story of a recipe

 

Once upon a time there was a folk dance group that required its female dancers to wear a dirdnl’ish costume with a corset over a cotton blouse and sometimes real, sometimes fake, carnations stuffed down the front of said corset. This effectively rendered the girls dancing flower pots. Boy dancers were encouraged to ‘smell’ the carnations while the girl dancers twirled coquettishly from one to the other. When they weren’t sniffing carnations, the boys danced ‘figure’ dances, pretending to chop wood or other acts of physical prowess meant to attract the hapless flower pots.

I was a member of such a folk dance group.

For the record, it wasn’t my idea to join. I was fourteen and shy and my parents thought it would be just the ticket to bring me out of my shell.

I suppose in a way it did. It was also where I learned to drink beer.

And it’s where I met Laura, from whom I received the recipe mentioned in the title. Laura wisely left both the dance group and town at the first opportunity, stuffing everything she owned into a small car and driving west until she got to Calgary.

A few years later I followed. Not to Calgary, but to Edmonton. Close enough. Only 300 km away, it made Alberta a place where I knew someone. We’d visit each other on occasional weekends, mostly me going to her place, the main floor of a big old ramshackle house with no yard but access to a back stoop, room enough for a Hibachi.

The kitchen smelled of meatloaf, coffee and Joy dishwashing liquid.

Laura was the first person I knew (my age) who not only liked to cook but talked about food, grew herbs on windowsills, owned actual cookbooks and shopped for food with all kinds of serious enthusiasm. Even more amazingly to me, almost ten out ten times she preferred inviting people to her place for a meal over meeting at a restaurant. She was interesting in different ways (she once moved into an apartment with a bright red fridge and spaghetti on the ceiling; beyond enviable when the rest of us were still living in bungalows) but this cooking thing struck me as a little over-the-top… remember, this was eons ago, when food as a ‘thing’ hadn’t been invented yet. When only five people in the whole world read Gourmet.

In that ramshackle Calgary kitchen Laura served me my first Caesar salad, and I remember thinking it was pretty groovy that she made the dressing by throwing ingredients into a jar and shaking it like maracas.

I came across the recipe recently—the original paper version I wrote out while she dictated precise instructuions all those decades ago. More than slightly splattered and used (though not for some time now as I’ve since discovered other recipes. Julia Child’s and Ina Garten’s, for two).

But they don’t come with a story.

(Actually, the Julia Child one does… it can be found in the book From Julia Child’s Kitchen — a tradition in this house is to have someone read the passage while someone else makes the salad…)

But that’s another story entirely.

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(All recipes with stories welcome. In fact that would be exceedingly groovy…)

 

in this tiny space was everything

 

Years ago I lived in a tiny furnished apartment on the second floor of an old Toronto house — and in this tiny space was everything I needed.

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A single closet the size of a phone booth in which I managed to hang all my clothes and all my coats, as well as store my shoes and winter boots.

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A bathroom in the hall, shared with the woman in the apartment next door.
I heard her come and go but we never once, in all the time I lived there, met face to face.

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At the end of the street, a fruit and veggie monger. In winter I would sometimes buy expensive tomatoes from some faraway place where tomatoes were grown to be luscious. I ate them with basil and listened to Joan Armatrading and Van Morrison and had a white cat and a bedroom made almost entirely of windows.

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I once called a friend to come and eat tomatoes and basil with me and she came, expecting, I think, a whole lunch but it was just those perfect tomatoes.

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Basil.

Oil and salt.

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Joan Armatrading, and Van.

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And it was enough.

 

 

gone fishin’

Please don’t tell me this season of light isn’t filled with magic…

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How else to explain finding a perfect piece of beach glass in the dark?

The very best to all for love, laughter, and time to breathe…

See you in the new year.

this is not a review: ‘what we see when we read’, by peter mendelsund

That I can’t decide if I like this book best for its visuals or its text is, I think, a big part of the point. After all, the author is associate art director at Alfred A. Knopf, whose designs (according to his bio) have been described… “as being the most instantly recognizable and iconic book covers in contemporary fiction.”

It makes sense then that What We See When We Read  comes across as a crafted, multi-sensory experience.What+We+See+When+We+Read

The subject matter is ‘narrative’… both from a reading and a having-been-written perspective—how narrative is displayed, how it enters our eyes and our minds, what stays with us and why; what we look for, what we find, what we can expect from the writer, and what’s down to the reader.

The paragraphs are bite-sized and pages often contain acres of white space (or, alternatively, are almost entirely black), with only a few bullet points or a single word.

