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When she arrived in France, she was a gawky, six-foot-two, wide-eyed girl from Pasadena, unable to cook; or, for that matter, speak French. Despite this inauspicious beginning, 32-year-old Julia Child was to transform herself into a Gallic cooking genius. In this memoir, completed after her 2004 death by her grandnephew, Child reminisces about her culinary training, her life in France, and her beloved husband, Paul.

From the Publisher

In her own words, here is the captivating story of Julia Child’s years in France, where she fell in love with French food and found ‘her true calling.’

From the moment the ship docked in Le Havre in the fall of 1948 and Julia watched the well-muscled stevedores unloading the cargo to the first perfectly soigné meal that she and her husband, Paul, savored in Rouen en route to Paris, where he was to work for the USIS, Julia had an awakening that changed her life. Soon this tall, outspoken gal from Pasadena, California, who didn’t speak a word of French and knew nothing about the country, was steeped in the language, chatting with purveyors in the local markets, and enrolled in the Cordon Bleu.

After managing to get her degree despite the machinations of the disagreeable directrice of the school, Julia started teaching cooking classes herself, then teamed up with two fellow gourmettes, Simone Beck and Louisette Bertholle, to help them with a book they were trying to write on French cooking for Americans. Throwing herself heart and soul into making it a unique and thorough teaching book, only to suffer several rounds of painful rejection, is part of the behind-the-scenes drama that Julia reveals with her inimitable gusto and disarming honesty.

Filled with the beautiful black-and-white photographs that Paul loved to take when he was not battling bureaucrats, as well as family snapshots, this memoir is laced with wonderful stories about the French character, particularly in the world of food, and the way of life that Julia embraced so wholeheartedly. Above all, she reveals the kind of spirit and determination, thesheer love of cooking, and the drive to share that with her fellow Americans that made her the extraordinary success she became.

Le voici. Et bon appétit!

The New York Times - Alan Riding

The result is a delight. On one level, it's the story of how a "6-foot-2-inch, 36-year-old, rather loud and unserious Californian" — her words — discovered the fullness of life in France. On another, it recounts the making of "Julia Child," America's grande dame of French cooking. Inevitably, the stories overlap.

The Washington Post - Nancy McKeon

And so our last communication from Julia Child can double as a tour book. Quelle joie ! Child couldn't have planned it any better had she tried. Or maybe she was trying to teach us right up to the very end.

Publishers Weekly

Famed chef Child, who died in 2004, recounts her life in France, beginning with her early days at the Cordon Bleu after WWII. Greenberg, an actress for radio and commercials, does a fine job capturing Child's joie de vivre and unmatched skill as a culinary animateur. We hear Child's delight and excitement when she discovers her calling as a writer and hands-on teacher of haute cuisine; her exasperation as yet another publishing house rejects her ever-growing monster of a manuscript; and her joy at its publication and acclaimed reception after more than a decade of work. Child's opinionated exuberance translates remarkably well to audio, from her initial Brahmin-like dismissal of the new medium of television (why would Americans want to waste a perfectly good evening staring into a box, she wondered?) and frustration at her diplomat husband being investigated in the McCarthy-driven 1950s to her ecstasy about roast chicken and mulish insistence on the one correct method to make French bread at home. The seamless abridgment has no jarring gaps or abrupt transitions to mar the listener's enjoyment. Potential listeners should beware, however: this is not a book to hear on an empty stomach. Bon app tit! Simultaneous release with the Knopf hardcover (Reviews, Feb. 13). (Apr.) Copyright 2006 Reed Business Information.

Library Journal

Lovingly cumulated from letters written by Child and her diplomat husband, Paul, as well as interviews with the author in her later years, My Life in France recounts the formative years of her development into a world-renowned chef. The book captures her unique voice in its elaborate descriptions of the sights and sounds of postwar France and its sumptuous and memorable meals. The title is deceptive, however; this recollection is much more than the story of Child's years in France and her time at Le Cordon Bleu culinary school. Much of this memoir is dedicated to the years that followed, her experiences as she moved about Europe and finally settled in Cambridge, MA. One significant episode is Child's work with Simon Beck and Louisette Bertholle and their numerous failures and ultimate success at writing a French cookbook for an American audience, the critically acclaimed and classic Mastering the Art of French Cooking. The narration provided by Kimberly Farr is a good match for the subject matter; her pronunciation of the French phrases peppering the narrative is excellent. Recommended for general audiobook collections.-Dawn Eckenrode, Daniel A. Reed Lib., SUNY at Fredonia Copyright 2006 Reed Business Information.

