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The article analyzes what is defined by the portrayal of the capital of France in the Russian prose of the last decades. Based on the works in the field of urban semiotics, the poetics of space, intertextual analysis etc., and using the historic-literary method of research, the author concludes that while in the past, the authors of the metropo- lis drew from the Parisian myth, nowadays they express what is grounded in their own personal experience. In Y.Poliakov’s novel The Paris Love of Kostia Gumankov, a myth about Paris serves the purpose of showing a contrast and satirical depiction of life in the U.S.S.R.; the Parisian text is toned down, the characters’ path around the city is limited to the tourist routes and shops. In R.Senchin’s The Rain in Paris, the myth city is presented by “cultural images”; movements around the city depict the flo- uncing of a protagonist, and the city is shown as a way out of an existential dead end. In A.Kurkov’s The Schengen Zone, all places in the city are mentioned in conjunction with the work and life of the immigrants, where the elevated turns into clownery, and a myth about Paris is debunked altogether.