The Paris Residences of James Joyce

Launch Day: If Paris Were My Lover by Martina Nicolls.

Launch Day: If Paris Were My Lover by Martina Nicolls.

Today is the day! If Paris Were My Lover is officially out in the world. This journey began as a whisper – a lingering question about the ways we fall in love, not just with people, but with places, memories, and the versions of ourselves that only exist in certain corners of the world. For me, that place has been Paris.

This book is a love affair told in fragments. It is for those who have ever wandered through a city and felt something shift deep inside. It is for those who know that some places call to us like an unfinished sentence, waiting to be completed.

Paris is more than a postcard or a perfect café table. It is a city that mirrors our own complexities—the contradictions of beauty and solitude, passion and melancholy, adventure and stillness. In these pages, I have woven together fiction, memories and poetry, crafting a story that invites you to ask: What if a city could love you back?

Early readers have called If Paris Were My Lover “a literary love letter with a heartbeat” and “a book that lingers like a favorite song on repeat.” It has been described as a blend of nostalgia and possibility, of intimacy and adventure. But most of all, readers tell me how it makes them feel.

To mark this launch, I’d love for you to be part of the celebration:

Grab Your Copy – Available now in eBook and paperback on Amazon.

Share the Love – If this book speaks to you, share it! Post a photo, write a review, or simply tell a friend who needs a bit of Paris in their life.

Connect with Me – I’d love to hear your thoughts! Let’s talk about the places that have changed us, the loves that have shaped us, and the books that have left a mark on us. Drop a comment below, send me a message.

Find me Substack or on facebook.

À Bientôt, Paris – As I launch this book, I hope it finds its way to those who need it most. I hope it reminds you that love—whether for a person, a city, or a fleeting moment—is always worth the risk. And most of all, I hope it stirs something in you, the way Paris has always stirred something in me.

With gratitude and excitement, Martina

The cover design: Twenty-five designers from 99designs by Vista competed in the book cover competition for the novel, If Paris Were My Lover. Eight designers made the semi-final poll and five competed in the final poll. Congratulations to SanjaVu who was the winning designer. Sanja is a forty-year-old Serbian graphic designer. She is the head designer for the national governmental organization “Happy Family” and works as a full-time freelancer at 99designs.

Christofle: A Legacy of French Silverware

Christofle: A Legacy of French Silverware.

Paris celebrates Christofle, one of France’s most celebrated silverware houses, in the exhibition: Christofle – A Brillliant Story. From November 2024 to April 2025, a dedicated exhibition shines a spotlight on Christofle’s artistry, tracing its impact on French design and its global legacy.

Founded in 1830 by Charles Christofle, the Christofle brand revolutionized silverware production and luxury table settings. Originally a jeweller, Christofle saw the potential of electroplating technology, a groundbreaking innovation at the time, and positioned his company at the forefront of fine metalwork.

Christofle’s silverware was on the tables of royalty and aristocrats by the mid-19^th century, earning the brand an international reputation for excellence. Over the decades, Christofle expanded its expertise from tableware to jewellery, decorative objects, and Art Deco masterpieces.

This exhibition is a journey through French craftsmanship and the work of Christofle’s master silversmiths from the Second Empire to the 20^th century.

The exhibition features iconic and rare pieces, including vintage Art Nouveau silverware, presidential silverware sets, the Ritz and Orient Express collaborations, and artistic collaborations with visionary designers including Émile Gallé, Gio Ponti, and Andrée Putman.

Beyond France, Christofle’s influence extended to diplomatic gifts, luxury hotels, and first-class tableware on transatlantic liners like the Normandie.

Exhibition Dates: 14 November 2024 – 20 April 2025

Location: Museum of Decorative Arts, 107 rue de Rivoli 75001, Paris

NEW PARIS BOOK IN PROGRESS IN 2025: DOES THIS PARIS BOOK HAVE A TITLE YET MARTINA? – Blog  35

NEW PARIS BOOK IN PROGRESS IN 2025: DOES THIS PARIS BOOK HAVE A TITLE YET MARTINA? – Blog # 35.

Some books arrive fully formed, like a sudden epiphany. Others unfold slowly, like a long Parisian evening – filled with unexpected encounters and secrets. My book is in the latter category.

The book I have been working on – my “new Paris book” – is nearing completion. The words have been gathered, rewritten, restructured, and woven into a story. There is yet the ending to complete and the editing process to be undertaken.

March will mark a turning point, I hope. At the latest, April – all being well. The manuscript will be complete, but that’s not the only secret I’ve been keeping.