Kirkus Reviews

"Ooh, those lovely roasted, buttery French chickens, they were so good and chickeny!" Anyone who remembers the iconic, deceased Julia Child (1912-2004)-or perhaps Dan Aykroyd's affectionate imitation of her-will recognize the singular voice. It's employed in this memoir to full advantage, and to the reader's great pleasure. As relative and writer Prud'homme recalls, at the end of her long life, Child was busily recording her years as a budding chef. In 1948, newly wed, she moved to Paris with her diplomat husband Paul, whom she had met while on wartime duty for the OSS (now there would be a story) in Asia. The first meal she cooked for him, she recalls, was "a disaster," and she arrived in France "a six-foot-two-inch, thirty-six-year-old, rather loud and unserious Californian," but in every aspect of her life, she was determined to do better. With self-effacing humor, Child recalls her efforts at learning French, finding an apartment and coping with life in a different culture. No matter how embarrassing or baffling the course of her learning curve, Child's francophilia and zest for life shine through, and nowhere more than in the pages devoted to her sentimental education at the Cordon Bleu, the world-renowned culinary institute, in whose cramped basement she "learned how to glaze carrots and onions at the same time as roasting a pigeon, and how to use the concentrated vegetable juices to fortify the pigeon flavor, and vice versa," among other talents. Matching her growing skills with a formidable armada of kitchen gadgets that will make cookery-loving readers swoon, she then recounts the difficult conception and extremely difficult birth of her book Mastering the Art of French Cooking,which brought her fame. Charming, idiosyncratic and much fun-just like its author, who is very much alive in these pages. A blessing for lovers of France, food and fine writing. First printing of 150,000; first serial to the New York Times Magazine & Bon Appetit; Book-of-the-Month Book Club main selection; Quality Paperback Book Club alternate selection

Product Details

• Table of Contents
• Read an Excerpt
• Read a Sample Chapter

Table of Contents

Read an Excerpt

Foreword
_
In August 2004, Julia Child and I sat in her small, lush garden in Montecito, California, talking about her life. She was thin and a bit stooped, but more vigorous than she’d been in weeks. We were in the midst of writing this book together. When I asked her what she remembered about Paris in the 1950s, she recalled that she had learned to cook everything from snails to wild boar at the Cordon Bleu; that marketing in France had taught her the value of “les human relations”; she lamented that in her day the American housewife had to juggle cooking the soup and boiling the diapers—adding, “if she mixed the two together, imagine what a lovely combination that would make!”

The idea for My Life in France had been gestating since 1969, when her husband, Paul, sifted through hundreds of letters that he and Julia had written his twin brother, Charles Child (my grandfather), from France in 1948–1954. Paul suggested creating a book from the letters about their favorite, formative years together. But for one reason or another, the book never got written. Paul died in 1994, aged ninety-two.

Yet Julia never gave up on the idea, and would often talk about her intention to write “the France book.” She saw it, in part, as a tribute to her husband, the man who had swept her off to Paris in the first place.

I was a professional writer, and had long wanted to work on a collaborative project with Julia. But she was self-reliant, and for years had politely resisted the idea. In December 2003, she once again mentioned “the France book,” in a wistful tone, and I again offered to assisther. She was ninety-one, and her health had been waxing and waning. This time she said, “All right, dearie, maybe we should work on it together.”

My job was simply to help Julia tell her story, but it wasn’t always easy. Though she was a natural performer, she was essentially a private person who didn’t like to reveal herself. We started slowly, began to work in sync, and eventually built a wonderfully productive routine. For a few days every month, I’d sit in her living room asking questions, reading from family letters, and listening to her stories. At first I taped our conversations, but when she began to poke my tape recorder with her long fingers, I realized it was distracting her, and took notes instead. The longer we talked about “little old France,” the more she remembered, often with vivid intensity—“Ooh, those lovely roasted, buttery French chickens, they were so good and chickeny!”

