When I travel to France, either to spend time in restaurant kitchens or just to sightsee and visit friends, I travel light—two small pieces of luggage that I can easily maneuver on public transportation. For years, reading material posed a problem for my style of travel. Books are heavy and bulky. I found that I preferred to travel with the classics since these were available in compact paperback editions with dense printing—in other words, more words per pound than modern books. Then I discovered electronic books. I first tried ones that I could read from my laptop computer, but the computer was difficult to use in places other than my hotel room. Then in 2004, I downloaded a couple of books to my PDA. Fantastic.
Back in the 1950s, paperback books were often called pocket books because they were smaller than their hard-bound brethren. Now I really have a book in my pocket. My PDA easily fits into one of the front pockets of my jeans. Whenever there is a break in my schedule or downtime in the kitchen or a period of waiting for a meal or train, I can pull my PDA out and read a few pages. My fellow kitchen companions have become quite accustomed to seeing me intently staring at the screen of my PDA whenever I’m not involved with kitchen duties.
The first book I chose to read on the PDA was Le Ventre de Paris, written in 1873 by Émile Zola (1840-1902).1 (The title literally translates as “The Belly of Paris,” but the edition I was reading, translated in the 1880s by Ernest Alfred Vizetelly (1853-1922), had the title as “The Fat and The Thin.”) I chose this book not because I had any knowledge of it but because I could obtain it free of charge.2 Also, I had heard a little about Zola and, since I have enjoyed most of Dickens’ works, Zola seemed like another author that would interest and entertain me. Little did I know at the time that Le Ventre de Paris is considered one of Zola’s lesser works. For me, it has become a major source of entertainment because of its frequent long descriptions of food in the market of central Paris during the Second Empire (1852-1870).
Early in his career, Zola started to write a series of books he called Les Rougon Macquart.3 He intended the series to be the natural and social history of a family under the Second Empire. He wrote, “I want to portray, at the outset of a century of liberty and truth, a family that cannot restrain itself in its rush to possess all the good things that progress is making available and is derailed by its own momentum, the fatal convulsions that accompany the birth of a new world.” The family was divided into two branches: the Rougons were small shopkeepers and petit bourgeois while the Marquarts were poachers and smugglers who had problems with alcohol. During the series, some members of the family rise to the highest levels of society while others fall victim to social evils and heredity.
Zola presented the idea for the series to his publisher in 1868. “The Rougon-Macquart—the group, the family, whom I propose to study—has as its prime characteristic the overflow of appetite, the broad upthrust of our age, which flings itself into enjoyments. Physiologically the members of this family are the slow working-out of accidents to the blood and nervous system which occur in a race after a first organic lesion, according to the environment determining in each of the individuals of this race sentiments, desires, passions, all the natural and instinctive human manifestations whose products take on the conventional names of virtues and vices.”
The series eventually consisted of twenty novels, ranging in subject from the world of peasants and workers to the imperial court. Zola researched his novels thoroughly. The result was a combination of precise documentation, dramatic imagination, and accurate portrayals. Zola interviewed experts, wrote thick dossiers based on his research, made thoughtful portraits of his protagonists, and outlined the action of each chapter. Le Ventre de Paris is the third novel in the series.4
The plot is centered around the escaped political prisoner Florent Lanquerriere, a man who seems depressed throughout the entire book. His imprisonment, it turns out, was more a matter of being in the wrong place at the wrong time than his being an active revolutionary. He returns to Paris in the middle of the night hidden among some cabbages in a wagon headed towards the market. He is reunited with his brother Quenu, a successful charcutier, who welcomes him to his family establishment and provides him a place to live. Throughout the story, Florent drifts along while those around him work to support him or undermine him. Eventually, he becomes a minor player in the revolutionary politics of the day. In the end, he is once again in the wrong place at the wrong time and sent back to prison.
The action is centered in and around Les Halles, the large central marketplace in Paris. Les Halles of Zola’s novel is a group of twelve glass and iron pavilions built in 1854 to replace the original building constructed in 1183 by King Philippe II Auguste.5 Throughout the novel, Zola presents lengthy descriptions of the market and the surrounding shops, providing the reader with a fantastic visualization of the food supply in mid-19th century Paris.
Florent arrives at Les Halles in the pre-dawn as the market is coming to life. He comes across an old friend, Claude, who serves as tour guide for him.
