The Belly of Paris - Emile Zola [20]
She was finally about to leave when a powerful voice right behind her exclaimed, “Good morning, Madame François!”
The voice came from a skinny young man with big bones and a huge head. His face was bearded, with a delicate nose and sparkling clear eyes. He wore a rusty, beat-up black felt hat and was buttoned up in an enormous overcoat, once a soft chestnut but now discolored with long greenish streaks from the rain. Somewhat bent and shaking with nervous energy that seemed chronic, he stood in a pair of heavy laced shoes, the shortness of his pant legs revealing his blue hose.
“Oh, hello, Monsieur Claude,” she responded cheerfully. “You know, I was expecting you on Monday, and when you didn't show up I took care of your canvas for you, hanging it on a nail in my room.”
“Oh, Madame François, you're too kind. I'll finish that study of mine one of these days. I wasn't able to make it Monday. Does your big plum tree still have all its leaves?”
“Absolutely.”
“I wondered because I wanted it for a corner of my painting. It would be perfect by the side of the chicken coop. I've been thinking about it all week … Ah, what beautiful vegetables this morning! I came down very early this morning, looking for the rays of a beautiful sunrise landing on the cabbages.” He demonstrated with a sweep of his arm that took in the full length of the sidewalk.
Madame François answered, “Well, I'm leaving. Good-bye. See you soon, Monsieur Claude.” As she was leaving she introduced Florent to the young painter. “This gentleman seems to have come from far away. He's no longer at home in your pigsty called Paris. Maybe you could fill him in a bit.”
At last she was off, happy to have left the two of them together. Claude studied Florent with interest; his gaunt, diffident face seemed to Claude to be an original. Madame François's introduction was all he needed, and with the familiarity of a street hustler experienced in chance encounters, he calmly said, “I think I'll join you. Where are you going?”
Florent was still awkward. He did not open up so quickly. On the other hand, he had had a question on his lips ever since his arrival. Deciding to risk it, though he feared a disagreeable response, he asked, “Does the rue Pirouette still exist?”
“It certainly does,” the painter answered. “That street is a curious corner of old Paris. It bends and turns like a dancer, and the houses have huge bellies like fat women … I did a pretty good etching of it. I'll show it to you when you come by my place … Is that where you're going?”
Florent, heartened by the news that the rue Pirouette still existed, admitted that it was not his destination and that in fact, he had no place to go. But his distrust was reawakened by Claude's insistence. “Who cares?” said Claude. “Let's go to rue Pirouette anyway. It's the most wonderful color at night … Let's go, it's just a short hop.”
Florent had to follow him. They walked side by side, like two old friends, stepping over baskets and piles of vegetables. On the pavement at rue Rambuteau, there were mounds of gigantic cauliflowers, stacked with surprising orderliness like cannonballs. The delicate white cauliflower flesh opened like enormous roses, surrounded by large green leaves, so that the mounds resembled bridal bouquets on display on a flower stand. Claude stopped and emitted little whimpers of appreciation.
Then, in front of them, was the rue Pirouette, where he pointed to the houses, one by one, with stories and information about them. One gas lamp burned by itself in a corner. The peeling houses crammed together, their overhangs protruding above the ground floor, as the painter had said, like the bellies of fat women, while the gables above them tilted back as though leaning on their neighbors for support. Three or four others, placed farther back at the edge of the shadows, leaned forward