5
" I love the way the rain melts the colors together, like a chalk drawing on the sidewalk. There is a moment, just after sunset, when the shops turn on their lights and steam starts to fog up the windows of the cafés. In French, this twilight time implies a hint of danger. It's called entre chien et loup, between the dog and the wolf.
It was just beginning to get dark as we walked through the small garden of Palais Royal. We watched as carefully dressed children in toggled peacoats and striped woolen mittens finished the same game of improvised soccer we had seen in the Place Sainte Marthe.
Behind the Palais Royal the wide avenues around the Louvre gave way to narrow streets, small boutiques, and bistros. It started to drizzle. Gwendal turned a corner, and tucked in between two storefronts, barely wider than a set of double doors, I found myself staring down a corridor of fairy lights. A series of arches stretched into the distance, topped with panes of glass, like a greenhouse, that echoed the plip-plop of the rain. It was as if we'd stepped through the witch's wardrobe, the phantom tollbooth, what have you, into another era.
The Passage Vivienne was nineteenth-century Paris's answer to a shopping mall, a small interior street lined with boutiques and tearooms where ladies could browse at their leisure without wetting the bustles of their long dresses or the plumes of their new hats.
It was certainly a far cry from the shopping malls of my youth, with their piped-in Muzak and neon food courts. Plaster reliefs of Greek goddesses in diaphanous tunics lined the walls. Three-pronged brass lamps hung from the ceiling on long chains.
About halfway down, there was an antique store selling nothing but old kitchenware- ridged ceramic bowls for hot chocolate, burnished copper molds in the shape of fish, and a pewter mold for madeleines, so worn around the edges it might have belonged to Proust himself. At the end of the gallery, underneath a clock held aloft by two busty angels, was a bookstore. There were gold stencils on the glass door. Maison fondée en 1826. "
― Elizabeth Bard , Lunch in Paris: A Love Story, with Recipes
6
" Taking Mayur to the market is a little bit like taking a foot fetishist shoe shopping. He gets this look in his eyes, and he likes to pet the vegetables. I had discovered a new market, open Wednesdays and Saturdays, just on the other side of the boulevard de Belleville. This one was more expensive than my regular market- there were smaller producers, more wicker baskets and baby zucchini.
Like most American foodies when they come to France, Mayur was in ecstasy over the variety of mushrooms, the comparatively low cost of oysters, foie gras, and, of course, champagne. I thought he was going to cheer when he saw the scallops. "They sell them live," he said, loading us up with three kilos. They offered to shell them for us. "Non, non," he insisted with a defiant wave. "We'll do it ourselves. "
― Elizabeth Bard , Lunch in Paris: A Love Story, with Recipes
7
" I ordered a salad with smoked salmon. I know that doesn't sound like a particularly decadent repast, but it is. That's because the French long ago mastered the art of serving salad so it doesn't feel like a punishment for something. There are always a few caramel-crusted potatoes on your salade niçoise, or a plump chicken liver or two bedded down in a nest of lamb's lettuce. A lot of this has to do with what is called a tartine- a large thin slice of country bread (Poilâne if you're lucky) topped with anything from melted goat cheese to shrimp and avocado.
My lunch arrived, a well-worn wooden planche heaped with pillowy green lettuce, folded in a creamy, cloudy, mustardy vinaigrette. Balanced on top where three half slices of pain Poilâne, spread with the merest millimeter of butter, topped with coral folds of salmon. "
― Elizabeth Bard , Lunch in Paris: A Love Story, with Recipes
8
" He carefully poured the juice into a bowl and rinsed the scallops to remove any sand caught between the tender white meat and the firmer coral-colored roe, wrapped around it like a socialite's fur stole.
Mayur is the kind of cook (my kind), who thinks the chef should always have a drink in hand. He was making the scallops with champagne custard, so naturally the rest of the bottle would have to disappear before dinner. He poured a cup of champagne into a small pot and set it to reduce on the stove. Then he put a sugar cube in the bottom of a wide champagne coupe (Lalique, service for sixteen, direct from the attic on my mother's last visit). After a bit of a search, he found the crème de violette in one of his shopping bags and poured in just a dash. He topped it up with champagne and gave it a swift stir.
"To dinner in Paris," he said, glass aloft.
