On the forty-first day of the confinement, or coronavirus lockdown, I’ve decided to share the Little Black Book of Ordering Food Online in Paris that I’ve compiled through a lot of trial and error and research while ordering almost everything we eat and drink online for more than five weeks. I try to support the local shops in my neighbourhood, the 9th Arrondissement in the heart of the city, when possible, but have recently had some very bad experiences with people who don’t take social distancing seriously. I do. Very seriously. So I minimalize my shopping in person as much as possible right now, especially since so many shops are so low on inventory.

For now, then, I’m only going up the road to Landemaine for bread–I’m lucky to have a branch of this excellent bakery nearby, or to the organic grocer a few blocks away in the hopes of snagging some asparagus and foods that still aren’t easily found in regular grocery stores in Paris, like tofu.

I hope this list of addresses will be immediately useful for other Parisians like me, but it’s also worth tucking away for use after the pandemic if you’re renting an AirBNB apartment in Paris or a country house somewhere in France for a vacation. Many of these suppliers are so good that they’d make your holiday here more delicious even if you love going to the markets, and I’m sure I’ll continue using several of them even after life returns to some semblance of normality.

Note, too, that if you’ve rented a flat in Paris and want to make sure you have breakfast supplies, for example, for the morning after you arrive, you can order an advance delivery of coffee, bread, fruit, yogurt, etc. from a high quality online grocer like www.labellevie.com to get a delivery at your convenience on the first day of your stay in Paris without wasting time in a grocery store. And La Belle Vie features baguettes from Benjamin Turquier, one of the city’s best bakers, too, plus excellent croissants, pain aux raisins, etc.

With the exception of a pizza or two and some sushi, we’ve been cooking lunch and dinner every day for almost six weeks now. It’s been a challenge to eat well, healthy and economically during these unpredictable times. So after a second or third spin through the rotation of dishes we cook all the time–blanquette de veau, pot au feu, mapo tofu, spaghetti carbonara, steamed salmon with watercress sauce, etc, we’ve been pushing out in new culinary directions by digging deep into the shelves of cookbooks in my office and also gleaning new recipes from the New York Times’s excellent food section, diving into the big U.S. food magazine websites, including Bon Appetit, Food & Wine and Saveur, and tossing the dice with the occasional Google search. Some of these dice throws have been brilliant–the recipe for the harissa-roasted shoulder of lamb we ate for Easter was easy, flavourful and incredibly succulent, while others–buttersquash curry in coconut milk, which I unearthed after we received a butternut in a no-choice assorted vegetables delivery box and didn’t want any more soup, have been time consuming and disappointing.

Our days right now turn very much on the axis of what we will eat, which I suppose means that even in the midst of a horrendous pandemic, some things don’t change. The difference, of course, is that we’re the cooks, and all of this cooking has made me more grateful than I’ve ever been in my entire life to everyone who has ever cooked for me before. It’s wonderful work, but it’s also exhausting, often stressful and very intense. And for the thrill of having invented a white bean, cherry tomato and squid sauce for pasta or a broiled Cesaer salad (really–it’s delicious, easy, and a great side with grilled chicken, beef or pork), I’ve also done endless hours of dulling tasks like peeling my own not inconsiderable weight in potatoes, chopping dozens of onions and skinning innumerable shallots, garlic cloves and knobs of ginger and washing dozens of heads of lettuce and other salad greens.

I miss Paris, the city I’ve made my home for more than thirty years; I miss other people’s faces and voices; I miss the city’s chefs and cheffes; and I really miss the multi-faceted pleasures of Paris restaurants–their food, of course, but also their noise, their laughter, their scents, their atmosphere of communal complicity in seeking pleasure with strangers. Until I can dine out again, we’ll keep cooking, and enjoying it, which means a lot of online shopping.

These are my favorite regular go-to websites for getting great produce when you can’t shop for it yourself, maybe because you’re quarantined during an epidemic, really busy, or on vacation and would rather spend time in museums, gardens and cafes.