Many of our best conversations took place over a meal, on a car ride, or during a visit to a farmers’ market. Something would trigger a memory, and she’d suddenly tell me about how she learned to make baguettes in Paris, or bouillabaisse in Marseille, or how to survive a French dinner party—“Just speak very loudly and quickly, and state your position with utter conviction, as the French do, and you’ll have a marvelous time!”

Almost all of the words in these pages are Julia’s or Paul’s. But this is not a scholarly work, and at times I have blended their voices. Julia encouraged this approach, pointing out that she and Paul often signed their letters “PJ” or “Pulia,” as if they were two halves of one person. I wrote some of the exposition and transitions, and in so doing tried to emulate Julia’s idiosyncratic word choices—“Plop!,” “Yuck!,” “Woe!,” “Hooray!” Once I had gathered enough material, I would write up a vignette; she would avidly read it, correct my French, and add things as they occurred to her in small, rightward-slanting handwriting. She loved this process, and was an exacting editor. “This book energizes me!” she declared.

Julia and I shared a sense of humor, and appetite, and she thought I looked like Paul, which probably helped our collaboration. As for me, I was grateful for the chance to reconnect with her and to be part of such an interesting project. Some writers find that the more they learn about their co-authors the less they like them, but I had the opposite experience: the more I learned about Julia Child, the more I came to respect her. What impressed me most was how hard she worked, how devoted she was to the “rules” of la cuisine française while keeping herself open to creative exploration, and how determined she was to persevere in the face of setbacks. Julia never lost her sense of wonder and inquisitiveness. She was, and is, a great inspiration.

Another great inspiration has been our editor, Judith Jones, who worked with Julia for more than forty years. With patience and a deep understanding of our subject, she was indispensable in helping to shape this book. Judith’s assistant, Ken Schneider, was also a great help.

On August 13, 2004—just after our conversation in her garden, and only two days before her ninety-second birthday—Julia died of kidney failure in her sleep. Over the next year, I finished My Life in France, but every day wished I could call her up and ask her to clarify a story, or to share a bit of news, or just to talk. I miss her. But through her words in these pages, Julia’s voice remains as lively, wise, and encouraging as ever. As she would say, “We had such fun!”

Alex Prud’homme
August 2005


Introduction

This is a book about some of the things I have loved most in life: my husband, Paul Child; la belle France; and the many pleasures of cooking and eating. It is also something new for me. Rather than a collection of recipes, I’ve put together a series of linked autobiographical stories, mostly focused on the years 1948 through 1954, when we lived in Paris and Marseille, and also a few of our later adventures in Provence. Those early years in France were among the best of my life. They marked a crucial period of transformation in which I found my true calling, experienced an awakening of the senses, and had such fun that I hardly stopped moving long enough to catch my breath.

Before I moved to France, my life had not prepared me for what I would discover there. I was raised in a comfortable, WASPy, uppermiddle- class family in sunny and non-intellectual Pasadena, California. My father, John McWilliams, was a conservative businessman who managed family real-estate holdings; my mother, Carolyn, whom we called Caro, was a very warm and social person. But, like most of her peers, she didn’t spend much time in the kitchen. She occasionally sallied forth to whip up baking-powder biscuits, or a cheese dish, or finnan haddie, but she was not a cook. Nor was I.

As a girl I had zero interest in the stove. I’ve always had a healthy appetite, especially for the wonderful meat and the fresh produce of California, but I was never encouraged to cook and just didn’t see the point in it. Our family had a series of hired cooks, and they’d produce heaping portions of typical American fare—fat roasted chicken with buttery mashed potatoes and creamed spinach; or well-marbled porterhouse steaks; or aged leg of lamb cooked medium gray—not pinky-red rare, as the French do—and always accompanied by brown gravy and green mint sauce. It was delicious but not refined food.

Paul, on the other hand, had been raised in Boston by a rather bohemian mother who had lived in Paris and was an excellent cook. He was a cultured man, ten years older than I was, and by the time we met, during World War II, he had already traveled the world. Paul was a natty dresser and spoke French beautifully, and he adored good food and wine. He knew about dishes like moules marinières and boeuf bourguignon and canard à l’orange—things that seemed hopelessly exotic to my untrained ear and tongue. I was lucky to marry Paul. He was a great inspiration, his enthusiasm about wine and food helped to shape my tastes, and his encouragement saw me through discouraging moments. I would never have had my career without Paul Child.