A book’s soul is found in its words, but the first impression is in its cover. And I am thrilled to tell you that the cover of my book is ready!

The cover design will be revealed in March—alongside something added: the title. Yes, Virginia, there is a title.

I have kept the cover and title hidden, waiting for just the right moment to introduce it to my readers. Unless, of course, my family can’t maintain the secret!

Until then, I want to bring you deeper into the world of the book. In the coming weeks, I’ll be sharing:

Exclusive Excerpts: sneak peeks at moments that didn’t exist in the first drafts but now feel essential.

An Ode to the Pigeons of Paris: because someone ought to write it, and it might as well be me.

The City That Breathes: a chapter that captures Paris in different moods, at dawn, at noon, and in the hush of midnight. Yes, readers, I was there, doing my research and braving the cold to experience midnight in Paris – but midnight is not in the title.

Cover and Title Reveal Day: where the book finally steps out of the shadows and into the light.

I can’t wait to share it with you.

With anticipation and gratitude, Martina.

Parisian food trends worth trying in 2025.

Parisian food trends worth trying in 2025.

Paris is a culinary capital and people are familiar with its traditional French food but there are many contemporary food trends worth trying if you are visiting Paris.

Organic wine: Wine is part of French culture, and a rising trend includes the new wave of natural, organic, and biodynamic wines in Paris. They are known as low-intervention wines, often unfiltered, and Parisians are trying these wines over mass produced ones. Cellars include La Hotte du Caviste, La Buvette, Septime La Cave, and Le Barav.

Gourmet croissants: Croissants are a staple food in Paris which boulangers (bakers) are taking to the next level – gourmet croissants. Experimenting with taste and texture, bakers are producing matcha-infused croissants, chocolate-hazelnut variations, and laminated dough layered with spices. Examples include Boulangerie Utopie and Du Pain et Idées.

Gourmet fast food: Parisian street food has evolved beyond crêpes, with a wave of gourmet fast food redefining casual dining, especially waffles, burgers, and Middle Eastern food platters. Eateries include Big Ferdinand, Blend, and Mokonuts.

Indulgent pastries: There are a variety of pastry ideas in the Paris patisseries, such as miniature desserts. Patisseries include Cedric Grolet, Tapisserie, and Le Meurice.

Vegan food: Plant-based bistros are on the rise, providing vegan and vegetarian food. Restaurants include Wild & The Moon, and 42 Degrés.

Classic bistro food: The classic bistro is a return to old-school, traditional Parisian “comfort” food with a modern twist, including locally sourced ingredients. Bistros include Bistrot Paul Bert and Le Bon Georges.

Creative teas: The café (coffee) culture is still in but tea is becoming the next big thing, especially creative infusions and curated teas. Matcha and chai have gained popularity and concept cafés are experimenting with herbal and green teas, as well as the reimagined black teas. Tea houses include Mariage Freres and Lily of the Valley.

Wine and cheese pairings: Paris sommeliers and cheesemongers are pairing wine and cheese in new and unexpected ways. Some examples are blue cheese with cider – or goat cheese and natural wines – or aged comté with sake. Try Fromagerie Quatrehomme and La Vache dans les Vignes.

Sustainable dining: Paris is moving towards sustainable dining which means low-waste or zero-waste dining – seasonal foods, nose-to-tail cooking, and encouraging reusable containers. Restaurants include Silo and Les Résistants. .

Traditional French fare should never be ignored – but if you’re in the mood for trying something different in the way of food trends, then Parisian food culture is as exciting as ever.

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Montparnasse Tower: Paris’s most controversial skyscraper.

Montparnasse Tower: Paris’s most controversial skyscraper.

The Tour Montparnasse – the Montparnasse Tower – is one of the most divisive landmarks in Paris. Rising 210 metres (689 feet) high, it was the city’s tallest building until 2022, when it was surpassed by the Tour Hekla in La Défense district.

When Paris sought to modernize in the 1960s, the Gare Montparnasse railway station was relocated, leaving a large area open for redevelopment. Architects Eugène Beaudouin, Urbain Cassan, and Louis Hoym de Marien designed the tower which was constructed over four years and completed in 1973.

It was envisioned as a “symbol of progress” but it was immediately met with strong criticism from both Parisians and visitors, nicknaming it La Verrue de Paris – The Wart of Paris – L’Erreur Montparnasse – The Montparnasse Mistake – and, most commonly, La Souche Noire– The Black Stump.