'To the chef," I answered, dodging swiftly out of the way as he poured the reduced champagne over some egg yolks and began whisking like his life depended on it.
"Do you have fish stock?"
"Nope."
"Chicken?"
"Just cubes. Are you sure that will work?"
"Sure. This is the Mr. Potato Head School of Cooking," he said. "Interchangeable parts. If you don't have something, think of what that ingredient does, and attach another one."
I counted, in addition to the champagne, three other bottles of alcohol open in the kitchen. The boar, rubbed lovingly with a paste of cider vinegar, garlic, thyme, and rosemary, was marinating in olive oil and red wine. It was then to be seared, deglazed with hard cider, roasted with whole apples, and finished with Calvados and a bit of cream. Mayur had his nose in a small glass of the apple liqueur, inhaling like a fugitive breathing the air of the open road.
As soon as we were all assembled at the table, Mayur put the raw scallops back in their shells, spooned over some custard, and put them ever so briefly under the broiler- no more than a minute or two. The custard formed a very thin skin with one or two peaks of caramel. It was, quite simply, heaven.
The pork was presented neatly sliced, restaurant style, surrounded with the whole apples, baked to juicy, sagging perfection. "
― Elizabeth Bard , Lunch in Paris: A Love Story, with Recipes
9
" The waiter slapped down my pavé au poivre. It was not a particularly impressive plate- a hunk of meat, fat fried potatoes piled carelessly to one side. But something happened as I sliced the first bite- no resistance, none at all. The knife slid through the meat; the thinnest layer of crusty brown opening to reveal a pulpy red heart. I watched as the pink juices puddled into the buttery pepper sauce.
Gwendal looked up. I must have uttered an audible gasp of pleasure. "I don't know why you can't get a steak like this in England," I said, careful, even in my haste to lift the first bite to my mouth, not to drip on my sweater. "Since mad cow, I think it's illegal." My fork and knife paused in midair as I let the salt, the fat, the blood settle on my tongue. "
― Elizabeth Bard , Lunch in Paris: A Love Story, with Recipes
16
" I soon graduated to Comté, a hard, fruity cheese that when aged has the sweetness and flake of Parmesan, and tête de moines (literally, "a monk's head"), made from sheep's milk. Bleu d' Auvergne, my favorite blue cheese, had nothing much in common with the crumbs I'd seen at home on a California Cobb salad. It was so dense it resembled a hunk of butter, coursing with violet veins.
For the wedding, Gwendal also wanted Salers, a cheese from Cantal with an almost peppery after-bite. It is made in huge tomes that, when you cut a slice, leave crags as in the side of a cliff. Monsieur Gilot kindly suggested a milder entre-deux (literally, "in between"), but Gwendal held his ground.
As a last choice, we took a tomme de chèvre frais, a round of fresh mild goat cheese the color of newly fallen snow. "
― Elizabeth Bard , Lunch in Paris: A Love Story, with Recipes
17
" To start, there were small salads- the thinnest slivers of red and yellow pepper, slow roasted and glistening with olive oil, and the simplest blend of carrots and golden onions, heady with the smell of cumin.
Then came the fish, its sauce simmered with saffron and tomatoes, thickened with ground almonds. I served myself the merest spoonful or two. "Elle est stratégique." Affif winked with approval. "She knows what's coming." I wanted to savor every bite, even if it was a small one, nothing blurred by the rebellion of a tired palate. I plucked a toothpick out of the end of an oblong white calamari. It was stuffed with rice and peppers, a curly violet-tipped tentacle poking out here and there. "
― Elizabeth Bard , Lunch in Paris: A Love Story, with Recipes
18
" Agnès was from Toulouse, in the south of France, so she knew a thing or two about sun-soaked veggies. She taught me how to sauté the onions until they turned translucent with a pale caramel around the edges. Then she added the slices of eggplant, but no more oil- because eggplant soaks up every liquid within reach. We served it over pasta; we were students, after all.
Marie-Chantal brought out the fish. Or, rather, she brought out a solid white mountain with the fish hidden inside. She had baked the bass in a crust of coarse sea salt, which she cracked open at the table with a knife and a hammer. It was spectacular really, like serving baked Alaska for a main course. "
― Elizabeth Bard , Lunch in Paris: A Love Story, with Recipes