[Claude] compelled his companion to admire the effect of the dawn rising over the vegetables. There was a perfect sea of these extending between the two clusters of pavilions from Saint Eustache6 to the Rue des Halles. And in the two open spaces at either end the flood of greenery rose to even greater height, and quite submerged the pavements. The dawn appeared slowly, softly grey in hue, and spreading a light water-color tint over everything. These surging piles akin to hurrying waves, this river of verdure rushing along the roadway like an autumn torrent, assumed delicate shadowy tints—tender violet, blush-rose, and greeny-yellow, all the soft, light hues which at sunrise make the sky look like a canopy of shot silk. And by degrees, as the fires of dawn rose higher and higher at the far end of the Rue Rambuteau, the mass of vegetation grew brighter and brighter, emerging more and more distinctly from the bluish gloom that clung to the ground. Salad herbs, cabbage-lettuce, endive, and succory, with rich soil still clinging to their roots, exposed their swelling hearts; bundles of spinach, bundles of sorrel, clusters of artichokes, piles of peas and beans, mounds of cos-lettuce, tied round with straws, sounded every note in the whole gamut of greenery, from the sheeny lacquer-like green of the pods to the deep-toned green of the foliage; a continuous gamut with ascending and descending scales which died away in the variegated tones of the heads of celery and bundles of leeks. But the highest and most sonorous notes still came from the patches of bright carrots and snowy turnips, strewn in prodigious quantities all along the markets and lighting them up with the medley of their two colors.
At the crossway in the Rue des Halles cabbages were piled up in mountains; there were white ones, hard and compact as metal balls, curly savoys, whose great leaves made them look like basins of green bronze, and red cabbages, which the dawn seemed to transform into superb masses of bloom with the hue of wine-lees, splotched with dark purple and carmine. At the other side of the markets, at the crossway near Saint Eustache, the end of the Rue Rambuteau was blocked by a barricade of orange-hued pumpkins, sprawling with swelling bellies in two superposed rows. And here and there gleamed the glistening ruddy brown of a hamper of onions, the blood-red crimson of a heap of tomatoes, the quiet yellow of a display of marrows, and the sombre violet of the fruit of the eggplant; while numerous fat black radishes still left patches of gloom amidst the quivering brilliance of the general awakening.
Later in his tour,
Florent walked on to the end of the street. Drays were driving up at a quick trot, crowding the market with cages full of live poultry, and square hampers in which dead birds were stowed in deep layers. On the other side of the way were other drays from which porters were removing freshly killed calves, wrapped in canvas, and laid at full length in baskets, whence only the four bleeding stumps of their legs protruded. There were also whole sheep, and sides and quarters of beef. Butchers in long white aprons marked the meat with a stamp, carried it off, weighted it, and hung it up on hooks in the auction room. Florent, with his face close to the grating, stood gazing at the rows of hanging carcasses, at the ruddy sheep and oxen and paler calves, all streaked with yellow fat and sinews, and with bellies yawning open. Then he passed along the sidewalk where the tripe market was held, amidst the pallid calves’ feet and heads, the rolled tripe neatly packed in boxes, the brains delicately set out in flat baskets, the sanguineness livers, and purplish kidneys. He checked his steps in front of some long two-wheeled carts, covered with round awnings, and containing sides of pork hung on each side of the vehicle over a bed of straw. Seen from the back end, the interiors of the carts looked like recesses of some tabernacle, like some taper-lighted chapel, such was the glow of all the bare flesh they contained. And on the beds of straw were lines of tin cans, full of the blood that had trickled from the pigs.
As the early morning progresses and sunrise gives way to a bright sun shining through a clear blue sky, Florent is led to his brother’s charcuterie near the corner of the Rue Pirouette.
