Fans pick 100 books like Village in the Vaucluse

Break of Day is a uniquely beautiful book, short and elegant. It's about the solace Colette's house and garden in the South of France provided her after a broken marriage. No truer book has been written about that part of France, and how that land can ravish a visitor. I thought of it often when I was writing my own book. Colette had a house in the hills above St.-Tropez, and she writes about gardening, the movements of the day, her animals, the people who come and go, and the delicious, sensual tastes of that part of the world. Break of Day is also an elegy to the memory of her mother, whose strength guides the writer through her exquisite melancholy. Colette writes with a pen dipped in sun, oil, sweat, and salt. 

No one wrote about the South of France with more affection and understanding than Marcel Pagnol. He was a novelist, playwright, director, and memoirist. Pagnol’s family had a small house in the hills near Marseille where they spent summers. His book, My Father’s Glory, is about those months Pagnol spent there as a child and about his family, mostly his father. (The companion book, My Mother’s Castle, concerns his mother more.) The story of his aunt’s sweet, delicate courtship with his eventual uncle is worth reading the book alone. If you’re like me, you will come away from reading this book wishing you’d been part of Pagnol’s kind and joyous family and his life in this little corner of France. The good news is that with this book, you very nearly are.

M.F.K. Fisher was not only one of our greatest food writers, she was one of our greatest writers, period. Fisher lived for long periods in France, and the result of two of these sojourns is Two Towns in Provence, which is about Marseille and Aix-en-Provence. These two iconic towns are a mere forty miles apart in distance but worlds apart in temperament, character, and spirit. Fisher captures both of their personalities with her exquisite prose, guided by her sympathy and love for these cities and their people. She is especially wonderful at capturing Marseille, a city that has been called mysterious, even unknowable. You cannot have a better guide to two of France’s most renowned and remarkable cities.

Most everyone knows Vincent van Gogh spent time in the South of France. Most of us know he was a tortured soul and that he spent time in an asylum in Saint Rémy. And most of us know his wonderful painting, The Starry Night, which was painted in Saint Rémy. Since so much of the exquisite joy of the South of France is visual, who better to represent that visual beauty than Vincent van Gogh, one of the greatest painters to ever put brush to canvas? But what you may not know is that Vincent was one of our greatest letter writers as well. He wrote many to his brother, Theo, and reading these letters you cannot help but see Provence through Van Gogh’s remarkable eyes.   

Provence has inspired hundreds of books, but Lawrence Durrell captures better than most what he calls its 'real nature'. His book is both personal response (he lived for many years at Sommières, north of Nimes) and historical reflection, particularly on the Roman legacy – a legacy that includes wine and olive oil, perennial staples of the Provençal table. Although Caesar occupied the whole of France, nowhere is the Roman imprint more omnipresent than in Provence; living near Carpentras, we daily dreamed of finding our fortune in an ancient Roman coin, shining through the dust of a lonely track. Durrell's language is poetic, his imagery evocative: the 'Socratic austerity' of a game of boules, the 'felicity and eloquence' of Provençal skies. As a companion to Provence, Durrell is my pick.

Finally, a food book. But more than that, Mediterranean Seafood recounts a personal journey, as Alan Davidson learned to identify the diversity of Mediterranean catches and how best to use each species. It was an invaluable guide on my visits to the market at Sète, and as I pored over the displays I listened to conversations between sellers and buyers, exchanges of gossip and cooking tips, and marvelled at the ingenuity of these Mediterranean women in accommodating seafood in so many different ways when my palate knew only fried or grilled. Part catalogue and part cookbook, it combines the best of both. If only eighteenth-century travellers had the benefit of such a guide, they might have been more daring in their eating. 

In December 1970, a group of acclaimed American culinary experts met in Provence, where Julia Child had a holiday house, planning to celebrate Christmas together. Joining them were food writer Richard Olney and novelists Sybille Bedford and Eda Lord, all living relatively close. Barr, Fisher's grandnephew relies on her journal and letters to recreate their sumptuous tables in delectable detail. Alas, hopes for a joyous gathering of friends soured as egos clashed and petty rivalries intervened; MFK left abruptly and spent Christmas alone in Avignon. What interests me is how these authorities on French cuisine engaged with the French, the relationship between the 'French' cooking they portrayed and the food of the French, and their response to the changes creeping into France post-1968.

Of that group of 1970 expats, only Richard Olney made France his home. Settling in Provence, he enjoyed Lulu's legendary hospitality at the Peyraud family vineyard Domaine Tempier, at nearby Bandol, and spent many hours in her kitchen recording her recipes and culinary tips ('lots of garlic'). To me, Lulu's recipes represent the heart and soul of gastronomic Provence, with direct lineage to the eighteenth and nineteenth centuries, such as her Daube à la Provençale with its obligatory accompaniment of macaroni. Essentially simple, her cuisine revels in the robust accents of anchovies and garlic, thyme and savory as it celebrates seasonal and local—if not quite so local as her own backyard, like our landlady on the cherry orchard near Carpentras. 

A bit of a cheat, this one. It’s probably my favourite French novel, precisely because it is timeless and seems to ignore everything about French history. I don’t think there’s one mention or symptom of the Revolution, no scar of the First World War, no French over-intellectualizing. It’s just nature and humankind going head-to-head in a brutally realistic, but starkly beautiful, Provençal landscape. By the way, I don’t like the English title – Regain means regrowth, the first signs of recovery. Personally, I’d prefer a title like Signs of Life. And this novel is all about a tiny hamlet in southern France that is on the verge of death. Only one man of working age remains amongst the ruined houses; the fields are fallow; there are no women. Then a tinker comes through, dragging his unwilling, abused femme with him. She catches the lone male peasant’s eye, cosmic chemistry occurs,… show more.

I read this book long before Annie Ernaux was awarded the Nobel Prize. It was the first of her books that I read, and I was so seized by her style of narration that I proceeded to read with devotion everything she had written.

In one of the early pages of this book, Ernaux declares that in writing about her father, she didn’t want falsity or an overblown style, no artsy attempt to produce something “’ moving’ or ‘gripping.’” The style she followed was true to the life she was describing as a working-class man with minimum education. Here is a book that pays tribute to life but also enacts a credo for what Ernaux calls a “neutral way of writing”: “no lyrical reminiscences, no triumphant displays of irony.”