France’s parliament is debating a law that would give the state the power to censor “fake news”. If the law is passed, the French state will have the powers to ban, through a court order, the publication of any news considered false in the run-up period to elections. French MPs are sharply divided over this proposed law. But the draft law has a powerful sponsor: President Emmanuel Macron. Macron has spoken out publicly against the toxic influence of “fake news” (the English term is widely used in French). During the presidential election campaign last year, he was outraged by attacks that targeted him personally, notably stories alleging offshore bank accounts. He also accused Russia of spreading “deceitful propaganda” through the Kremlin-controlled RT and Sputnik sites. Macron believes a law is needed to “protect our democracy from these
The whole world has now heard of Calais, an otherwise monotonous, pigeon-skied patch of northern France afflicted with the geographical misfortune of being the closest point along the coastline to the white cliffs of Dover across the English Channel. Calais has become France’s shame. We have watched with mounting consternation television news reports showing crowded and fetid campments — the “Calais jungle” — where migrants are so desperate to reach the UK that many have committed reckless and violent acts, from storming the Eurotunnel and occupying ferry boats to violently clashing with French police. To some observers, the migrants are dangerous hordes whose motives are uncertain; to others, they are refugees fleeing distant wars and crying out for help. Critics of France’s treatment of the refugees lament that the great French republic, once the cradle of the Enlightenment, has turned its back on
It is frequently observed, including by many Parisians, that the Pont Alexandre III is the most beautiful bridge in Paris. Adorned with exquisite Art Nouveau-style lamp posts and embellished with nymphs and cherubs, the bridge elegantly arches over the Seine as a vast avenue connecting the Grand Palais and Les Invalides. It has become legendary in the popular imagination, made famous in films from James Bond’s A View to Kill to Woody Allen’s Midnight in Paris; recognised as the glamorous backdrop in chic fashion shoots; and recently used as the setting in Adèle’s video for her song, “Someone Like You”. I live about two hundred yards from the Alexandre III bridge. From my windows I can see its gold-tipped columns. I cross the bridge on walks with Hugo and Hector almost every evening, stopping mid-way to take in the magnificent
Three images of the Fontaine de Mars, which features in my memoir Home Again in Paris. Above a photo taken circa 1900. Below a photo that I took with my iPhone this afternoon standing across the road in rue Saint-Dominique. The Fontaine de Mars restaurant is on the left. And finally a photo taken last year of Oscar at the base of the fountain.
The day began like most mornings in Fontainebleau. Leo was licking my knuckles. I was at the wheel of my battered silver Peugeot driving down the boulevard lined with plane trees at the edge of town, the municipal hospital on one side and local cemetery on the other. In small French towns the two are often morbidly convenient neighbours. I reached back and dangled my free right hand on the back seat, gently squeezing Leo’s little white paw. He returned my affection by licking my dry knuckles with his soft pink tongue. Oscar was directly behind me on his hind legs, peering out the window as we turned up the narrow road leading into the woods. I was glad to be back in Fontainebleau for the weekend. After the move into Paris, I’d decided to keep my apartment here for
You know you have arrived in Provence when you reach Montélimar, a town famous for its nougat but better known as the gateway to the south. Passing through Montélimar in summer is like crossing into a territory whose climate and colours are strangely different. Suddenly the world is bathed in warm honeyed sunlight. When you reach the town of Orange, the fragrant scent of lavender sweetens the air and the heat throbs with the familiar sound of cigales pulsing in the trees. You are in Provence. “We’re in the south now David,” I said. “The land of the Romans.” David looked sideways at me and made a vague grunting sound to acknowledge my comment. He was gazing, as if hypnotised, at his iPod. Oscar and Leo were sleeping in the back seat. We’d been on the motorway for more
The assertion that Paris is an “English” city sounds almost like a provocation – especially to Parisians. Yet in truth, the modern Paris that attracts millions of tourists who come to admire the City of Light’s grand boulevards and burnished facades owes its urban design inspiration to London. Even quintessentially Parisian aesthetic touches around the city – such as the famous Renaissance-style Wallace drinking fountains that ornament public squares – are the work of an English benefactor. The Paris that Louis XIV and his Bourbon predecessors knew no longer exists. The Sun King would scarcely recognise the French capital which in his lifetime he shunned, preferring his resplendent Versailles surroundings far from the Parisian rabble. Modern Paris is largely a Second Empire city rebuilt by Napoleon III in the latter half of the 19th century. After seizing power in a
The photo above shows Pont Neuf in 1889, the same year the Eiffel Tower was constructed. The photo at the bottom I took from the same spot yesterday with my iPhone. The Pont Neuf is the oldest bridge in Paris. King Henri III laid the first stone in 1578 in presence of his mother, Catherine de Medici. The bridge wasn’t completed until 1607 when King Henri IV was on the throne (his famous equestrian statue can be seen on the left). The original statue was erected in 1618, eight years after Henri IV’s assassination, but was torn down during the French Revolution. The equestrian statue that stands on the spot today was erected in 1818. As you can see from my photo (bottom) nothing much has changed (I took the photo standing next to the lamp, just left of where
The photo of the Place de la Concorde above, looking towards the Madeleine, was taken circa 1880s at the outset of the Third Republic — the Paris of Guy de Maupassant’s novels. The famous Egyptian obelisk is only faintly visible in the photo. A gift from the king of Egypt, the obelisk was transported to France in the 1830s and erected at the centre of the Place de la Concorde in 1836. The fountains date from the same period, during the July Monarchy reign of Louis-Philippe. In the photo below, which I took yesterday with my iPhone, you can see that very little has changed since the 19th century. The Crillon hotel is on the left, the classical facade of the Madeleine behind, and gates of the Tuileries are on the right just out of the photo.
I used to go by the Paris zoo regularly when taking the 63 bus into the Latin Quarter. I would invariably glimpse a lhama forlornly lumbering across a patch of dirt in a large enclosure. I never saw many visitors. I visited a zoo for the first time when I was about four or five. I can still recall my feeling of shock and sadness as I watched a large lion pacing frantically in a small cage as hundreds of humans inspected its movements. I felt the same emotions when passing the Jardin des Plantes decades later, except at the Jardin des Plantes there were no crowds of curious onlookers. I wondered with a twinge of indignation why animals are kept in such conditions in the centre of major cities. The Jardin des Plantes zoo is the oldest in
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