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French Quotes

“On June 23, 1942, there was a group of French Jews in a German prison, on Polish soil. The first person I took was close to the door, his mind racing, then reduced to pacing, then slowing down, slowing down.... Please believe me when I tell you that I picked up each would that day as if it were newly born. I even kissed a few weary, poisoned cheeks. I listened to their last, gasping cries. Their vanishing words. I watched their love visions and freed them from their fear. I took them all away, and if there was a time I needed distraction, this was it. In complete desolation, I looked at the world above. I watched the sky as it turned from silver to gray to the color of rain. Even the clouds were trying to get away. Sometimes I imagined how everything looked above those clouds, knowing without question that the sun was blond, and the endless atmosphere was a giant blue eye. They ere French, they were Jews, and they were you.”

“Adieu, mon cher vieux. Relis et rebûche ton conte. Laisse-le reposer et reprends-le, les livres ne se font pas comme les enfants, mais comme les pyramides, avec un dessin prémédité, et en apportant des grands blocs l´un par-dessus l´autre, à force de reins, de temps et de sueur, et ça ne sert à rien! et ça reste dans le désert! mais en le dominant prodigieusement. Les chacals pissent au bas et les bourgeois montent dessus, etc.; continue la comparaison.”

“D'une complexion farouche et bavarde, ayant le désir de ne voir personne et le besoin de parler à quelqu'un, il se tirait d'affaire en se parlant à lui-même. Quiconque a vécu solitaire sait à quel point le monologue est dans la nature. La parole intérieure démange. Haranguer l'espace est un exutoire. Parler tout haut et tout seul, cela fait l'effet d'un dialogue avec le dieu qu'on a en soit.”

“Je me rends parfaitement compte du desagreable effet que produit sur la majorite de l'humanité, tout ce qui se rapporte, même au plus faible dègré, á des calculs ou raisonnements mathematiques. I am well aware of the disagreeable effect produced on the majority of humanity, by whatever relates, even at the slightest degree to calculations or mathematical reasonings.”

“The English language is like London: proudly barbaric yet deeply civilised, too, common yet royal, vulgar yet processional, sacred yet profane. Each sentence we produce, whether we know it or not, is a mongrel mouthful of Chaucerian, Shakespearean, Miltonic, Johnsonian, Dickensian and American. Military, naval, legal, corporate, criminal, jazz, rap and ghetto discourses are mingled at every turn. The French language, like Paris, has attempted, through its Academy, to retain its purity, to fight the advancing tides of Franglais and international prefabrication. English, by comparison, is a shameless whore.”

“La condamnation universelle de la femme au silence n'aura pas seulement pour effet de l'asservie aux besoins procréatifs et domestiques de l'hommes. Elle est aussi source d'aliénation identitaire: la femme ne pouvait jamais s'autodéfinir, elle ne se pense, ne se voit, ne se comprend elle-même qu'à travers l'image qu'en fabriquent les hommes. (...) Qu'est-ce qu'une femme? Ce n'est pas à elle de répondre, c'est à lui.”

“Mais là encore, que d'hypocrisie et d'aveuglement! La prostitution est-elle la seule activité professionnelle où s'exerce une soumission du corps à la loi de l'argent? N'y a-t-il pas quantité de métiers dans lesquels le corps du travailleurs est pro-stituté, c'est-à-dire, littéralement exposé devant, voire malmené, mis en danger? Le travail à l'usine, à la mine, voire dans le mannequinat, n'implique-t-il pas une mise à disposition du corps, dans des conditions souvent dégradantes? Au nom de quelle idéologie sexuelle sanctifiante juge-t-on que le sexe tarifé est plus indigne que d'autres contrats impliquant l'instrumentalisation du corps et une marchandisation de la force du travail?”

“La plus importante réforme monétaire que l’on puisse espérer serait l’abolition de toutes les banques centrales et un retour à une situation qu’ont vécu les humains de tous temps où l’argent est une commodité d’échange qui ne peut être produite qu’à un coût élevé, tel qu’en or ou en argent, par le marché. À nouveau, pas de monopole dans la production monétaire mais bien une compétition de cette production monétaire afin de ne pas pouvoir la créer à partir de rien.”

