Paris to the Moon Quotes

“We breathe in our first language, and swim in our second.”
― Adam Gopnik, Paris to the Moon

“American long for a closed society in which everything can be bought, where laborers are either hidden away or dressed up as nonhumans, so as not to be disconcerting. This place is called Disney World”
― Adam Gopnik, Paris to the Moon

“The loneliness of the expatriate is of an odd and complicated kind, for it is inseparable from the feeling of being free, of having escaped.”
― Adam Gopnik, Paris to the Moon

“After all, spinning is its own reward. There wouldn't be carousels if it weren't so.”
― Adam Gopnik, Paris to the Moon

“The French believe that all errors are distant, someone else's fault. Americans believe that there is no distance, no difference, and therefore that there are no errors, that any troubles are simple misunderstandings, consequent on your not yet having spoken English loudly enough.”
― Adam Gopnik, Paris to the Moon

“Writers are married to their keyboards, as to their passports.”
― Adam Gopnik, Paris to the Moon

“There are two kinds of travelers. There is the kind who goes to see what there is to see, and the kind who has an image in his head and goes out to accomplish it. The first visitor has an easier time, but I think the second visitor sees more.”
― Adam Gopnik, Paris to the Moon

“...you have taken part in the only really majestic choice we get to make in life, which is to continue it.”
― Adam Gopnik, Paris to the Moon

“The hardest thing to convey is how lovely it all is and how that loveliness seems all you need. The ghosts that haunted you in New York or Pittsburgh will haunt you anywhere you go, because they’re your ghosts and the house they haunt is you. But they become disconcerted, shaken confused for half a minute, and in that moment on a December at four o’clock when you’re walking from the bus stop to the rue Saint-Dominique and the lights are twinkling across the river–only twinkling in the bateaux-mouches, luring the tourists, but still…–you feel as if you’ve escaped your ghosts if only because, being you, they’re transfixed looking at the lights in the trees on the other bank, too, which they haven’t seen before, either. It’s true that you can’t run away from yourself. But we were right: you can run away.”
― Adam Gopnik, Paris to the Moon

“Paris, on the other hand, looked exactly as it was supposed to look. It wore its heart on its sleeve, and the strange thing was that the heart it wore so openly was in other ways so closed-mysterious, uninviting.”
― Adam Gopnik, Paris to the Moon

“we swim in our second language, we breathe in our first”
― Adam Gopnik, Paris to the Moon

“This can shake you up, this business of things almost but not quite being the same. A pharmacy is not quite a drugstore; a brasserie is not quite a coffee shop; a lunch is not quite a lunch.”
― Adam Gopnik, Paris to the Moon

“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.”
― Adam Gopnik, Paris to the Moon

“The romance of your child's childhood may be the last romance you can give up.”
― Adam Gopnik, Paris to the Moon

“Can't repeat the past? We do it every day. We build a life, or try to, of pleasures and duties that will become routine, so that every day will be the same day, or nearly so, "the day of our life," Randall Jarrell called it.”
― Adam Gopnik, Paris to the Moon

“that people don’t speak in theories, that the theories they employ change, flexibly, and of necessity, from moment to moment in conversation, that the notion of limiting conversation to a rigid rule of theoretical constancy is an absurd denial of what conversation is.”
― Adam Gopnik, Paris to the Moon

“In Paris explanations come in a predictable sequence, no matter what is being explained. First comes the explanation in terms of the unique, romantic individual, then the explanation in terms of ideological absolutes, and then the explanation in terms of the futility of all explanation. So, for instance, if your clothes dryer breaks down and you want to get the people from BHV—the strange Sears, Roebuck of Paris— to come fix it, you will be told, first, that only one man knows how it works and he cannot be found (explanation in terms of the gifts of the romanticized individual); next, that it cannot be fixed for a week because of a store policy (explanation in terms of ideological necessity); and, finally, that you are perfectly right to find all this exasperating, but
nothing can be done, because it is in the nature of things for a dryer to break down, dryers are like that (futility of explanation itself). "They are sensitive machines; they are ill suited to the task; no one has ever made one successfully," the store bureaucrat in charge of service says, sighing.
"C'est normal." And what works small works big too. The same sequence that explains the broken dryer also governs the explanations of the French Revolution that have been offered by the major French historians. "Voltaire did all this!" was de La Villette's explanation (only one
workman); an inevitable fight between the bourgeoisie and the aristocrats, the Marxists said (store policy); until, finally, Foucault announced that there is nothing really worth explaining in the coming of the Reign of Terror, since everything in Western culture, seen properly, is a reign of terror (all dryers are like that).”
― Adam Gopnik, Paris to the Moon

“(Commentary by J.-P. Quélin, food critic for Le Monde). [New York and London chefs] are cooking, he says, at a level of originality that defies judgment, defies criticism, defies the grammar of cuisine. (This I think is true. When I took my brother to L'Arpege for his birthday we got fourteen -small- courses ... that made even the best of the old cuisine look like sludge.)”
― Adam Gopnik, Paris to the Moon