La Belle Vie

A comprehensive online grocery store with a good selection of organic produce; vegan and vegetarian products, including tofu and tempeh; decently priced wines; and excellent meat and charcuterie offers. In addition to the tabs for individual product categories, the site also has a regular supermarche (grocery store) tab, which allows access to dull but essential goods like window cleaner, dishwasher soap and paper towels. N.B. Like many delivery services, Le Belle Vie has been overwhelmed by demand since the lockdown was announced in France, which means that an occasional item might go missing from your order. When this has happened to me, I’ve direct messaged them via their live-chat customer service on their website and requested a credit. These have always shown up immediately in my La Belle Vie customer account, with no questions asked. They also offer free delivery for any order over 40 Euros, too, which is very consumer friendly compared to most other online grocers in Paris.

www.labellevie.com

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A L’Epi d’Or, a solid old neighbourhood bistro that opened on the edge of Les Halles in 1880, has mercifully been spared the ignominious fate of too many traditional Paris bistros in an ever gentrifying city: becoming a clothing store. Sepia-tinted by decades of Gauloises and Gitanes, this sturdy old place with a cracked tile floor, a big zinc bar, and globe lamps overhead has instead become the object of the wisely gentle, puckishly reverent and shrewdly restrained culinary intentions of chef Jean-François Piège.

“I didn’t want to reinvent A L’Epi d’Or, I just wanted to make it better,” says Piège, who lives nearby and has a deep affection for this kind of historic and profoundly Parisian address. “I want the tastes of honest old-fashioned French cooking to survive as everyday food, not as part of some expensive nostalgic special-occasion meal,” adds the chef, who has two Michelin stars at his Le Grand Restaurant, and also owns and runs three other restaurants, Clover Grill, Clover Green, and La Poule au Pot.

This remark struck a real chord with me, because in some Paris neighbourhoods today, it’s easier to find a bowl of ramen or an Italian meal than it is French bistro cooking. For a variety of reasons, this kitchen, the bedrock level of Gallic gastronomy, is struggling, and I’m not talking about bistronomie, a.k.a. modern bistro cooking, but workaday traditional bistro cooking like the dishes you find on the menu at A L’Epi d’Or. To wit, dining out in Paris has changed, and changed a lot, since thirty years ago, when eating anything other than French food in Paris was very much the exception to the rule. Sure, we’d go for the occasional Chinese, Vietnamese or North African meal, but our daily food bread and everything else that came to the table with it was French in those days.

Now if you consider the modern urban gastronomic cannon, or those same popular dishes that are served in major cities all over the world–sushi, ramen, cheeseburgers, tacos, burritos, pizza, pasta, tapas, ceviche, etc., almost none of them are French with the possible exception of quiche. Traditional French cooking based on braising and the slow, careful construction and concentration of flavours has become an outlier, because it’s time consuming behind the kitchen door and also because it has wrongly acquired a reputation for being heavy, even ‘unhealthy.’ The reality is that it’s nowhere near as time consuming as a global recipe culture driven by semi-hysterical promises of fast and easy cooking might lead you to believe, and it’s also not only deeply nourishing but profoundly satisfying.

This is what I thought when I tucked into my first course of legumes pot au feu, or leeks, carrots, turnips, celeriac, parsnip and potato that had been cooked in beef bouillon as part of a pot au feu. The succulent vegetables had a light gloss of bovine richness that didn’t mask their natural tastes or textures, and the pool of sauce they came in–bouillon with a few drops of olive oil, some chopped parsley and a superbly redolent gently fruity red wine vinegar was a supremely Gallic garnish. What made this dish work so well, though, was the resonance of the vinegar, which had a percussive freshness that was fascinating. When I chatted with Piège later in the meal, he explained that the red-wine vinegar was homemade, with a mother of vinegar that was constantly fed with leftover red wine. “It’s the youth of the vinegar that makes it mellow and so good with cooked vegetables,” he explained.

To be sure, my first memory of A L’Epi d’Or had nothing to do with what I ate here. Just a couple of months after I’d arrived in Paris to work as an editor in the offices of fashion publisher Fairchild Publications, I was invited for lunch on a rainy winter day by a famous Paris fashion designer. I’d never met him before, but when I stepped through the door of this restaurant, I was certain it couldn’t possible be the man with butterscotch coloured hair and a black leather bomber jacket over a black muscle T shirt who was the only other customer in the dining room. He nodded at me, and I nodded back and then I spoke to the older woman behind the bar, giving her the name of the designer. With a pursed smile, she nodded towards the man in the bomber jacket.

