographer’s drawer—a wide shallow affair with a vast array of tiny compartments. I cleaned it. Painted it. This summer, quite without purpose, we began collecting things that caught our eye or seemed to contain the very essence of our time spent here. We realized after several weeks, that we had a place to store them, so we began laying them, one by one, into the freshly painted drawer. I’ll hang this somewhere when the filling of it is complete, and keep this amazing summer with me as long as wood and fishing lure, butterfly’s wing and swallow’s egg will endure.

This is the essence of our time in France. And, I hope the essence of this website: to look at things with the observant, meditative eye, not because it is your job to look, but because you can’t help but fall into fascination. To appreciate what you see and, by doing so, to multiply your sense of joy. At least, that’s how it works for me. Time slows down. Filters fall into place, editing out the things that matter so little in the end, so that the smallest, most normal of objects—which accompany us silently through every stage set and act of our lives—become the giants of our contentment and our amazement.

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Which is better—the yoghurt or the pot?

High on the list of things that banish depression is yoghurt pots. Every summer we splurge on La Fermière yoghurt just to bring home more terra cotta jars. There are a variety of colors depending on the flavor of the yoghurt—blue for vanilla, natural color for unflavored. Inevitably you see them lying about people’s houses, used as containers for those pieces and parts that never belong anywhere else, small vases, or—as is the case chez nous—coffee cups. They are exactly the right size to be cupped in one hand or two, and precisely the right density to warm your hands without burning them. But sometimes, they serve no purpose at all and are just there, because they are so pleasing to the eye.

This is to say nothing of the yoghurt itself which is easily some of the best I’ve ever eaten. Were I an overwrought food critic, the word “sublime” might slip in here somewhere, especially in reference to the vanilla. Or would that be a misplaced response to the loveliness of the blue? I think this is a case of the chicken and the egg. Impossible to say which comes first in a friendly debate about causality or the inherent goodness of things.

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Postcard #1: Irancy

[Some of the best wine I’ve ever had the pleasure of drinking. And the town is heart-breakingly beautiful. Vineyards rising on all sides. This summer’s best taste: 2007 bottle of “Palotte.”]

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Hats ‘n’ bags

It seems absurd to say, but just crossing the border from Italy to France, changes so many things. One emerges on the other side of the Mont Blanc tunnel and everything is different: the air, the language, the landscape, the driving habits and the mindset. Oh, and did I mention the woven hats and bags?

So it is, my friends. And so it is. Here in France, I tend towards all-things-woven. Laundry is carted back and forth in a woven basket. The growing pile of vacation books lounges in a woven baby carriage. I love woven things in Milan too, but they don’t insinuate themselves into daily life there the way they do here. Going to the market, the butcher, the baker? Carry your woven shopping bag. Going out on a sunny day? Take that wide brimmed hat. It’s better than Prozac. I don’t know why, but it’s transformative. You-in-your-hat is not the same person as you-not-in-your-hat. And as with so many other small details, already discussed, there’s that “melding with the past” factor that’s so important. I’m not talking retro, I’m talking: why change? How can you design a hat better than that? A bag better than that? How could it look better hanging on the wall, or left—casually—on the kitchen table?

NOTE: Don’t be fooled by the bag’s breezy attitude; this thing can haul a metric ton of artichokes back from the open-air market, which is where, by the way, you (under the reassuring shade of your wide-brimmed woven hat) will be likely to find one.

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Ode to linen

Oh linen.

One of the items that’s frequently on sale at the aforementioned vide-greniers is antique linen. As the value of this is well known, and the lighter weights are difficult to find, the prices may be higher than the rest of the must-go-now fare. But it’s well worth it. Not only can it be re-fashioned into clothes, pillow covers, curtains or whatever else it inspires, but it can also, most importantly, simply be appreciated for the stuff that it is. Nothing—nothing—is quite like it.

Six years ago, I made curtains for the kitchen windows and to cover the kitchen appliances out of an old table-cloth I’d found at Arcy-sur-Cure. The open-work border is beautiful, and I was able to maintain it in the new pieces. I am honored to have the handiwork of a countrywoman whose story I will never know hanging there for me to see, a daily testament to the desire to bring simple beauty into the functionality of the everyday.

The texture of the cloth is poetic and honest. Unbleached, flawed. Its weave evident and uneven. It speaks of years and years past, and yet it endures with an Olympian freshness and sturdiness uncommon to other fabrics. And then there is the weight of it: real heft. Nothing to be ignored or over-looked. It calls no particular attention to itself, and yet it asserts its beautiful right to exist.

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