Its aspect was bright and smiling, touches of brilliant color showing conspicuously amidst all the snowy marble. The sign board, on which the name of Quenu-Gradelle glittered in fat gilt letters encircled by leaves and branches painted on a soft-hued background, was protected by a sheet of glass. On two panels, one on each side of the shop-front, and both, like the board above, covered with glass, were paintings representing various chubby little cupids playing amidst boars’ heads, pork chops and strings of sausages; and these latter still-life subjects, embellished with scrolls and bows, had been painted in such soft tones that the uncooked pork which they represented had the pinkness of raspberry jam. Within this pleasing framework arose the window display, arranged upon a bed of fine blue-paper shavings. Here and there fern-leaves, tastefully disposed, changed the plates which they encircled into bouquets fringed with foliage. There was a wealth of rich, luscious, melting things. Down below, quite close to the window, jars of preserved sausage-meat were interspersed with pots of mustard. Above these were some small, plump, boned hams. Golden with their dressings of toasted bread-crumbs, and adorned at the knuckles with green rosettes. Next came the larger dishes, some containing preserved Strasbourg tongues, enclosed in bladders colored a bright red and varnished, so that they looked quite sanguine beside the pale sausages and trotters; then there were black-puddings coiled like harmless snakes, healthy looking chitterlings piled up two by two; Lyons sausages in little silver cope that made them look like chorister; hot pies, with little banner-like tickets stuck in them; big hams, and great glazed joints of veal and pork, whose jelly was as limpid as sugar-candy. In the rear were other dishes and earthen pans in which meat, minced and sliced, slumbered beneath lakes of melted fat. And betwixt the various plates and dishes, jars and bottle of sauce, coulis, stock and preserved truffles, pans of foie gras and boxes of sardines and tunny-fish were strewn over the bed of paper shavings. A box of creamy cheeses, and one of edible snails, the apertures of whose shells were dressed with butter and parsley, had been placed carelessly at either corner. Finally, from a bar overhead strings of sausages and saveloy of various sizes hung down symmetrically like cords and tassels; while in the rear fragments of intestinal membranes showed like lacework, like some guipure of white flesh. And on the highest tier in this sanctuary of gluttony, amidst the membranes and between two bouquets of purple gladioli, the window stand was crowned by a small square aquarium, ornamented with rock-work, and containing a couple of goldfish, which were continually swimming round it.
After being reunited with his brother, Florent settles in with the family. Later we are given one of many views of the interior of the charcuterie.
In front of Lisa7 was an array of white china dishes, containing long Arles and Lyons sausages, slices of which had already been cut off, with tongues and pieces of boiled pork; then a pig’s head in a mass of jelly; an open pot of preserved sausage-meat, and a large box of sardines disclosing a pool of oil. On the right and left, upon wooden platters, were mounds of French and Italian brawn, a common French ham, of a pinky hue, and a Yorkshire ham, whose deep red lean showed beneath a broad band of fat. There were other dishes too, round ones and oval ones, containing spiced tongue, truffled galantine, and a boar’s head stuffed with pistachio nuts; while close to her, in reach of her hand, stood some yellow earthen pans containing larded veal, pâté de foie gras, and hare-pie.
She arranged some fore-end bacon upon a little marble shelf at the end of the counter, put the jars of lard and dripping back into their places, wiped the plates of each pair of scales, and saw to the fire of the heater, which was getting low. ...The smell of all the viands ascended around her, she was enveloped, as it were, by the aroma of truffles. She looked beautifully fresh that afternoon. The whiteness of all the dishes was supplemented by that of her sleevelets and apron, above which appeared her plump neck and rosy cheeks, which recalled the soft tones of the hams and the pallor of all the transparent fat.
Later on, Zola describes the kitchen where the store’s products were prepared and some of the production.
The room was so large that several people could sit comfortably at the square central table, without in any way impeding the work that was going on. Lighted by gas, the walls were coated with white and blue tiles to a height of some five or six feet from the floor. On the left was a great iron stove, in the three apertures of which were set three large round pots, their bottoms black with soot. At the end was a small range, which, fitted with an oven and a smoking-place, served for the broiling; and up above, over the skimming-spoons, ladles, and long-handled forks, were several numbered drawers, containing rasped bread [fresh bread crumbs], both fine and coarse, toasted crumbs, spices, cloves, nutmegs, and pepper. On the right, leaning heavily against the wall, was the chopping-block, a huge mass of oak, slashed and scored all over. Attached to it were several appliances, an injecting pump, a forcing-machine, and a mechanical mincer, which, with their wheels and cranks, imparted to the place an uncanny and mysterious aspect, suggesting some kitchen of the infernal regions.
Then, all round the walls upon shelves, and even under the tables, were iron pots, earthenware pans, dishes, pails, various kinds of tin utensils, a perfect battery of deep copper saucepans, and swelling funnels, racks of knives and choppers, rows of larding-pins and needles—a perfect world of greasy things. In spite of the extreme cleanliness, grease was paramount; it oozed forth from between the blue and white tiles on the wall, glistened on the red tiles of the flooring, gave a grayish glitter to the stove, and polished the edges of the chopping-block with the transparent sheen of varnished oak. And, indeed, amidst the ever-rising steam, the continuous evaporation from the three big pots, in which pork was boiling and melting, there was not a single nail from ceiling to floor from which grease did not exude.