“I suppose we couldn't realize, or could realize but couldn't accept, that the logic of business is not a logic in that sense. It's not only a narrow consideration of profits and losses, but a larger logic of, well, appetite. To buy something is to assert oneself, and to sell it, for whatever reason, is to collaborate in one's own diminishment.”
― Adam Gopnik, Paris to the Moon

“Family life is by its nature cocooned, and expatriate family life doubly so. We had many friends and a few intimate ones, but it is in the nature of family rhythm—up too early, asleep too soon—to place you on a margin, and to the essential joy—just the three of us!—was added the essential loneliness, just the three of us.”
― Adam Gopnik, Paris to the Moon

“There is, I believe now, a force in stories, words in motion, that either drives them forward past things into feelings or doesn’t.”
― Adam Gopnik, Paris to the Moon: A Family in France

“Whenever I am feeling blue, I like to go to the Balzar and watch a waiter gravely transfer a steak au poivre and its accompaniments from an oval platter to a plate, item by item. It reaffirms my faith in the sanity of superfluous civilization.”
― Adam Gopnik, Paris to the Moon

“The sublime moment of cooking, though, is really the moment when nature becomes culture, stuff becomes things. It is the moment when the red onions have been chopped and the bacon has been sliced into lardons and the chestnuts have been peeled, and they are all mijotéing together in the pot, and then—a specific moment—the colors begin to change, and the smells gather together just at the level of your nose. Everything begins to mottle, bend from raw to cooked. The chestnuts, if you’re doing chestnuts, turn a little damp, a little weepy. That’s what they do; everything weeps.”
― Adam Gopnik, Paris to the Moon

“A world in which everything is fashionable is impossible to imagine, because it implies that there would be nothing to provide a contrast. The reason that when you place any two things side by side, one becomes chic and the other does not is that it’s in the nature of desire to choose, and to choose absolutely. That’s the mythological lesson of the great choice among the beauties: They are all beautiful—they are goddesses—and yet a man must choose. And what was the chooser’s name? Paris. C’est normal.”
― Adam Gopnik, Paris to the Moon

“The passage from the big to the little is what makes Paris beautiful, and you have to be prepared to be small—to live, to trudge, to have your head down in melancholy and then lift it up, sideways—to get it.”
― Adam Gopnik, Paris to the Moon

“There is, I believe now, a force in stories, words in motion, that either drives them forward past things into feelings or doesn't. Sometimes the words fly over the fence and all the way out to the feelings.”
― Adam Gopnik, Paris to the Moon

“The real national dish of the French right now-the cheap available food-is couscous. But North African cooking remains segregated in couscous parlours and has not been brought into the main current. A fossilised metropolitan tradition, yet what took its place was a sentimental nationalism.”
― Adam Gopnik, Paris to the Moon

“In Paris explanations come in a predictable sequence, no matter what is being explained. First comes the explanation in terms of the unique, romantic individual, then the explanation in terms of ideological absolutes, and then the explanation in terms of the futility of all explanation. So, for instance, if your clothes dryer breaks down and you want to get the people from BHV—the strange Sears, Roebuck of Paris— to come fix it, you will be told, first, that only one man knows how it works and he cannot be found (explanation in terms of the gifts of the romanticized individual); next, that it cannot be fixed for a week because of a store policy (explanation in terms of ideological necessity); and, finally, that you are perfectly right to find all this exasperating, but nothing can be done, because it is in the nature of things for a dryer to break down, dryers are like that (futility of explanation itself). "They are sensitive machines; they are ill suited to the task; no one has ever made one successfully," the store bureaucrat in charge of service says, sighing. "C'est normal." And what works small works big too. The same sequence that explains the broken dryer also governs the explanations of the French Revolution that have been offered by the major French historians. "Voltaire did all this!" was de La Villette's explanation (only one workman); an inevitable fight between the bourgeoisie and the aristocrats, the Marxists said (store policy); until, finally, Foucault announced that there is nothing really worth explaining in the coming of the Reign of Terror, since everything in Western culture, seen properly, is a reign of terror (all dryers are like that).”
― Adam Gopnik, Paris to the Moon

“The logic of nationalism always flows downhill, toward the gutter.”
― Adam Gopnik, Paris to the Moon

“In Paris restaurants can actually go into a kind of hibernation for years and awaken in a new generation: Lapérouse, the famous swanky nineteenth-century spot, has, after a long stretch of being overlooked, just come back to life, and is a good place to eat again. Reading Olivier Todd’s biography of Camus, you discover that the places where Camus went to dinner in the forties (Aux Charpentiers, Le Petit St. Benoît, Aux Assassins) are places where you can go to dinner tonight. Some of Liebling’s joints are still in business too: the Beaux-Arts, the Pierre à la Place Gaillon, the Closerie des Lilas.”
― Adam Gopnik, Paris to the Moon