Everything in Paris is twinned, it seems. There are companions, long-sought matches and doubles from different points in time and space. I find an illustrated reworking of Beauty and the Beast in a graphics shop, which tilts the original, so that Beauty is as sweetened by the Beast, as he is by her. Her charms are obvious, a face of Garbo-like symmetry and intellect; his, soft fur, a pleasing largeness and a great capacity for love. Reading in French, where both words are gendered feminine (la belle, la bête) you can’t help but think that they are cut from the same cloth, are equally vulnerable, receptive and hunted.
During my visit, I make other matches. An accordionist is on my heels in that first transition from the Eurostar to the Metro. A serenader, he arches around the wheels of my suitcase and plays – what else? – Edith Piaf. Flattered and embarrassed, I put down my book and listen. The trouble is, I haven’t a single pièce, only a virgin fifty euro note, which I’m not quite ready to hand over. He shrugs disappointed, when I confess the inevitable. I crane my head in shame and vow that I will be prepared when I meet his match. Who incidentally, is on the Metro the very next day, crooning out her pain in the long notes of a Spanish ballad. Emo as the cloudy Monday, this balladeer slouches obstinately in the doorframe. She ain’t serenading anyone; in fact, gives the impression that she’d be singing regardless. Her mannish leather jacket and greasy chignon – and are those tears streaked down her cheeks?- make you think her lover threw her out about an hour ago, and she swiped his leather jacket for the running. Half-wondering whether it’s truth or Method, I’m ready with my pièce this time.
On the Metro another time, I spot an unmistakeable profile – that of Edgar Degas’ sculpture, the little Dancer, aged fourteen. As bronze as the original, with the same kinaesthetic awareness, she boards the train with her sister. They file off to the available seats on either side of the carriage; dressed in plaid shirts and ripped jeans, they almost blend in. Other passengers and an aisle are in their midst, but they remain choreographed into the same routine. Torsos tipped forward in a preparation pose, their feet identically turned out in first position. The woman sitting next to the sister gets up and leaves. In a flash the Little Dancer is beside her- though she doesn’t appear to have been looking. They don’t converse, at least not in words. A bloke enters the carriage, with a sturdiness and milky pallor that I’d pin-point to about Yorkshire. Equally white is his shiny I-phone. And even before he notices, before his eyes twinkle, as though to say ‘Noo luv, not ‘avin’ that…,’ her sister, about a hair of an eyebrow lifting, ‘Him?’ The Little Dancer wrinkles her dainty nose, ‘Nah, not my cup of tea,’ as though they’re just two teenage girls judging a stranger’s attractiveness. But a survival instinct grips them and when the next station arrives, they scarper.
Just as sisters will always be compared, so will two cafes on opposite sides of the street. One, named for the lore of tea leaves, is world famous, enjoying Trip Advisor fame and local acclaim; the other named Les Rosiers for the street where it stands resolutely, less so. The Lore has an Astaire-hipped host who bounds up and down the queue telling people how long they’ll have to wait, down to the minute; the Rosiers, a lone balding waiter with a towel thrown over his shoulder. Laptops are unwelcome at the Lore: to sit there, you’ll have to be truly part of the cafe, engaged in consumption, conversation or something equally atmospheric. You are made oh-so-tactfully aware that your body occupies a precious space, and that it plays a role in animating that space – or else here’s the cheque. Weirdly, it reminds me of a socialist play I once read, where the moral was that those who farm the land are its rightful owners; though we are about as far away from an Eastern European potato field as it gets. Anyway, not so the Rosiers – which people hit upon for the most imminent need, or greed for that matter. A student hunched over her laptop, knuckles camouflaging with a white espresso cup; a pair of new lovers holding hands over the dredges of a dry coffee pot and a rotund-bellied gentleman gobbling a ginormous triangle of pie before his wife catches up with him and smacks an insulin needle into his right arm. Atmosphere’s a funny thing – like love, or that exasperatingly Parisian cliché, je ne sais quoi, it finds those who don’t seek it too hard.
Even in a city of doubles, some entities remain unmatched. For example, the garments that never walk the streets. Paris boutiques are flocked with dresses more confected and shapely than patisserie tarts. And yet, you never see their like on actual bodies around town. No Parisienne would ever appear so obviously ornate. Who are these magpie-teasers made for? Are they there just to draw the eye and fly out to export?