The Quenu-Gradelles prepared nearly all their stock themselves. All that they procured from outside were the potted meats of celebrated firms, with jars of pickles and preserves, sardines, cheese, and edible snails. They consequently became very busy after September in filling the cellars which had been emptied during the summer. They continued working even after the shop had been closed for the night. Assisted by Auguste8 and Leon,9 Quenu would stuff sausage-skins, prepare hams, melt down lard, and salt the different sorts of bacon. There was a tremendous noise of cauldrons and cleavers, and the odor of cooking spread through the whole house. All this was quite independent of the daily business in fresh pork, pâté de fois gras, hare patty, galantine, saveloys, and black-puddings.
That evening, at about eleven o’clock, Quenu, after placing a couple of pots on the fire in order to melt down some lard, began to prepare the black-puddings. ... Leon was mincing some sausage-meat on the oak block in a slow, rhythmical fashion.
Auguste first of all went out into the yard to fetch a couple of jug-like cans full of pigs’ blood. It was he who stuck the animals in the slaughter house. He himself would carry away the blood and interior portions of the pigs, leaving the men who scalded the carcasses to bring them home completely dressed in their carts. Quenu asserted that no assistant in all Paris was Auguste’s equal as a pig-sticker. The truth was that Auguste was a wonderfully keen judge of the quality of the blood; and the black-pudding proved good every time that he said such would be the case.
“Well, will the black-pudding be good this time?” asked Lisa.
August put down the two cans and slowly answered: “I believe so, Madame Quenu; yes, I believe so. I tell it at first by the way the blood flows. If it spurts out very gently when I pull out the knife, that’s a bad sign, and shows that the blood is poor.”
“But doesn’t that depend on how far the knife has been stuck in?” asked Quenu.
A smile came over Auguste’s pale face. “No,” he replied; “I always let four digits of the blade go in; that’s the right way to measure. But the best sign of all is when the blood runs out and I beat it with my hand when it pours into the pail; it ought to be of a good warmth, and creamy, without being too thick.”
“Well, I beat it, and beat it, and beat it,” continued the young man, whisking his hand about as though he were whipping cream. “And then, when I take my hand out and look at it, it ought to be greased, as it were, by the blood and equally coated all over. And if that’s the case, anyone can say without fear of mistake that the black-puddings will be good.”
Florent eventually obtains a job as an inspector in the market. As such, he is replacing Monsieur Verlaque, the current inspector, who is becoming too ill to continue his duties. In a sense, Florent only sublets the position because he pays a percentage of his wages to Verlaque.
When Florent made his appearance on the first morning, at seven o’clock, he felt quite distracted; his eyes were dazed, his head ached with all the noise and riot. Retail dealers were already prowling about the auction pavilion; clerks were arriving with their ledgers, and consigners’ agents, with leather bags slung over their shoulders, sat on overturned chairs by the salesmen’s desks, waiting to receive their cash. Fish was being unloaded and unpacked not only in the enclosure, but even on the footways. All along the latter were piles of small baskets, an endless arrival of cases and hampers, and sacks of mussels, from which streamlets of water trickled. The auctioneers’ assistants, all looking very busy, sprang over the heaps, tore away the straw at the tops of the baskets, emptied the latter, and tossed them aside. They then speedily transferred their contents in lots to huge wickerwork trays, arranging them with a turn of the hand so that they might show to the best advantage. And when the large tray-like baskets were all set out, Florent could almost fancy that a whole shoal of fish had got stranded there, still quivering with life, and gleaming with rosy nacre, scarlet coral, and milky pearl, all the soft, pale, sheeny hues of the ocean.
