As I read French Like Moi I kept thinking of Hemingway's famous line, "If you are lucky enough to have lived in Paris as a young man, then wherever you go for the rest of your life, it stays with you, for Paris is a moveable feast."
Never mind that American writer Scott Carpenter isn't all that young when he takes us around the City of Lights. What's Hemingwayesque about this satisfying little memoir, much like A Moveable Feast, is how it lives with us long past its last page. Just as with the best of Hemingway's prose, Carpenter tells us as much about life by what he doesn't spell out as by what he does. There's great underlying power in his lean descriptions of Paris's sights and sounds, people and conversations. Much about ourselves lies metaphorically beneath the surface not only of Paris's streets and sidewalks, but of Carpenter's clever, sometimes funny, always taut observations.
For example, in one of my favorite chapters, "Underground Man," Carpenter, contemplating the city's surface glitz, says, "Everyone knows how the theaters sparkle in Paris, how the domes glint, and the monuments swagger. ... More glamorous than the Louvre that it contains, Paris becomes the museum of itself, putting its curves on display and swooning over its own image, mirrored in the eyes of its admirers. ... There had to be some way to go deeper, to get to the bottom of it."
And so he leads us, literally, into the dark world of subterranean tunnels crisscrossing the city. Metaphorically, though, this tour of catacombs and skulls and ancient ghoulish chambers is really an exploration of ourselves—the bones of our human baseness, the femurs of our vanities. "The part you visited," says his underground tour guide (think of Charon ferrying dead souls across the River Styx), "that's just the beginning."
In an epiphany-like revelation, the author declares, "It wasn't lost on me that the consolidation des sols was taking place outside my own...window. ... I had hit upon something essential. This was it. Or rather, this was id, the opaque center of the city's desire—its drive, its urge, its unconscious." Realizing that ego is our worst enemy, from his symbolic hell Carpenter emerges purged. He had begun his below-ground adventure imagining himself the next Indiana Jones, but rises into sunlight with fresh humility: "Who, I wondered, would play me in the movie? Harrison Ford was too old. Bogart was too dead."
"Who knows?" he says at the end of his subliminal exploration. "Maybe that's the essence of Paris: it keeps you turning, confronts you with yourself, always leaving you a touch off balance."
And so does Carpenter's splendid book keep his readers a touch off balance—in a subtle yet profound, moveable feast way.