He was drinking Champagne when I sat down with him, and we chatted briefly–he’d just returned from Tokyo that morning, which is why less than a minute later he almost fell asleep while reading the menu. Then he told me he’d was going to the men’s room, so I pulled back the table to let him out, and glancing at him walking to the back of the room, I was astonished to see that the back of his black leather pants was cut out to display his bare ass. Seeing me see him, the woman behind the bar barked with laughter.

“Et dis donc, Monsieur!” (Say there, Mister!), she said and guffawed. “Il n’est pas tres subtile celui!” (He’s not very subtle, that one), she cackled again, and then he returned.

“I just needed a little powder to perk myself up,” he said when he sat down. I nodded vaguely. “Would you like some?” he asked, offering me some cocaine.

“No, thanks, I’m happy with my marinated leeks,” I replied, and he rolled his eyes. “And you go to church every Sunday, too?” he snorted.

“No,” I said. “I’m Protestant,” as if that explained anything.

“Oh, God, you’re a Protestant, too. They have no imagination, which makes them terrible sex. Most Catholics are a little kinky, even if they don’t know it.” And so it went. But I liked the unpretentious bistro food, the room, and the crowd.

The motley crowd of traveling salesman, market workers, night-club goers and the occasional pair of convivial and immaculately made up streetwalkers was always one of the best things about A L’Epi d’Or, and on this first experience of its resurrection, it was too soon to guess at the eventual sociological composition of the restaurant’s new clientele except to say that the sex business has moved online in Paris and traditional bistro cooking seems to be developing an eager new following among the Bobo (bohemian bourgeois) couples who have colonized the ancient side streets of Les Halles.

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Le P’Tit Canon is perfect and very happy example of a good uncomplicated Parisian neighbourhood bistro. It’s a lively friendly well-run place with a pretty Belle Epoque style dining room with a big bar up front where you can stop by on your own for a glass of wine or a quick bite. In less of a rush, you come for a sit-down meal of well-prepared traditional bistros dishes that deliver a solid flush of French comfort-food satisfaction. Prices are reasonable, and the wine list is interesting, from the well-chosen and accessible house wines to better bottles that carry a much gentler markup over retail prices than is usually found in Paris restaurants.

You don’t come here for cutting-edge cooking, but rather for good solid Gallic grub prepared with high quality ingredients. Still, the menu winks at what Parisians like to eat these days, since there are several meal-sized salads on the menu, along with a cheese burger.

So when Bruno came into my office and asked me if I had an idea of somewhere festive and not too expensive where we could good with his mother, visiting from Valenciennes; his sister up from her home in Florence; her son, who’s studying film in Rome, and his Venezuelan girlfriend, also living in Rome and studying medical technology, I immediately suggested Le P’tit Canon. I knew the menu here would please his cassoulet-loving mother and also work for his vegetarian sister, and that the salads would make the students happy. As for me, a good steak tartare was already on my radar, and Bruno loves confit de canard, which is rarely found on Paris menus very often anymore.

“This is just like those Paris bistros you see in the movies,” said Matthias, Bruno’s Italian nephew when we arrived here, a hungry multi-generational group speaking four different languages at the table. “Tres charmant, est bien Parisien,” pronounced Bruno’s mother, who hadn’t been to Paris for several years. So we translated the menu aloud for those who don’t speak French, and everyone found something to make them happy.

The Italians were craving foie gras, which is made in house and served with raisin-bread toast and onion compote or as part of a salade folly (crazy salad)–green beans and mushrooms garnished with foie gras. Bruno couldn’t resist the marinated herring, I love their terrine de campagne and Madame Midavaine fancied some escargots, and his sister opted for the oeufs mayonnaise. Since everyone preferred white wine, and I suspect we’d likely get through several bottles, I ordered a fresh easy-drinking Viognier from the Gard at a very easy-on-the-wallet 21 Euros, and it was very pleasant.

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With the opening of Pavyllon, chef Yannick Alleno has created a convivial new casual restaurant that aims to make his cooking available to a broader public than the one that can afford his Michelin three-star table upstairs at the lovely Pavillon Ledoyen in the gardens of the Champs Elysees. “Pavyllon is sort of my laboratory,” says Alleno, who seems to inherently understand that French haute cuisine is searching for relevance in a new century. Pavyllon occupies a sunny pretty room overlooking the gardens at the same address.

Why? Haute cuisine dining, the traditional pinnacle of the French food chain, has not only become exorbitantly expensive but seems sidelined in a city where they’re so many brilliant young chefs serving spectacularly good and much more affordable food in relaxed and charming restaurants like Septime or the recently opened Maison pat Sota Atsumi.