The deep-lying forests of seaweed, in which the mysterious life of the ocean slumbers, seemed at one haul of the nets to have yielded up all they contained. There were cod, keeling, whiting, flounders, plaice, dabs, and other sorts of common fish of a dingy gray with whitish splotches; there were conger-eels, huge serpent-like creatures, with small black eyes and muddy, bluish skins, so slimy that they still seemed to be gliding along, yet alive. There were broad flat skate with pale undersides edged with a soft red, and superb backs bumpy with vertebrae, and marbled down to the tautly stretched ribs of their fins with splotches of cinnabar, intersected by streaks of the tint of Florentine bronze—a dark medley of color suggestive of the hues of a toad or some poisonous flower. Then, too, there were hideous dog-fish, with round heads, widely-gaping mouths like those of Chinese idols, and short fins like bats’ wings; fit monsters to keep yelping guard over the treasures of the ocean grottoes. And next came the finer fish, displayed singly on the osiers trays; salmon that gleamed like chased silver, every scale seemingly outlined by a graving-tool on a polished metal surface; mullet with larger scales and coarser markings; large turbot and huge brill with firm flesh white like curdled milk; tunny-fish, smooth and glossy, like bags of blackish leather; and rounded bass, with widely gaping mouths which a soul too large for the body seemed to have rent asunder as it forced its way out amidst the stupefaction of death. And on all sides there were sole, brown and grey, in pairs; sand-eels, slim and stiff, like shavings of pewter; herrings, slightly twisted, with bleeding gills showing on their silver-worked skins; fat dories tinged with just a suspicion of carmine; burnished mackerel with green-streaked backs, and sides gleaming with ever-changing iridescence; and rosy gurnets with white bellies, their head towards the centre of the baskets and their tails radiating all around, so that they simulated some strange florescence splotched with pearly white and brilliant vermilion. There were rock mullet, too, with delicious flesh, flushed with the pinky tinge peculiar to the Cyprinus family; boxes of whiting with opaline reflections; and baskets of smelts—neat little baskets, pretty as those used for strawberries, and exhaling a strong scent of violets. And meantime the tiny black eyes of the shrimps dotted as with beads of jet their soft-toned mass of pink and grey; and spiny crawfish and lobsters striped with black, all still alive, raised a grating sound as they tried to crawl along with their broken claws.
A flood of sunshine suddenly streamed through the lofty glass roof of the covered way, lighting up all these precious colors, toned and softened by the waves—the iridescent flesh-tints of the shell-fish, the opal of the whiting, the pearly nacre of the mackerel, the ruddy gold of the mullets, the plated skins of the herrings, and massive silver of the salmon. It was as though the jewel-cases of some sea-nymph had been emptied there—a mass of fantastical, undreamt-of ornaments, a streaming and heaping of necklaces, monstrous bracelets, gigantic brooches, barbaric gems and jewels, the use of which could not be divined. On the backs of the skate and the dog-fish you saw, as it were, big dull green and purple stones set in dark metal, while the slender forms of the sand-eels and the tails and fins of the smelts displayed all the delicacy of finely wrought silver-work.
A great number of crawfishes had arrived from Germany that morning in cases and hampers, and the market was also crowded with river fish from Holland and England. Several men were unpacking shiny carp from the Rhine, lustrous with ruddy metallic hues, their scales resembling bronzed cloisonne enamel; and others were busy with huge pike, the cruel iron-grey brigands of the waters, who ravenously protruded their savage jaws; or with magnificent dark-hued with verdigris. And amidst these suggestions of copper, iron, and bronze, the gudgeon and perch, the trout, the bleak, and the flat-fish taken in sweep-nets showed brightly white, the steel-blue tints of their backs gradually toning down to the soft transparency of their bellies. However, it was the fat snowy-white barbel that supplied the liveliest brightness in this gigantic collection of still life.
Bags of young carp were being gently emptied into the basins. The fish spun round, then remained motionless for a moment, and at last shot away and disappeared. Little eels were turned out of their hampers in a mass, and fell to the bottom of the compartments like tangled knots of snakes; while the larger ones—those whose bodies were about as thick as a child’s arm—raised their heads and slipped of their own accord into the water with the supple motion of serpents gliding into the concealment of a thicket. And meantime the other fish, whose death agony had been lasting all the morning as they lay on the soiled osiers of the basket-trays, slowly expired amidst all the uproar of the auctions, opening their mouths as though to inhale the moisture of the air, with great silent gasps, renewed every few seconds.
Of the many characters that inhabit Le Ventre de Paris are a couple of orphans, Marjolin and Cadine, raised as brother and sister by one of the marketeers. As children, they spent all of their time together, but at the time of the events in this book, they are in their late teens and not quite as close.