“And the crumble today is rhubarb-apple." She then turned to me. "I'll give you a minute to decide," she smiled, walking off to the kitchen. I lingered at the table, eyeing the golden brown topping of the crumble, clattering tea cups and intimate conversations dancing in the background. It was similar to Make My Cake's cobbler in that it was a giant dish of oozing fruit concealed by bits of topping- exactly what I had come for. Yet it was unmistakably French. While it was indeed messier than the gâteaux I had fallen for elsewhere around Paris, Les Deux Abeilles's crumble, presented in a round white porcelain dish, was still more refined. It looked thick and sweet and crunchy. I could practically taste the buttery bits and jammy fruit converging in a chaotic mix of flavors and textures in my mouth. But now that pear-praline clafoutis was waving to me from heaven. And the tall, airy wisps on the lemon meringue were tempting me, as well as the towering cheesecake, fluffier than the versions back home, with more finesse. Molten chocolate cake is never the wrong choice, I was rationalizing to myself, when Valeria returned. "Alors, what will it be?" I gazed up at her comforting presence. "I'll take the crumble, please." After my laborious decision, I was relieved to discover I had been right to stick with my original intentions. Five minutes later, a generous slice of rhubarb-apple crumble arrived, warmed in the small kitchen and served with a side of fresh cream, whipped staunchly into a thick, puffy cloud. I sat for a minute, contemplating the crumble's imperfect bumps and dull brown color. The pale pink and sometimes green slices of rhubarb poked out of the sides and lumps of rouge topping decorated my plate. Where the crumble had baked against the dish, a sticky crust of caramelized fruit juice and sugar had formed. It looked like a tarte that had done a somersault in its pastry box and arrived bruised and battered. There was nothing perfect about it. Except its bright flavors. Except its comforting warmth. Except that it was exactly what I wanted and needed. I savored each juicy-crunchy bite. It was wonderful.”

“For years, "Sorry, I don't speak French" has been the reflexive response of English-speaking Canadians to a request, a comment, or a greeting in the other official language. Part apology, part defiance, it is a declaration of the otherness. That is not me. I don't do that. The language barrier is her, at this counter, now.”

“The hot tub girl was the one before the one with the legs, and after the one with the boobs," Dan snorted, weaving slightly on his feet. "And I think he had a couple of models in between from the modeling agency start-up that he was considering adding to his portfolio." "I told you we should have invested in that one," Marco said, making no effort to keep his voice down. "He was swimming in tits and ass." He looked over at Daisy. "Pardon my French." Daisy gave him a cold smile. "Quel salaud!" Liam didn't speak French, but from the look on Daisy's face he suspected what she'd said wasn't polite. "So who is she really?" Dan gave him a nudge, keeping his voice low. "I mean, come on, man. You and her?" "I'm his parole officer." Daisy grabbed Liam's arm and tugged him in the opposite direction. "He's on an escorted day pass. Move aside because I have to have him back in his cell by eleven P.M." Dan's eyes widened. "No shit? What did he do?" "He swam in the wrong hot tub." Daisy fixed Dan with a glare. "Next time, check their ID.”

“He opened the small brown bag and held it toward her, and she could smell the butter. Notably, though, there was no grease soaking the bottom of the bag, like when Mom brought home donuts. She peered in. "I think it's a croissant. And a chocolate croissant. And some kind of roll. And some other thing I didn't know what it was." "Chausson aux pommes," Rosie said, pulling it from the bag. She was pretty sure anyway- it had the distinctive half-moon shape, and the slashes on top let her see a peek of what looked like apple filling. "What's that?" Rosie stilled as Henry shifted closer to her. He was just looking at the pastry, and she knew that, but still. He was close, and he smelled warm, and sleepy. And male. "It's kind of like an apple croissant," she said, ignoring the rapid rise of her heartbeat. "Or an apple strudel. An apple turnover, I guess." "Try it." "You should have the first bite. You got it." "I insist," Henry said, and he wouldn't take it from her. So she bit in, and the pastry flaked instantly, then yielded into sweet, soft cinnamon apples. It was so good that she had to imagine this would be the best thing she'd try today. But then Henry was grinning, chocolate smeared on his face, and he passed her the pain au chocolat, and she thought that had to be the best thing. But then the classic croissant was so perfect, each layer of lamination distinct, and then the brioche was dangerously rich, yet so light at the same time, and the éclair's filling was perfectly smooth, and the baguette made Rosie rethink what, exactly, the stuff she'd been eating for the last sixteen years was, because it couldn't possibly be bread, not like this...”

“I'd left the soon-to-be-blue doors open, and Clementine had let herself in. As we entered the kitchen, I could see her putting the finishing touches on two bowls of something chocolaty. "What is this?" I asked, taking a closer look. Clementine finished her plating and stepped back. "Nutella mousse with hazelnut liqueur, served with chocolate-dipped hazelnut shortbread." She was good; I had to give her that. Nico and I shared a deep, genetic affinity for the chocolate-hazelnut spread. Without hesitation, I picked up the spoon and dug in. An intense, perfectly complex Nutella taste met my tongue. My eyes slid shut. "That is so good." "Try it with the shortbread," Clementine instructed. I dipped the chocolaty-end of the shortbread into the mousse. The crunch of the cookie set off the rich mousse like a dream. A chocolaty, hazelnutty, Nutella-y dream. Dragging my attention away from dessert, I looked to Nico to see his reaction. He stood staring at me, spoon in hand, mousse untouched. I frowned at him. "What on earth are you waiting for? Eat!" Nico scowled but dug his spoon into the mousse. He took a bite; his face froze. "Seriously," I said, working two more spoonfuls, "I might lick the bowl." Nico shrugged. "It's pretty good." Clementine squared her shoulders. "Pretty good?" "You want the job?" "Yes, I do," she answered. "I'll think about it," he told her, his expression guarded. "Thank you," Clementine replied, unfazed. I scooped another bite of mousse. "This shortbread? It's perfect!" "It's the French butter. I get it from your grandmother's supplier--he gives us, I mean, me, a good deal. I bake croissants for him. He imports French butter but can't bake. Isn't that sad?" I nodded, nibbling at the shortbread. "The butter certainly imports a richness of flavor that's quite special.”