We’d first met in Ceylon (Sri Lanka) during the Second World War and were married in September 1946. In preparation for living with a new husband on a limited government income, I decided I’d better learn how to cook. Before our wedding, I took a bride-to-be’s cooking course from two Englishwomen in Los Angeles, who taught me to make things like pancakes. But the first meal I ever cooked for Paul was a bit more ambitious: brains simmered in red wine! I’m not quite sure why I picked that particular dish, other than that it sounded exotic and would be a fun way to impress my new husband. I skimmed over the recipe, and figured it wouldn’t be too hard to make. But the results, alas, were messy to look at and not very good to eat. In fact, the dinner was a disaster. Paul laughed it off, and we scrounged up something else that night. But deep down I was annoyed with myself, and I grew more determined than ever to learn how to cook well.

In our first year as young marrieds, we lived in Georgetown, in Washington, D.C., in a small white clapboard house on Olive Avenue. While Paul worked on mounting exhibits for the State Department, I worked as a file clerk. In the evening, I would approach the stove armed with lofty intentions, the Joy of Cooking or Gourmet magazine tucked under my arm, and little kitchen sense. My meals were satisfactory, but they took hours of laborious effort to produce. I’d usually plop something on the table by 10:00 p.m., have a few bites, and collapse into bed. Paul was unfailingly patient. But years later he’d admit to an interviewer: “Her first attempts were not altogether successful. . . . I was brave because I wanted to marry Julia. I trust I did not betray my point of view.” (He did not.)

In the winter of 1948, Paul was offered a job running the Visual Presentation Department for the United States Information Service (USIS) in Paris, and I tagged along. I had never been to Europe, but once we had settled in Paris, it was clear that, out of sheer luck, I had landed in a magical city—one that is still my favorite place on earth. Starting slowly, and then with a growing enthusiasm, I devoted myself to learning the language and the customs of my new home.

In Paris and later in Marseille, I was surrounded by some of the best food in the world, and I had an enthusiastic audience in my husband, so it seemed only logical that I should learn how to cook la cuisine bourgeoise—good, traditional French home cooking. It was a revelation. I simply fell in love with that glorious food and those marvelous chefs. The longer we stayed there, the deeper my commitment became.



In collaborating on this book, Alex Prud’homme and I have been fortunate indeed to have spent hours together telling stories, reminiscing, and thinking out loud. Memory is selective, and we have not attempted to be encyclopedic here, but have focused on some of the large and small moments that stuck with me for over fifty years.

Alex was born in 1961, the year that our first book, Mastering the Art of French Cooking, which I wrote with Simone Beck and Louisette Bertholle, was published. How appropriate, then, that he and I should work together on this volume, which recounts the making of that book.

Our research has been aided immeasurably by a thick trove of family letters and datebooks kept from those days, along with Paul’s photographs, sketches, poems, and Valentine’s Day cards. Paul and his twin brother, Charlie Child, a painter who lived in Bucks County, Pennsylvania, wrote to each other every week or so. Paul took letter writing seriously: he’d set aside time for it, tried to document our day-to-day lives in a journalistic way, and usually wrote three to six pages a week in a beautiful flowing hand with a special fountain pen; often he included little sketches of places we’d visited, or photos (some of which we have used in these pages), or made mini-collages out of ticket stubs or newsprint. My letters were usually one or two pages, typed, and full of spelling mistakes, bad grammar, and exclamation points; I tended to focus on what I was cooking at the time, or the human dramas boiling around us. Written on thin pale-blue or white airmail paper, those hundreds of letters have survived the years in very good shape.

When I reread them now, the events those letters describe come rushing back to me with great immediacy: Paul noticing the brilliant sparkle of autumn light on the dark Seine, his daily battles with Washington bureaucrats, the smell of Montmartre at dusk, or the night we spied wild-haired Colette eating at that wonderful Old World restaurant Le Grand Véfour. In my letters, I enthuse over my first taste of a toothsome French duck roasted before an open fire, or the gossip I’d heard from the vegetable lady in the Rue de Bourgogne marketplace, or the latest mischief of our cat, Minette, or the failures and triumphs of our years of cookbook work. It is remarkable that our family had the foresight to save those letters—it’s almost as if they knew Alex and I were going to sit down and write this book together one day.