In the daytime they would hide themselves away in the warehouses of the Rue au Lard, behind piles of apples and cases of oranges; and in the evening they would dive into the cellars beneath the poultry market, and secret themselves among the huge hampers of feathers which stood near the blocks where the poultry was killed. They were quite alone there, amidst the strong smell of the poultry, and with never a sound but the sudden crowing of some rooster to break upon their babble and their laughter. The feathers amidst which they found themselves were of all sorts—turkey’s feathers, long and black; goose quills, white and flexible; the downy plumage of ducks, soft like cotton wool; and the ruddy and mottled feathers of fowls, which at the faintest breath flew up in a cloud like a swarm of flies buzzing in the sun. And then in wintertime there was the purple plumage of the pheasants, the ashen grey of the larks, the splotched silk of the partridges, quails, and thrushes. And all these feathers freshly plucked were still warm and odoriferous, seemingly endowed with life.
There’s a later visit to the poultry cellars which provides an additional description.
That afternoon the beautiful Lisa found Marjolin in the midst of the poultry. It was warm, and whiffs of hot air passed along the narrow alleys of the pavilion. She was obliged to stoop before she could see him stretched out inside the stall, below the bare flesh of the birds. From the hooked bar up above hung fat geese, the hooks sticking in the bleeding wounds of their long stiffened necks, while their huge bodies bulged out, glowing ruddily beneath their fine down, and, with their snowy tails and wings, suggesting nudity encompassed by fine linen. And also hanging from the bar, with ears thrown back and feet parted as though they were bent on some vigorous leap, were grey rabbits whose turned-up tails gleamed whitely, whilst their heads, with sharp teeth and dim eyes, laughed with the grin of death. On the counter of the stall plucked fowls showed their strained fleshy breasts; pigeons, crowded on osier trays, displayed the soft bare skin of innocents; ducks, with skin of rougher texture, exhibited their webbed feet; and three magnificent turkeys, speckled with blue dots, like freshly-shaven chins, slumbered on their backs amidst the black fans of their expanded tails. On plates nearby were giblets, livers, gizzards, necks, feet, and wings; while an oval dish contained a skinned and gutted rabbit, with its four legs wide apart, its head bleeding, and its kidneys showing through its gashed belly. A streamlet of dark blood, after trickling along its back to its tail, had fallen drop by drop, staining the whiteness of the dish. Marjolin had not even taken the trouble to wipe the block, near which the rabbit’s feet were still lying. He reclined there with his eyes half closed, encompassed by other piles of dead poultry which crowded the shelves of the stall, poultry in paper wrappers like bouquets, rows upon rows of protuberant breasts and bent legs showing confusedly. And amidst all this mass of food, the young fellow’s big, fair figure, the flesh of his cheeks, hands, and powerful neck covered with ruddy down seemed as soft as that of the magnificent turkeys, and as plump as the breasts of the fat geese.
One of the vendors that figures in the narrative is a woman referred to as La Sarriette.10 At one point, Zola describes her in the terms of products she sells: “...in her picturesque disarray, looked charming. Frizzy hair fell over her brow like vine branches. Her bare arms and neck, indeed all the rosy flesh she showed, bloomed with the freshness of peach and cherry. She had playfully hung some cherries on her ears, black cherries which dangled against her cheeks when she stooped, shaking with merry laughter. She was eating currants, and her merriment arose from the way in which she was smearing her face with them. Her lips were bright red, glistening with the juice of the fruit, as though they had been painted and perfumed with some seraglio face-paint. A perfume of plum exhaled from her gown, while from the kerchief carelessly fastened across her breast came an odor of strawberries.” Zola goes onto describe her stall in the market.