To wit, I don’t go to Paris haute cuisine restaurants very often anymore, but having been to six or seven of them recently as part of a magazine assignment, I couldn’t help but thinking that I could have eaten just as well–if not better, at a variety of restaurants that would have cost a quarter of what any of these exalted meals did. There was a time when an haute cuisine meal was sort of like going up in a hot-air balloon, or a rare, extravagant and thrilling expedition that offered an enlightening Olympian view of the dining landscape below by dint of serving meals that were so much more head spinningly special, refined, sensual and original than anything you’d probably eaten anywhere else for a very longtime. With a few exceptions, I don’t find that to be true anymore, and I also think that the tight formal formatting of the haute cuisine meal is something that rarely delivers much joy anymore.

These three-star tables are under a huge amount of financial pressure not only because of their exorbitant labor costs, but also because the clientele that can afford Paris haute cuisine dining these days has changed so much. The old-school mix of French clients and foreigners from the U.S., the U.K. and other European countries has diminished at the same time that more and more haute cuisine diners are Asian, Russian, Middle Eastern and hailing from other places with booming economies and very different dining habits and palates. And many customers are also health conscious and environmentally aware in ways that are challenging a concept of luxury dining defined by such foods as foie gras, caviar, sea bass, and other haute cuisine standards.

Clearly, Alleno had all of this in mind when he opened Pavyllon, which serves dishes like beets with chocolate nibs, black olive pistou and ricotta for 21 Euros. He also decided on a counter-service only format, which isn’t new–Joel Robuchon got there first with his L’Atelier de Joel Robuchon, originally in Paris, and now in many other cities, including New York. Perched on a powder-blue velvet-upholstered stool at Pavyllon, you watch your meal being made in the open kitchen on the other side of a wide stone counter, and service is amiable and complicit, a sharp contrast to the drilled, cool and relentlessly calibrated service at many haute cuisine restaurants. “The idea of this place is for people to have a good time,” says Alleno, a remark that sort of underlines how this goal has become so muddled elsewhere.

This restiveness about the future of French haute cuisine is not new–the estimable food critic Francois Simon often complained that haute-cuisine meals were too long when he wrote for Le Figaro and Le Monde, and other chefs, like Pascal Barbot, have wondered about its rote rituals, but it’s become more general. Barbot, for example, serves fresh fruit at the end of a meal at his three-star restaurant L’Astrance, because as he once told me, all of the mignardises and chocolates are just too much. “And does anyone really want a pre-dessert?” he once asked me, referring to the appetiser dessert that proceeds the main one at many haute cuisine tables. “It’s all just too much,” he said.

As is true of any laboratory, some experiments are better than others. At a recent meal at Pavyllon, I loved the tart spinach soup with a tiny knob of scamorza and burned nutmeg and the oyster beignet with smoked pike perch eggs, but found the pike perch mousse lined with brioche crusts and celeriac extract a bit timid.

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Mieux, which means ‘better’ in English, is a wonderful name for a restaurant, because it declares gastronomic ambition but with a certain appealing humility. This charmingly decorated and cleverly designed bistro just five minutes from my front door in the rue Saint Lazare delivers better than just better, though, since the contemporary French bistro cooking is delicious, and the service is charming. Restaurant Mieux also has a very good wine list.

The bistro, which opened last May, is the project Baptiste Bayle, Giulian Maiuri and Thomas Bonnel, three nice guys who did all of the work of renovating this space themselves, including pouring a cement bar, buffing the Fifties tiles they discovered when they pulled up the floorboards, combing flea-markets for the great-looking bric-a-brac and chairs from a French school that gives this place its homey atmosphere and renovating a secondhand Spaziale coffee machine, which is now used to make great java with Brûlerie de Belleville beans. Guilian, who formerly worked at the Maison Breguet and the Trianon Palace in Versailles, heads up the kitchen.

I first noticed Restaurant Mieux on the way home from doing some errands in the rue des Martyrs, and immediately liking its look and menu, I went in and booked for dinner for me and Bruno that same night. And I marveled at how gastronomic my own neighborhood has become, and in just the terms I like best—intelligently creative contemporary French bistro cooking that highlights carefully sourced seasonal produce and spins on an axis of sincerity and generosity.