We tip our hats in gratitude to the many people and institutions who have helped us with My Life in France, especially to my dear friend and lifelong editor at Knopf, Judith Jones, she of the gimlet eye and soft editorial touch. And to my beloved French “sisters,” Simone Beck and Louisette Bertholle, with whom I collaborated; to my sister, Dorothy, my enthusiastic niece, Phila Cousins, and her brother, Sam; to my invaluable assistant, Stephanie Hersh, and my attorney Bill Truslow. We also sing the praises of the Schlesinger Library at the Radcliffe Institute, which has graciously housed the bulk of my papers and Paul’s photographs; the Museum of American History at the Smithsonian Institution, which has been kind enough to display artifacts from my career, including my entire kitchen from our house in Cambridge, Massachusetts; to WGBH, Boston’s public television station; to my alma mater, Smith College; also to the many family members and friends who have aided us with memories, photos, good company, and fine meals as we pieced together this volume.

What fun and good fortune I had living in France with Paul, and again in writing about our experiences with Alex. I hope that this book is as much fun for you to read as it was for us to put together—bon appétit!

Julia Child
Montecito, California
August 2004

Read a Sample Chapter

My Life in France

Random House

Chapter One

Foreword
_
In August 2004, Julia Child and I sat in her small, lush garden in Montecito, California, talking about her life. She was thin and a bit stooped, but more vigorous than she'd been in weeks. We were in the midst of writing this book together. When I asked her what she remembered about Paris in the 1950s, she recalled that she had learned to cook everything from snails to wild boar at the Cordon Bleu; that marketing in France had taught her the value of "les human relations"; she lamented that in her day the American housewife had to juggle cooking the soup and boiling the diapers--adding, "if she mixed the two together, imagine what a lovely combination that would make!"

The idea for My Life in France had been gestating since 1969, when her husband, Paul, sifted through hundreds of letters that he and Julia had written his twin brother, Charles Child (my grandfather), from France in 1948--1954. Paul suggested creating a book from the letters about their favorite, formative years together. But for one reason or another, the book never got written. Paul died in 1994, aged ninety-two.

Yet Julia never gave up on the idea, and would often talk about her intention to write "the France book." She saw it, in part, as a tribute to her husband, the man who had swept heroff to Paris in the first place.

I was a professional writer, and had long wanted to work on a collaborative project with Julia. But she was self-reliant, and for years had politely resisted the idea. In December 2003, she once again mentioned "the France book," in a wistful tone, and I again offered to assist her. She was ninety-one, and her health had been waxing and waning. This time she said, "All right, dearie, maybe we should work on it together."

My job was simply to help Julia tell her story, but it wasn't always easy. Though she was a natural performer, she was essentially a private person who didn't like to reveal herself. We started slowly, began to work in sync, and eventually built a wonderfully productive routine. For a few days every month, I'd sit in her living room asking questions, reading from family letters, and listening to her stories. At first I taped our conversations, but when she began to poke my tape recorder with her long fingers, I realized it was distracting her, and took notes instead. The longer we talked about "little old France," the more she remembered, often with vivid intensity--"Ooh, those lovely roasted, buttery French chickens, they were so good and chickeny!"

Many of our best conversations took place over a meal, on a car ride, or during a visit to a farmers' market. Something would trigger a memory, and she'd suddenly tell me about how she learned to make baguettes in Paris, or bouillabaisse in Marseille, or how to survive a French dinner party--"Just speak very loudly and quickly, and state your position with utter conviction, as the French do, and you'll have a marvelous time!"

Almost all of the words in these pages are Julia's or Paul's. But this is not a scholarly work, and at times I have blended their voices. Julia encouraged this approach, pointing out that she and Paul often signed their letters "PJ" or "Pulia," as if they were two halves of one person. I wrote some of the exposition and transitions, and in so doing tried to emulate Julia's idiosyncratic word choices--"Plop!," "Yuck!," "Woe!," "Hooray!" Once I had gathered enough material, I would write up a vignette; she would avidly read it, correct my French, and add things as they occurred to her in small, rightward-slanting handwriting. She loved this process, and was an exacting editor. "This book energizes me!" she declared.