Fruits of all kinds were piled around her in her narrow stall. On the shelves at the back were rows of melons, so-called “cantaloups” swarming with wart-like knots, “maraichers” whose skin was covered with grey lace-like netting, and “culs-de-singe” displaying smooth bare bumps. In front was an array of choice fruits, carefully arranged in baskets, and showing like smooth round cheeks seeking to hide themselves, or glimpses of sweet childish faces, half veiled by leaves. Especially was this the case with the peaches, the blushing peaches of Montreuil, with skin as delicate and clear as that of northern maidens, and the yellow, sun-burnt peaches from the south, brown like the damsels of Provence. The apricots, on their beds of moss, gleamed with the hue of amber or with that sunset glow which so warmly colors the necks of brunettes at the nape, just under the little wavy curls which fall below the chignon. The cherries, ranged one by one, resembled the short lips of smiling Chinese girls; the Montmorencies suggested the dumpy mouths of buxom women; the English ones were longer and graver-looking; the common black ones seemed as though they had been bruised and crushed by kisses; while the white-hearts, with their patches of rose and white, appeared to smile with mingled merriment and vexation. Then piles of apples and pears, built up with architectural symmetry, often in pyramids, displayed the ruddy glow of budding breasts and the gleaming sheen of shoulders, quite a show of nudity, lurking modestly behind a screen of fern-leaves. There were all sorts of varieties—little red ones so tiny that they seemed to be yet in the cradle, shapeless “rambours” for baking, “calvilles” in light yellow gowns, sanguineous-looking “Canadas,” blotched “chataignier” apples, fair freckled rennets and dusky russets. Then came the pears—the “blanquettes,” the “British queens,” the “Beurres,” the “messirejeans,” and the “duchesses”—some dumpy, some long and tapering, some with slender necks, and others with thick-set shoulders, their green and yellow bellies picked out at times with a splotch of carmine. By the side of these the transparent plums resembled tender, chlorotic virgins; the greengages and the Orleans plums paled as with modest innocence, while the mirabelles lay like golden beads of a rosary forgotten in a box amongst sticks of vanilla. And the strawberries exhaled a sweet perfume—a perfume of youth—especially those little ones which are gathered in the woods, and which are far more aromatic than the large ones grown in gardens, for these breathe an insipid odor suggestive of the watering-pot. Raspberries added their fragrance to the pure scent. The currants—red, white, and black—smiled with a knowing air; whilst the heavy clusters of grapes, laden with intoxication, lay languorously at the edges of their wicker baskets, over the sides of which dangled some of the berries, scorched by the hot caresses of the voluptuous sun.
It was there that La Sarriette lived in an orchard, as it were, in an atmosphere of sweet, intoxicating scents. The cheaper fruits—the cherries, plums, and strawberries—were piled up in front of her in paper-lined baskets, and the juice coming from their bruised ripeness stained the stall-front, and steamed, with a strong perfume, in the heat. She would feel quite giddy on those blazing July afternoons when the melons enveloped her with a powerful, vaporous odor of musk; and then with her loosened kerchief, fresh as she was with the springtide of life, she brought sudden temptation to all who saw her. It was she—it was her arms and necks which gave that semblance of amorous vitality to her fruit. On the stall next to her an old woman, a hideous old drunkard, displayed nothing but wrinkled apples, pears as flabby as herself, and cadaverous apricots of a witch-like sallowness. La Sarriette’s stall, however, spoke of love and passion. The cherries looked like the red kisses of her bright lips; the silky peaches were not more delicate than her neck; to the plums she seemed to have lent the skin from her brow and chin; while some of her own crimson blood coursed through the veins of the currants. All the scents of the avenue of flowers behind her stall were but insipid beside the aroma of vitality which exhaled from her open baskets and falling kerchief.
La Sarriette’s aunt, Madame Lecoeur, is a butter vendor in the same market. She “manufactured” her product in her cellar below the marketplace.
The cellar under the butter market is a very gloomy spot. The rows of storerooms are protected by a very fine wire meshing, as a safeguard against fire; and the gas jets, which are very few and far between, glimmer like yellow splotches destitute of radiance in the heavy, malodorous atmosphere beneath the low vault. Madame Lecoeur, however, was at work on her butter at one of the tables placed parallel with the Rue Berger, and here a pale light filtered through the vent-holes. The tables, which are continually sluiced with a flood of water from the taps, are as white as though they were quite new. With her back turned to the pump in the rear, Madame Lecoeur was kneading her butter in a kind of oak box. She took some of different sorts which lay beside her, and mixed the varieties together, correcting one by another, just as is done in the blending of wines. Bent almost double, and showing sharp, bony shoulders, and arms bared to the elbows, as scraggy and knotted as pea-rods, she dug her fists into the greasy paste in front of her, which was assuming a whitish and chalky appearance. It was trying work, and she heaved a sigh at each fresh effort.
Then she again plunged her arms into the butter, which buried them up to the elbows. Previously softened in warm water, it covered Madame Lecoeur’s parchment-like skin as with an oily film, and threw the big purple veins that streaked her flesh into strong relief. La Sarriette was quite disgusted by the sight of those hideous arms working so frantically amidst the melting mass. However, she could recall the time when her own pretty little hands had manipulated the butter for whole afternoons at a time. It had even been a sort of almond-paste to her, a cosmetic which had kept her skin white and her nails delicately pink; and even now her slender fingers retained the suppleness it had endowed them with.
La Sarriette reflected that she would hardly care to eat butter which had been worked by her aunt’s arms. Then she glanced at a little jar full of a sort of reddish dye. “Your coloring is too pale,” she said.