The style is ‘essay-in-fragments mixed with graphics mixed with illustrations mixed with photos, mixed with something like the memoir of a passionate reader’. (May I add that pages have a wonderful satiny feel, serving as a reminder that the physical experience is part of reading.)

In about the middle of the book (pp. 152/53) all is black, and in tiny white print, in an arch from bottom left to bottom right, this quote from Italo Calvino’s Invisible Cites:

“Marco Polo describes a bridge, stone by stone. ‘But which is the stone that supports the bridge?’ Kublai Kahn asks. ‘The bridge is not supported by one stone or another,’ Marco Polo answers, ‘but by the line of the arch that they form.’”

Mendelsund’s use of a visual arch, with reference to an actual arch, to show the theory of narrative arc… is typical of how this book is constructed: he not only explains how we read and what we see while we do it, but he has us walking through the experience at the same time. An obvious move of course, but it takes a minute to realize exactly how it all works and to just relax with it.

In places the book feels almost chatty, as when the author shares his distaste for elaborate descriptions, which he sees as nothing more than ‘misdirection’… “They seem to tell us something specific and meaningful (about a character, a setting, the world itself), but perhaps such description delights in inverse proportion to what it reveals.”

While both aspects of What We See When We Read are equal and both can be seen as simplistic or as layered as you like, I found myself becoming frustrated with the choice, as if I was being asked to read/experience two different books. This may be part of the overall plan to illustrate the reading/visual experience but I find it a tad too much of a muchness, a few too many graphics and ‘design’ elements that begin to have the opposite effect of what they’re intended for—they become less illustrative and more overload of the same multi-senses (which then begin to tune out simultaneously). For that reason best consumed, perhaps, by dipping into now and again, enjoying bits at a time instead of reading straight through.

Bottom line: despite its pleasures, at 417 pages, it feels a little over-done.

That aside, I can see this as a good book club choice. In which case, some knowledge of Anna Karenina and a few other classics would be helpful (various narrative devices are highlighted with examples from a number of books you thought you’d read but actually never have). Helpful but not necessary.

In fact, a book club might be the ideal way to savour it. Whereas the pleasure of some books is not enhanced through sharing, especially with people who see it very differently (read: one person’s exhileration is another person’s sleeping pill), What We See When We Read purports to be neither; it simply wants to be seen and discussed by as many and varying perspectives as possible. And if not everyone reads the whole thing, it matters not one whit. The whole thing can still be discussed, and enjoyment multiplied.

Because, you see, it’s not exactly a book, it’s merely about them. And therefore about us too.

Purchase What We See When We Read, online, from Blue Heron Books.

an open letter to tiffany & co.

 

Dear Tiffany & Co.

The full-page ad in my weekend newspaper, a sketched illustration, has me wondering about your sensibilities… Lovely are the ad’s colours, and the sentiments of giving exquisite gifts in small blue boxes, well, I’m sure it’s never an unpleasant box to receive. But heavens to betsy, your sense of proportion is perhaps a little off.

Here’s the scene as I see it: a woman is decked out in a body-hugging satin dress, a slip of a dress, that threatens to fall off at any moment, while she climbs a step-ladder in five-inch heels to add a bauble to the xmas tree. A fully-dressed man stands and watches, holding behind his back a little blue box, presumably for the satin-bedecked woman as a reward. For what? For decorating the tree? For being able to function in five-inch heels? For choosing a slinky dress that refuses to stay on?

It doesn’t much matter. And this isn’t the issue anyway. (I have every confidence there are as many Tiffany & Co. ads where it’s the guy in tight clothing, arranging baubles from a tippy-toe position atop a ladder while a chick stands there waiting to present him with a little sparkly something or other. Right??)

In any case, this isn’t the issue. It’s the size of these people. He is exceedingly tall, a handsome near-giant who could simply raise one arm and hang the stupid bauble himself from where he stands. She, on the other hand, is oddly small by comparison. Remove the heels and the ladder and you have an oh-so-delicate creature… in a slinky dress that’s about to fall off.

And so I wonder: why???

Not why can’t she buy her own jewellery, or why do we need to see the shape of her buttocks and thighs and bosom through that dress, or even how is she managing to balance on that ladder in those shoes… but why do the chaps in ads never get to star in the honoured role of small and delicate creature?

Some women are tall. Some men are not.