The criticism of the Montparnasse Tower is that its dark, monolithic facade clashes with Paris’s low-rise, classic architecture. People find it unappealing and “out of place” among the city’s elegant buildings. Additionally, the tower’s original windows had to be replaced due to leaks and insulation issues.

The backlash was so strong that, in 1977, the French government banned high-rise buildings in central Paris. This restriction remained in place until 2010, ensuring that no other skyscrapers would intrude on the city’s historic skyline.

However, not everyone dislikes it. Some tourists appreciate its modern contrast, and photographers often praise it for offering one of the best panoramic views of Paris. While the Eiffel Tower is a popular spot for city views, many people prefer the observation deck at Montparnasse Tower as it allows them to see the Eiffel Tower itself in the skyline, and they can’t see the black stump if they are in it! On a clear day, visitors can see up to 40 kilometres (25 miles) in every direction.

The tower houses offices, restaurants, and commercial spaces, making it an economic location for the Montparnasse district. It accommodates more than 5,000 workers daily. It is also home to one of Paris’s busiest train stations, the Gare Montparnasse, connecting Paris to western France – to Brittany, Normandy, and Bordeaux.

Tourists may not be aware that the Montparnasse Tower had the fastest elevators in Europe when it opened in 1973: They travel at 60 kilometres per hour (37 miles per hour), reaching the 56th floor in 38 seconds.

To improve its appearance, the tower underwent a €300 million renovation to add greener, more modern elements before the 2024 Paris Olympics.

People have a love-hate relationship with the Montparnasse Tower. Despite decades of criticism, it remains a visually prominent part of Paris, whether people love it or hate it. While architectural purists continue to despise its imposing silhouette, others appreciate its functionality and breathtaking city views. Either way, its story is a fascinating chapter in the ever-evolving cityscape of Paris.

NEW PARIS BOOK IN PROGRESS IN 2025: EMOTIONAL ARC – Blog  34

NEW PARIS BOOK IN PROGRESS IN 2025: EMOTIONAL ARC – Blog # 34.

An emotional arc is a character’s inner journey – how they go through change and grow by the end of the story. A novel’s strong emotional arc taps into universal emotions, like love, grief, regret, and hope as the character makes a transformation in life.

For example, in the new Paris book, a character may need to either make a decision to stay or leave, or is forced to by bureaucracy or a dilemma, such as Brexit or the pandemic. Or maybe Paris was a stopover while the character figured out what to do next. Whatever the scenario, the character should learn something emotionally and transform emotionally.

In either scenario, there should be a midpoint crisis – a choice or breaking point – or the character faces a major revelation. The character might be reluctant to change – what happens if, and when, the character resists change or resists “starting over.” What is the turning point – the resolution point, the point when action occurs?

The endpoint could then be an internal realization of something – such as what “home” means or reflecting on the transformative process or reaching a long sought after goal.

And that is the emotional arc – the term writers use.

For me, the word “arc” seems incongruous or misleading because emotions fluctuate and don’t move in simple, smooth, rainbow-like curve. The reason the process is called an emotional arc is because, over the course of the story, a character’s emotional journey tends to have an arc shape when mapped out.

Think of it not as a perfectly symmetrical curve but as a narrative shape that shows change over time. The term helps writers to “structure” emotional growth so that the character isn’t the same at the end of the story as they were at the beginning.

Really, emotional growth looks more like a winding mountain path, or a spikey heart monitor response, rather than a clean, upward curve. The key is that by the end, there is a clear transformation, even if the road was rocky.

I like to think of the emotional arc as a mountain climb, like a rocky, uneven adventure, sometimes exciting and sometimes scary due to falls, setbacks, back-tracks, good weather; bad weather, spurts of movement, and times of fatigue.

I like to think of the emotional arc as a river, sometimes flowing smoothly and sometimes turbulent, and maybe – like during the pandemic – still and perhaps even stagnant.

I like to think of the emotional arc as a spiral, with the character revisiting and repeating the same emotions, the same struggles, the same scenarios, seemingly getting nowhere but eventually cycling slowly upwards. Or like a tapestry, with threads of emotions weaving in and out of a character’s life, ultimately forming a recognizable pattern.

Ultimately though, emotional growth is non-linear, and rather than a perfect arc, it is a progressive transformation on a road with detours, regressions, dead ends, surprises, shocks, thickets, thorns, roses, and open fields.

An Interrupted Friendship – Modigliani and Zadkine on the cusp of artistic greatness in Paris

An Interrupted Friendship – Modigliani and Zadkine on the cusp of artistic greatness in Paris.