Little did I know that the 9th Arrondissement would emerge as one of the best restaurant neighborhoods in Paris when we crossed the Seine from the tiny apartment where we once lived on the rue du Bac and bought our first, and then second, apartments in this arrondissement. But the 9th has turned into a sweet-spot location for restauranteurs, because the offices in this central Paris district assure a busy lunch crowd and then the food-loving locals and tourists from the growing numbers of hotels in this charming part of the city take over in the evening.

Arriving, the welcome was warm and the service immediately warm and alert but relaxed, which explained why the dining room was filled with such a cross-section of residents of the district once known as La Nouvelle Athenes, because so much of its architecture was originally inspired by ancient Greece when this part of the city was first developed from 1819 onwards. During the 19th century, this quartier was popular with artists, writers, musicians and actors, including George Sand, Eugène Delacroix, Alexandre Dumas, Frederic Chopin, Victor Hugo, Théodore Géricault, Pissarro, Claude Monet and Paul Gauguin. It was also known for being a neighborhood of kept women.

This arty liberal tradition lives on in the 9th, which is still home to many writers, photographers, artists, musicians and other creatives, and it’s that increasingly endangered but wonderful thing—a peaceful and unselfconscious historic neighborhood in the heart of a great western city. Gentrification is making it more affluent, but the social tone happily remains unchanged.

The menu here runs to three starters, three main courses and three desserts, sometimes more, which change regularly to reflect the kitchen’s desire to cook spontaneously. “The produce writes the menu here,” our waiter told us when he came to take our order.

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Chef Franco Sampogna

Canvas by French painter Toma-L

After a superb dinner at Frevo, a wonderfully chic speak-easy restaurant tucked away behind an art gallery on Eighth Street, I was elated for three reasons. The first is that Brazilian born chef Franco Sampogna’s contemporary French cooking is so luminous and logical but sensual and succulent. Then there’s the easygoing stylishness of this intimate low-lit counter-style open-kitchen restaurant with eighteen seats at the stone-topped bar and a six-seat chef’s table and the terrific serving team, who hail from France, Portugal, Brazil, and even Connecticut, like me. This charming and talented staff exultantly showcases the fact that even in these tumultuous times, the U.S. remains a magnet for ambitious and talented people, in the best traditions of the country’s history. Finally, this restaurant proved to me that some thirty-three years after I’d folded the wretched sofa bed of my studio at 189 Waverly Place closed for the last time and moved  to Europe, Greenwich Village retains a vital wick of creativity despite the fact that it’s gentrified so much I probably could never live in the fabled neighborhood I’d once so loved ever again.

So Frevo is a votive candle of a restaurant that defends both New York City’s gastronomic credentials and its ability to incubate creativity through its defining DNA of curiosity, tolerance, and ambition. To understand the reasons why such an address is so especially uplifting in New York today, consider that two of the city’s great defining institutions Dean & DeLuca and Barneys are damaged and diminished for a variety of reasons explained in this excellent article: https://www.nytimes.com/2019/08/08/nyregion/dean-deluca-barneys-bankruptcy.html?action=click&module=Editors%20Picks&pgtype=Homepage

Foie gras with dried fruit, pistachio and Nori ribbons

Acting on a heads up from a Parisian colleague who now lives in New York City–“This restaurant is really really good, Alec,” she told me, Bruno and I braved our jet-lag and headed downtown for dinner at  Frevo the night we arrived in the U.S. in early August. In the Fifth Avenue bus, I quietly hoped the prix-fixe tasting menu wouldn’t overwhelm us, since we were hungry but decidedly not in the mood for one of those twenty-course tasting menus that have become the bane of modern gastronomy in many European countries.

When I asked my Parisian colleague for more details, she explained that chef Franco Sampogna had had a brilliant career in France and most recently worked as a chef on Long Island and on private yachts. Sampogna moved to France when he was 17, went to hotel school in Nice, and then worked for a constellation of great French chefs, including  Fabrice Vulin at La Chèvre d’or, Guy Savoy at his namesake restaurant, and Alain Ducasse at the Hotel Plaza Athénée.

Arriving, the restaurant was hidden behind a vest-pocket art gallery displaying the works of French painter Toma-L, who takes his inspiration, the nice young woman in the gallery explained, from Joan Miró and Jean-Michel Basquiat. Then she opened a secret door behind one of Toma-L’s paintings and ushered us into the back-room.

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