“I hope you'll come back next time, because I'm going to be showing you how to make croquembouche. You're probably thinking to yourself, 'Now, Hadley, croquembouche sounds French and fancy and high falootin'.' And you're right. Croquembouche is all of those things. But you know what else it is? It's a tower of cream puffs, covered in caramel. And when you put it that way, I think it's a little more our speed. Don't you?”

“The physical shape of Mollies paralyses and contortions fit the pattern of late-nineteenth-century hysteria as well — in particular the phases of "grand hysteria" described by Jean-Martin Charcot, a French physician who became world-famous in the 1870s and 1880s for his studies of hysterics..." "The hooplike spasm Mollie experienced sounds uncannily like what Charcot considered the ultimate grand movement, the arc de de cercle (also called arc-en-ciel), in which the patient arched her back, balancing on her heels and the top of her head..." "One of his star patients, known to her audiences only as Louise, was a specialist in the arc de cercle — and had a background and hysterical manifestations quite similar to Mollie's. A small-town girl who made her way to Paris in her teens, Louise had had a disrupted childhood, replete with abandonment and sexual abuse. She entered Salpetriere in 1875, where while under Charcot's care she experienced partial paralysis and complete loss of sensation over the right side of her body, as well as a decrease in hearing, smell, taste, and vision. She had frequent violent, dramatic hysterical fits, alternating with hallucinations and trancelike phases during which she would "see" her mother and other people she knew standing before her (this symptom would manifest itself in Mollie). Although critics, at the time and since, have decried the sometime circus atmosphere of Charcot's lectures, and claimed that he, inadvertently or not, trained his patients how to be hysterical, he remains a key figure in understanding nineteenth-century hysteria.”

“SOME PASTRY TERMS Chef de pâtissier: pastry chef Gâteau: rich, elaborate sponge cake that can be molded into shapes, typically containing layers of crème, fruit, or nuts Pâtisserie(s): pastry/pastries Brioche(s): a soft, rich bread with a high egg and butter content Pain aux raisins: a flaky pastry filled with raisins and custard Chaussons aux pommes: French apple turnovers Pâte à choux: a light, buttery puff pastry dough Éclair: oblong desserts made of choux pastry filled with cream and topped with icing (often chocolate) Tarte au citron: lemon tart Macaron: a meringue-based confectionary sandwich filled with various flavored ganache, creams, or jams Croquembouche: a cone-shaped tower of confection created out of caramel-dipped, cream-filled pastry puffs and swathed in spun sugar threads, often served at French weddings or on special occasions Saint-Honoré: a dessert named for the patron saint of bakers and pastry chefs Pâte feuilletée: a light, flaky puff pastry Vanilla crème pâtissière: vanilla pastry cream Hazelnut crème chiboust: a pastry cream lightened with Italian meringue Paris-brest: a wheel-shaped dessert made of pâte à choux and filled with praline cream. Created in 1910 by chef Louis Durand to commemorate the Paris-Brest, a bicycle race.”

“O dieses ist das Tier, das es nicht giebt. Sie wußtens nicht und habens jeden Falls – sein Wandeln, seine Haltung, seinen Hals, bis in des stillen Blickes Licht – geliebt. Zwar war es nicht. Doch weil sie’s liebten, ward ein reines Tier. Sie ließen immer Raum. Und in dem Raume, klar und ausgespart, erhob es leicht sein Haupt und brauchte kaum zu sein È questo l’animale favoloso, che non esiste. Non veduto mai, ne amaron le movenze, il collo, il passo: fino la luce dello sguardo calmo. Pure “non era”. Ma perchè lo amarono, divenne. Intatto. Gli lasciavan sempre più spazio. E in quello spazio chiaro, etereo: serbato a lui – levò, leggiero, il capo. And here we have the creature that is not. But they did not allow this , and as it happens - his gait and bearing, his arched neck, even the light in his eyes - they loved it all. Yet truly he was not. But because they loved him the beast was seen. And always they made room. And in that space, empty and unbounded, he raised an elegant head, yet hardly fought for his existence. Oh ! C'est elle, la bête qui n'existe pas. Eux, ils n'en savaient rien, et de toutes façons - son allure et son port, son col et même la lumière calme de son regard - ils l'ont aimée. Elle, c'est vrai, n'existait point. Mais parce qu'ils l'aimaient bête pure, elle fut. Toujours ils lui laissaient l'espace. Et dans ce clair espace épargné, doucement, Elle leva la tête, ayant à peine besoin d'être.”

“It was the French of the Normans that, grafting itself onto the barbaric Saxon tongue, gave it its most magnificent blossoming. And, in these new countries, where both English and French are intertwined again, it is as if English were bathing itself in the fountain of its own youth, and as if French were remembering the buried treasures it had thought forgotten.”