In Montparnasse, Paris, two extraordinary artists crossed paths in 1913: Amedeo Modigliani, the Italian painter and sculptor, and Ossip Zadkine, the Belarusian sculptor. Their meeting, although fleeting, was one of shared creativity that defined Paris at the dawn of modern art.

Paris in 1913 was a city in a period of artistic experimentation. Montparnasse was the epicenter, where creatives and visionaries met in cafés and restaurants, talking about the boundaries of art in form, colour, and structure. From Picasso experimenting with Cubism to Kandinsky experimenting with abstraction, the cafés and ateliers were like portals to new art movements. For impoverished artists who came to the city, Paris wasn’t just a place to live – it was a place for reinvention.

Amedeo Modigliani was already known in the Parisian art world for his portraits, while Ossip Zadkine had recently arrived in Paris, drawn by the allure of the avant-garde. A wood sculptor, Zadkine was experimenting with Cubism.

The precise circumstance of their meetings remains a mystery. Although their acquaintance was brief and history offers no definitive answers, their meeting in Paris shaped their artistic trajectories. Modigliani, who dabbled briefly in sculpture before returning to painting, was fascinated by Zadkine’s ability to breathe life into wood and stone. They probably discussed the tension between tradition and innovation, a theme that obsessed both men. Zadkine later recalled Modigliani as a man of paradoxes: “He spoke of art as though it were a divine calling, but he lived with the recklessness of one condemned.”

While they shared a devotion to capturing the human spirit, their approaches were worlds apart. Modigliani’s paintings, portraits with elongated necks and almond eyes, were vastly different to Zadkine’s sculptures that sought to transform the human figure into abstract and fragmenting forms to capture a sense of movement and vulnerability.

Amedeo Modigliani and Ossip Zadkine each dreamed of becoming sculptors and shared the “lean times” in Paris as Zadkine would write in his memoirs. In 1913, both artists were on the cusp of greatness but had not yet achieved recognition. Modigliani’s health was declining due to tuberculosis and Zadkine was quietly honing his craft in a small Montparnasse studio near the Luxembourg Gardens.

The First World War (1914-1918) interrupted this friendship, as brief as it was artistically fruitful. Modigliani abandoned sculpture for painting, on the advice of merchants. Zadkine signed up as a war-time stretcher-bearer in 1915, before being gassed and beginning a long convalescence. The two artists met again briefly after the war, before their paths diverged again. Modigliani enjoyed increasing success with his paintings, but he died prematurely in 1920 at the age of 35 of tuberculosis, while Zadkine began a long career as a sculptor.

Modigliani left behind a body of work that cemented his place in art history. Zadkine continued to innovate, becoming one of the 20th century’s most celebrated sculptors. His studio in Paris, now the Zadkine Museum (Musée Zadkine), remains a testament to his legacy. Zadkine would not forget Modigliani and would carefully preserve the portrait made by his former comrade to the point that “Modi” became one of the mythical figures of modern art.

The Zadkine Museum’s current exhibition – from 14 November 2024 to 30 March 2025 – called “Modigliani / Zadkine: A Friendship Interrupted” – is the first to focus on the artistic friendship of the painter Amedeo Modigliani (1884-1920) and sculptor Ossip Zadkine (1888-1967). Through nearly 90 works, paintings, drawings, sculptures, period documents, and photographs, the exhibition follows the intersecting paths of Modigliani and Zadkine, in the context of Montparnasse from the 1910s to the 1920s. Major institutions have loaned their works to the exhibition – the Centre Pompidou, Musée de l’Orangerie, Milan, Rouen and Dijon Museums, and private lenders.

The story of Amedeo Modigliani and Ossip Zadkine meeting in 1913 is more than a footnote in art history. It’s a reminder of Paris’s ability to bring together creative minds from around the globe, fostering connections that transcend time and geography. Their friendship demonstrates that even brief encounters can leave a lasting impact.

Available now in Paperback – The Paris Residences of James Joyce

Available now in paperback: The Paris Residences of James Joyce.

My 2020 book The Paris Residences of James Joyce has been released as a paperback. The hardcover, paperback, and ebook are available from Cambridge Scholars Publishing (CSP) in the UK, and a limited selection of Amazon websites.

The Paris Residences of James Joyce is about the apartments and hotels where Irish author James Joyce lived during his nineteen years in Paris, from 1920 to 1939. James Joyce (1882–1941), author of Dubliners (1914), A Portrait of the Artist as a Young Man (1916), Ulysses(1922), and Finnegans Wake (1939) never owned his own apartment, but moved in and out of residences in the heart of Paris.