Julia and I shared a sense of humor, and appetite, and she thought I looked like Paul, which probably helped our collaboration. As for me, I was grateful for the chance to reconnect with her and to be part of such an interesting project. Some writers find that the more they learn about their co-authors the less they like them, but I had the opposite experience: the more I learned about Julia Child, the more I came to respect her. What impressed me most was how hard she worked, how devoted she was to the "rules" of la cuisine francaise while keeping herself open to creative exploration, and how determined she was to persevere in the face of setbacks. Julia never lost her sense of wonder and inquisitiveness. She was, and is, a great inspiration.

Another great inspiration has been our editor, Judith Jones, who worked with Julia for more than forty years. With patience and a deep understanding of our subject, she was indispensable in helping to shape this book. Judith's assistant, Ken Schneider, was also a great help.

On August 13, 2004--just after our conversation in her garden, and only two days before her ninety-second birthday--Julia died of kidney failure in her sleep. Over the next year, I finished My Life in France, but every day wished I could call her up and ask her to clarify a story, or to share a bit of news, or just to talk. I miss her. But through her words in these pages, Julia's voice remains as lively, wise, and encouraging as ever. As she would say, "We had such fun!"

Alex Prud'homme
August 2005


Introduction

This is a book about some of the things I have loved most in life: my husband, Paul Child; la belle France; and the many pleasures of cooking and eating. It is also something new for me. Rather than a collection of recipes, I've put together a series of linked autobiographical stories, mostly focused on the years 1948 through 1954, when we lived in Paris and Marseille, and also a few of our later adventures in Provence. Those early years in France were among the best of my life. They marked a crucial period of transformation in which I found my true calling, experienced an awakening of the senses, and had such fun that I hardly stopped moving long enough to catch my breath.

Before I moved to France, my life had not prepared me for what I would discover there. I was raised in a comfortable, WASPy, uppermiddle- class family in sunny and non-intellectual Pasadena, California. My father, John McWilliams, was a conservative businessman who managed family real-estate holdings; my mother, Carolyn, whom we called Caro, was a very warm and social person. But, like most of her peers, she didn't spend much time in the kitchen. She occasionally sallied forth to whip up baking-powder biscuits, or a cheese dish, or finnan haddie, but she was not a cook. Nor was I.

As a girl I had zero interest in the stove. I've always had a healthy appetite, especially for the wonderful meat and the fresh produce of California, but I was never encouraged to cook and just didn't see the point in it. Our family had a series of hired cooks, and they'd produce heaping portions of typical American fare--fat roasted chicken with buttery mashed potatoes and creamed spinach; or well-marbled porterhouse steaks; or aged leg of lamb cooked medium gray--not pinky-red rare, as the French do--and always accompanied by brown gravy and green mint sauce. It was delicious but not refined food.

Paul, on the other hand, had been raised in Boston by a rather bohemian mother who had lived in Paris and was an excellent cook. He was a cultured man, ten years older than I was, and by the time we met, during World War II, he had already traveled the world. Paul was a natty dresser and spoke French beautifully, and he adored good food and wine. He knew about dishes like moules marinieres and boeuf bourguignon and canard a l'orange--things that seemed hopelessly exotic to my untrained ear and tongue. I was lucky to marry Paul. He was a great inspiration, his enthusiasm about wine and food helped to shape my tastes, and his encouragement saw me through discouraging moments. I would never have had my career without Paul Child.

We'd first met in Ceylon (Sri Lanka) during the Second World War and were married in September 1946. In preparation for living with a new husband on a limited government income, I decided I'd better learn how to cook. Before our wedding, I took a bride-to-be's cooking course from two Englishwomen in Los Angeles, who taught me to make things like pancakes. But the first meal I ever cooked for Paul was a bit more ambitious: brains simmered in red wine! I'm not quite sure why I picked that particular dish, other than that it sounded exotic and would be a fun way to impress my new husband. I skimmed over the recipe, and figured it wouldn't be too hard to make. But the results, alas, were messy to look at and not very good to eat. In fact, the dinner was a disaster. Paul laughed it off, and we scrounged up something else that night. But deep down I was annoyed with myself, and I grew more determined than ever to learn how to cook well.

In our first year as young marrieds, we lived in Georgetown, in Washington, D.C., in a small white clapboard house on Olive Avenue. While Paul worked on mounting exhibits for the State Department, I worked as a file clerk. In the evening, I would approach the stove armed with lofty intentions, the Joy of Cooking or Gourmet magazine tucked under my arm, and little kitchen sense. My meals were satisfactory, but they took hours of laborious effort to produce. I'd usually plop something on the table by 10:00 p.m., have a few bites, and collapse into bed. Paul was unfailingly patient. But years later he'd admit to an interviewer: "Her first attempts were not altogether successful. . . . I was brave because I wanted to marry Julia. I trust I did not betray my point of view." (He did not.)