This coloring-matter—”raucourt,” as the Parisians call it is used to give the butter a fine yellow tint. The butter women imagine that its composition is known only to themselves, and keep it very secret. However, it is merely made from anotta; though a composition of carrots and marigold is at times substituted for it.
Besides selling butter, Madame Lecoeur is also a vendor of cheese.
Beneath the stall show-table, formed of a slab of red marble veined with grey, baskets of eggs gleamed with a chalky whiteness; while on layers of straw in boxes were Bondons, placed end to end, and Gournays, arranged like medals, forming darker patches tinted with green. But it was upon the table that the cheeses appeared in greatest profusion. Here, by the side of the pound-rolls of butter lying on white-beet leaves, spread a gigantic Cantal cheese, cloven here and there as by an axe; then came a golden-hued Cheshire, and next a Gruyere, resembling a wheel fallen from some barbarian chariot; whilst farther on were some Dutch cheeses, suggesting decapitated heads suffused with dry blood, and having all that hardness of skulls which in France has gained them the name of “death’s heads.” Amidst the heavy exhalations of these, a Parmesan set a spicy aroma. Then there came three Brie cheeses displayed on round platters, and looking like melancholy extinct moons. Two of them, very dry, were at the full; the third, in its second quarter, was melting away in a white cream, which had spread into a pool and flowed over the little wooden barriers with which an attempt had been made to arrest its course. Next came some Port Saluts, similar to antique discs, with exergue bearing their makers’ names in print. A Romantour, in its tin-foil wrapper, suggested a bar of nougat or some sweet cheese astray amidst all these pungent, fermenting curds. The Roqueforts under their glass covers also had a princely air, their fat faces marbled with blue and yellow, as though they were suffering from some unpleasant malady such as attacks the wealthy gluttons who eat too many truffles. And on a dish by the side of these, the hard grey goats’ milk cheeses, about the size of a child’s fist, resembled the pebbles which the billy-goats send rolling down the stony paths as they clamber along ahead of their flocks. Next came the strong smelling cheeses: the Mont d’Ors, of a bright yellow hue, and exhaling a comparatively mild odor; the Troyes, very thick, and bruised at the edges, and of a far more pungent smell, recalling the dampness of a cellar; the Camemberts, suggestive of high game; the square Neufchatels, Limbourgs, Marolles, and Pont l’Eveques, each adding its own particular sharp scent to the malodorous bouquet, till it became perfectly pestilential; the Livarots, ruddy in hue, and as irritating to the throat as sulphur fumes; and, lastly, stronger than all the others, the Olivets, wrapped in walnut leaves, like the carrion which peasants cover with branches as it lies rotting in the hedgerow under the blazing sun.
The above description is provided as a backdrop to a conversation between Madame Lecoeur, La Sarriette, and Mademoiselle Saget, an old-maid that survives on gossip. Towards the end of their conversation, Zola adds what has been described by others as a “cheese symphony.”11
As the three women stood there, taking leave of each other, the odor of the cheeses seemed to become more pestilential than ever. It was a cacophony of smells, ranging from the heavily oppressive odor of the Dutch cheeses and the Gruyeres to the alkaline pungency of the Olivets. From the Cantal, the Cheshire, and the goats’ milk cheeses there seemed to come a deep breath like the sound of a bassoon, amidst which the sharp, sudden whiffs of the Neufchatels, the Troyes, and the Mont d’Ors contributed short, detached notes. And then the different odors appeared to mingle one with another, the reek of the Limbourgs, the Port Saluts, the Geromes, the Marolles, the Livarots, and the Pont l’Eveques uniting in one general, overpowering stench sufficient to provoke asphyxia. And yet it almost seemed as though it were not the cheeses but the vile words of Madame Lecoeur and Mademoiselle Saget that diffused this awful odor.
Although Zola intended his book about the central marketplace in Paris to be a social commentary, it is easy for those of us reading it 125 years after its publication, to see it as a travelogue of this important part of Paris during the middle of the 19th century. For me, neither the characters or the plot was particularly compelling, but the descriptions of the food kept me going through all 1700 screens of text. Maybe because I’ve visited so many open markets and charcuteries in modern France, as well as restored 19th century kitchens, Zola’s descriptions painted vivid pictures in my mind.
I have only included a small number of excepts from the book in this article. If you find the subject as interesting as I do, I urge you to download the book and read it through yourself.