All the best to you, and happy holidays.
May each of your baubles be hung with joy.

love,
Matilda.
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Thanks to WikiCommons for the snaps.

five frivolous minutes over cheese al fresco, with ‘mo’ — age 65

 

I’ve known ‘mo’ since the 80’s when we were both working in various ends of marketing at a big ugly corporation. More importantly, we used to have lunch together. She with the perfectly made sandwiches carried in properly sized Tupperware made for exactly that purpose; beautifully wrapped and sliced fruit; an exquisite wedge of cheese. My lunch, on the other hand, amounted to a few slices of salami and unbuttered rye bread crammed into an old sour cream container as I flew out the door in the morning… to be unfolded and assembled later. Sometimes a going black banana. She found all this amusing.

I lived in Toronto then, the magnificent centre of the universe, and she didn’t, which I found both odd and amusing. She lived in a town, you see. A town with county carnivals and music in the park on Wednesday evenings. Bring a chair and bug spray, that kind of thing. Or so I gathered from the stories she told. I’d never been there. I lived in Toronto, remember… who needs to go anywhere else?

On Monday mornings I’d ask about village parades and swatting flies on the porch. I was young and cheeky. (And—because it can never be stated often enough—I lived in Toronto.) Eventually, we went our separate ways, she to work in publishing and me, I moved around a lot… jobs, apartments, cities, continents. But we never lost touch. And this was well before the internets made keeping in touch easy as pie.

Eventually the small town got too big for ‘mo’ and she moved to an even smaller place. And me, well, as it turned out, I eventually moved to the very same hicksville town ‘mo’ used to live in, the one with the flies and the porches and the parades.

Tell me that’s not amusing.

—A few things I know about ‘mo’: she doesn’t like to go barefoot, she’s been a vegetarian since childhood, and I’m pretty sure she still makes a precisely sliced lunch.

**

How long could you go without talking? All day.

Do you prefer silence or noise? Silence.

How many pairs of shoes do you own? Five.

If you won the lottery? Help those who need it, but without adversely changing their lives.

One law you’d make? Disrespect would be illegal.

Unusual talent? Pitman Shorthand. (which is properly done with a pencil, not a pen)

What do you like to cook? I don’t.

Have you or would you ever bungee jump? No. And no.

What’s the most dare-devilish thing you’ve done? Crossing a rope bridge in British Columbia. No idea why I did it. And the worst part was I had to come back the same way.

Do you like surprise parties, practical jokes? Somewhat.

Favourite time of day? Early morning. No. Mid-afternoon.

What tree would you be? A weeping willow; they’re quiet and I love those swaying branches.

Best present ever received? A brand new Remington Rand typewriter when I was sixteen.

What do you like on your toast? Butter.

The last thing you drew a picture of? I doodle all the time but I don’t draw. So, a doodle.

Last thing written in ink? Shopping list.

Favourite childhood meal? Egg and chips.

What [past] age is your favourite? My twenties.

Would you go back if you could? Yes.

Best invention? The wheel.

Describe your childhood bedroom. It was small, a box room they were called, with a bed against the wall. My dad made a side cupboard for toys and a corner cupboard. I begged him for a drawer in the corner cupboard, which I realize now would have been tricky to make, but he did it.

Describe your childhood kitchen.  It had a bay window; the sink and small work space overlooked the large garden. There was a tiled window ledge all around the inside of the bay window. There sat the soap dish, metal and in two parts, the water from the soap would drain into the bottom half. I loved giving it a good clean!

We had fitted cupboards–Dad made those. He also installed extra work surfaces where he could. The stove was in a corner all on its own, bit of a pain really because there wasn’t a work surface nearby.

The back door off the kitchen led to the side of the house, it was always open when cooking cabbage or chips,  and made the house very cold. The pantry led off the kitchen and had a cold stone, Dad fitted a lovely glass door on it.

There was a little barrel with a lid tucked away into a corner, I loved that as a child, sitting on it, or putting things inside.

We had a washing machine.

I don’t remember the colour of the walls, but the floor was a rusty mottled linoleum.

The cookies were kept in a biscuit barrel on the bay window ledge in the living/dining room. All the windows in our house were bay. Made for much bigger feeling rooms.

Afraid of spiders? Not afraid, but don’t like them. Wouldn’t kill one though.

Phobias? Heights.

Least favourite teacher and why? Mrs. Jenshaw, she taught English and was very strict and I was scared of her more than anything. As a teacher she was actually very good; I learned a lot from her.

Favourite children’s story? The Famous Five series, by Enid Blyton.

Ideal picnic ingredients? Soft rolls, egg salad, grapes, fresh fruit, potato chips, juice.

Is Barbie a negative role model? Yes.

Best thing about Canada? Standard of living.

Best thing about people in general? I’ve got no time for people, give me animals.

What flavour would you be? Cherry.

What colour? White.

What would you come back as? A cat.

Favourite saying: Give over!

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—the frivolous five is a series of non-essential questions and answers