In the winter of 1948, Paul was offered a job running the Visual Presentation Department for the United States Information Service (USIS) in Paris, and I tagged along. I had never been to Europe, but once we had settled in Paris, it was clear that, out of sheer luck, I had landed in a magical city--one that is still my favorite place on earth. Starting slowly, and then with a growing enthusiasm, I devoted myself to learning the language and the customs of my new home.

In Paris and later in Marseille, I was surrounded by some of the best food in the world, and I had an enthusiastic audience in my husband, so it seemed only logical that I should learn how to cook la cuisine bourgeoise--good, traditional French home cooking. It was a revelation. I simply fell in love with that glorious food and those marvelous chefs. The longer we stayed there, the deeper my commitment became.



In collaborating on this book, Alex Prud'homme and I have been fortunate indeed to have spent hours together telling stories, reminiscing, and thinking out loud. Memory is selective, and we have not attempted to be encyclopedic here, but have focused on some of the large and small moments that stuck with me for over fifty years.

Alex was born in 1961, the year that our first book, Mastering the Art of French Cooking, which I wrote with Simone Beck and Louisette Bertholle, was published. How appropriate, then, that he and I should work together on this volume, which recounts the making of that book.

Our research has been aided immeasurably by a thick trove of family letters and datebooks kept from those days, along with Paul's photographs, sketches, poems, and Valentine's Day cards. Paul and his twin brother, Charlie Child, a painter who lived in Bucks County, Pennsylvania, wrote to each other every week or so. Paul took letter writing seriously: he'd set aside time for it, tried to document our day-to-day lives in a journalistic way, and usually wrote three to six pages a week in a beautiful flowing hand with a special fountain pen; often he included little sketches of places we'd visited, or photos (some of which we have used in these pages), or made mini-collages out of ticket stubs or newsprint. My letters were usually one or two pages, typed, and full of spelling mistakes, bad grammar, and exclamation points; I tended to focus on what I was cooking at the time, or the human dramas boiling around us. Written on thin pale-blue or white airmail paper, those hundreds of letters have survived the years in very good shape.

When I reread them now, the events those letters describe come rushing back to me with great immediacy: Paul noticing the brilliant sparkle of autumn light on the dark Seine, his daily battles with Washington bureaucrats, the smell of Montmartre at dusk, or the night we spied wild-haired Colette eating at that wonderful Old World restaurant Le Grand Vefour. In my letters, I enthuse over my first taste of a toothsome French duck roasted before an open fire, or the gossip I'd heard from the vegetable lady in the Rue de Bourgogne marketplace, or the latest mischief of our cat, Minette, or the failures and triumphs of our years of cookbook work. It is remarkable that our family had the foresight to save those letters--it's almost as if they knew Alex and I were going to sit down and write this book together one day.

We tip our hats in gratitude to the many people and institutions who have helped us with My Life in France, especially to my dear friend and lifelong editor at Knopf, Judith Jones, she of the gimlet eye and soft editorial touch. And to my beloved French "sisters," Simone Beck and Louisette Bertholle, with whom I collaborated; to my sister, Dorothy, my enthusiastic niece, Phila Cousins, and her brother, Sam; to my invaluable assistant, Stephanie Hersh, and my attorney Bill Truslow. We also sing the praises of the Schlesinger Library at the Radcliffe Institute, which has graciously housed the bulk of my papers and Paul's photographs; the Museum of American History at the Smithsonian Institution, which has been kind enough to display artifacts from my career, including my entire kitchen from our house in Cambridge, Massachusetts; to WGBH, Boston's public television station; to my alma mater, Smith College; also to the many family members and friends who have aided us with memories, photos, good company, and fine meals as we pieced together this volume.

What fun and good fortune I had living in France with Paul, and again in writing about our experiences with Alex. I hope that this book is as much fun for you to read as it was for us to put together--bon appetit!

Julia Child
Montecito, California
August 2004

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Excerpted from My Life in France by Julia Child with Alex Prud'homme Excerpted by permission.
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