Writing Paris

Jude Cook, “Paris On the Page.” The London Magazine, December 2020-January 2021. Posted on Jude’s Substack, Overcooked, on 30th April 2026:

“‘We’ll always have Paris,’ as Bogart famously drawled to Ingrid Bergman in Casablanca, alluding both to their own affair and the city’s enduring quality of romantic vivacity; its embodiment of Eros versus the forces of Thanatos, in this case represented by the Second World War. He doesn’t have to elaborate on what Paris symbolises; its superabundance of light and love, its promise of amorous adventure. Not many cities are so neatly metonymic. Yet the title of Andrew Gallix’s excellent anthology of Parisian writing, We’ll Never Have Paris (2019), seems to sum up the experience of writing a Parisian novel more accurately. It catches the tantalising, ineffable quality of the city, one that becomes more apparent as you try to capture it on the page. Writing about Paris — like writing about London or New York — can feel like a thankless task. As Hemingway said, ‘There is never any ending to Paris’…”

Shooting Ducks

In the 25 December 2025 edition of the TLS, Deborah Levy mentions the time I accompanied her to the Théâtre de la Huchette to see The Bald Soprano. Thankfully, she omits my coughing fit:

“…On a warm evening in October, I made my way with a friend to see The Bald Soprano / La Cantatrice chauve at the Théâtre de la Huchette, where it has been staged since 1957 in its original production, directed by Bataille and designed by Jacques Noël.”

“…My friend and I went to dine afterwards at a local bistrot, not on Rue de la Huchette. A few English tourists arrived and, as if summoned by Ionesco from the other side, began to talk loudly about shooting ducks on a country estate. All the clichés that Sontag loathed in Ionesco’s writing were performatively on display in 2025, as if harvested from an English-language textbook from 1948.”

Deborah Levy in Paris, June 2019