The Paris Residences of James Joyce includes photographs of each of his homes, with an historical account of his life and the heady times of Paris, where intellectuals from around the world gathered in a cultural collection of cameraderie and competition.

Book Reviews:

“James Joyce, like many Irish people before him and after him, found in Paris the refuge they needed from the oppressive and repressive social and political atmosphere of Dublin. […] Frequently short of money, the Joyce family moved between hotels, apartments, and the guest rooms of friends. Martina Nicolls has now produced a handy topographical guide to no less than twenty-three Joyce addresses, all photographed by herself, and identified with Google maps. […]For although all readers will know about Hemingway, and probably most readers will know about Sylvia Beach, as with Ulysses and Finnegans Wake there is always something new to be learned, for the book notices a great many bit-part players, all of whom are listed in an appendix […] Written in jaunty prose, with many discursions, this book, hard-covered and modestly sized, should be profitably read between walks, perhaps in the Café Flore or the Jardin du Luxembourg (the Luxembourg Garden), as a prelude to deeper immersion in James Joyce, or Paris, or both.”
David Charles Rose
Author, Oscar Wilde’s Elegant Republic: Transformation, Dislocation and Fantasy in fin-de-siècle Paris

“Nicolls is to be congratulated on her energetic research in connection with each of the residences. The book includes a timeline showing the periods the family stayed at each address. Another table lists Joyce’s eye examinations and operations. […] If, like me, you enjoy viewing Paris through the places associated with James Joyce, Nicolls’s book is one to bring with you.”
Conor Fennell
Independent Scholar; James Joyce Quarterly, 59.3, 2022

Author, A Little Circle of Kindred Minds: Joyce in Paris

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NEW PARIS BOOK IN PROGRESS IN 2025: ON A ROLL – Blog  33

NEW PARIS BOOK IN PROGRESS IN 2025: ON A ROLL – Blog # 33.

The phrase “on a roll” sounds like a period of sustained writing – the momentum to keep going or a time of high productivity. In the realm of creativity, it sounds like the moments when inspiration flows effortlessly, when everything seems to “click” – writing in the right place, with the right idea, and at the right time. I’m on a creative roll.

The phrase likely originates from dice games, where a roll refers to a single throw of the dice. A player who is “on a roll” would be experiencing a streak of positive outcomes, continuously rolling a winner after a winner. The phrase carries a sense of riding a wave of luck or fortune.

Creativity is often described as unpredictable, much like the roll of dice. Being “on a roll” suggests a convergence, the alignment, of factors that foster creative productivity, including ideas, focus, inspiration, and external circumstances – ideas tumbling out effortlessly – striking that elusive balance between preparation and spontaneity.

But, with dice, comes the image of gambling, underscoring the idea of chance and, of course, of risk. Much like rolling dice, creativity involves risk-taking – trying new ideas, experimenting with unknown methods, or embracing unconventional paths. Being “on a roll” doesn’t just mean productivity and success but also the impetus to keep rolling even when the outcome is uncertain. It’s about maintaining momentum through the unpredictability of the process.

Where does this momentum come from? For me, the end-of-year vacation gave me the rest and the subsequent energy to burst from the writing block. Second, the “flow state” – of being immersed and focused – came from the flood of new ideas, stemming from what I had just read or heard or the song I had just listened to.

But, over time, “on a roll” implies a short-term streak of productivity rather than a prolonged state. These “rolls” might last hours, days, or weeks, but they are finite.

“On a roll” perfectly encapsulates the highs of creativity: those rare moments when inspiration seems endless, progress feels effortless, and everything aligns. The streak might be short-lived, but its impact can be profound if harnessed wisely.

Classic French cars at the Reims-Champagne Automobile Museum.

Classic French cars at the Reims-Champagne Automobile Museum

Classic French cars at the Reims-Champagne Automobile Museum.

The Reims-Champagne Automobile Museum is a must-visit destination for anyone with an appreciation for cars, motorcycles, and the evolution of transportation – mainly French cars, but also British, American, Italian, and German.

The museum was established in 1985. Philippe Charbonneaux collected cars dating from 1903 to the present day. It has five collections: automobiles, motorcycles and two-wheelers, pedal cars, miniature toys, and enamel plaques. Housed in a large industrial-style space, with over 230 vehicles, the museum has grown to become one of the most significant automotive collections in France.

Almost all vehicles on display have a plague detailing their make, model, and interesting facts. My favourite French cars of distinction at the Museum include the following: