Category Archives: Food and Drink

I cook everyday, but for some reason, blog about cooking only once in a blue moon.

Eating a tomato

I wake at 2:00 a.m. with a bad taste in my mouth, and I think I know what it is: it’s me. That slightly metallic taste of ego. It mingles with last night’s eggplant curry, which was a culinary disaster. I have been cooking too quickly, eating too quickly, I have been much too quick to speak my mind. Why such haste? It’s as if we’re shrews or blind moles, daydreaming about slowness and enlightenment in between our frantic gropes and gulps. Fortunately, I have a very forgiving digestive system – but perhaps it would be better if I didn’t. It might force me to slow the hell down.

I remember as a child how I pictured my insides: a great, dark cavern below the heart and the gracefully flapping lungs. The throat ends in a sort of chute, out of which food and drink drizzle or plop into the swamp below. I don’t know when or how this image originally took shape in my imagination, but I remember clinging to it in a half-unconscious sort of way well into my teenage years. The fact that it was incompatible with what I had learned about human anatomy in school was not in itself enough to banish it; I had to bring it to the surface of my consciousness and reason it away, just as I had driven out ghosts and under-the-bed monsters years before.

Now I wonder if we don’t dishonor and diminish the imagination to enslave it to our daytime egos in such a manner. In a conversation last night before bed, my linguist brother reminded me that the root meaning of “tantra” is “trick.” The idea that there might be educational value in training our minds in conscious self-deception, though fundamental to vernacular religious traditions the world over, seems almost incomprehensible to those of us accustomed to thinking of the mind as an innocent mirror. The religions of the powerful – the traditions whose central focus has become the perpetuation of power – school us in reduction, in the wonder-sucking necromancy of algebra. Something either is or it isn’t, Parmenides intones. Do good and eschew evil, the sacred texts say, making stern necessity out of virtue.

In my freshman year of college, I plowed through a lengthy tome on Daoist cosmology that simultaneously attracted and repelled me. It devoted many chapters to detailing the Daoist microcosm of the body circa the first millenium A.D., and I remember being fascinated by the notion of such an elaborate system of visualizations based on nothing but idealistic desire. I mean, it’s not as if the ancient Chinese didn’t have good models for the way the body worked. The relative effectiveness of technologies such as Chinese herbal medicine, acupuncture, taiqi and martial arts – all ultimately derived from the same stream of popular religion that spawned Daoist microcosmology – surely testify to the power of the trained imagination, I thought. But I found the focus on physical immortality very off-putting, perhaps because it clashed with my own, Western tendency to devalue the concrete in favor of the abstract.

In any case, it was hard not to be charmed by the culinary route to immortality advocated by popular Daoism: one first eliminates meat, then grains, then vegetables, then finally even liquids until one learns to subsist on nothing but air. Though this might sound like a recipe for anorexia, it’s hard to see how it could lead to that in practice, given the Daoist emphasis on corporeality. Isn’t anorexia nervosa pretty much a Western disease, deriving from our endemic devaluation of the body and the earth? Daoism simply promotes the endearingly goofy idea that the air itself has nutritive value, if only we were sensitive enough to appreciate it. I suspect that the real effect of a Daoist diet would be to train one in greater attention to the sensual qualities of everything one ingests, and in learning to distinguish what the body really wants from what the grasping ego thinks it wants. And lately I’ve been hearing about new research by Western nutritionists suggesting that regular fasts might indeed form a vital part of a healthy diet.

It seemed to me then and still seems to me now a kind of blasphemy against life to try and prolong it indefinitely, but isn’t that what all the world religions are about – abolishing death? Or am I being unfairly reductionist to issue such a sweeping indictment? I do like the teachings about purifying or spiritualizing consumption that are near the center of so many traditions: the Christian communion, the Jewish Pesach, the North American rituals of inhalation – smoke of tobacco, cedar, sage.

I sleep late, break my nightly fast with coffee as usual. Sitting in the sun on my front porch, I think of Vicente Aleixandre’s poem about the old man slowly nibbled away by sunlight. My maternal grandfather attained that level of sweetness in his old age, I believe, though through some cruel trick of fate his death was preceded by several days of agony. I remember last night’s news about the death of my friend Tom’s indomitable mother-in-law: she died peacefully at home, he said, ending her life with a sigh.

I shut my notebook and walk around the house, figuring on putting off eating for a couple more hours at least, but then I spot a ripe cherry tomato on one of the volunteer vines twining through the butterfly bush. To me, a cherry or grape tomato has the perfect proportion of firm flesh to juice. This one’s skin is encased in a thin film of dew, and for the fraction of a second before my teeth close around it, my mouth fills with the pungent, feral redolence common to all the Solanaceae, from jimsonweed to belladonna. Then its blood-colored mucilage mingles with my saliva: such acid sweetness! Grace isn’t something you say, I think, it’s just what happens. And here’s another one. Oh taste and see.

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Close

After one day with low humidity (Wednesday), it’s back to being almost unbearably close & sticky. Even thinking seems too great an effort. Frustrated, I lean back in my chair & turn my head upside-down, gazing at the ceiling until floor & ceiling trade places. How clean & uncluttered the house suddenly appears!

Outside in my garden, a monarch glides in & lands on the butterfly weed, orange rhyming with orange. After a few minutes it lifts off & lands on the budleia’s purple torch. Stained glass wings sail rather than flutter. Thanks to its larval nursing on milkweed poisons, the monarch is able to save for transcontinental journeys the energy it would otherwise have to expend on chaos – the typical butterfly strategy for evading capture.

Up at my parents’ house, a red-spotted purple clings to the kitchen screen door handle, dusting the knob for thumbprints. Its wings are tattered & faded, with three large holes torn out of the bottom edges. I picture the phoebe diving for the dark abdomen & coming up with a beak full of dry leaves. Close, but no cigar.

I’m peeling my first ripe peach of the season. The stem gone, I can see into the center where the halves of the pit have pulled apart. I hold it up to the light. It glows like the sun’s own chapel, golden yellow. But as I cut the flesh away, a mound of mold appears in each hemisphere of the pit, in size & color identical to the clumps of dust that gather in the backs of closets & under the bed.

As I walk back down to the other house, I think: closeness is something that alternately attracts and repels. Here the cockleburs, there the tear-thumb; here beggar ticks, there raspberry canes. I duck my head to dodge a wasp, swipe ineffectually at a mosquito.

Back at my writing table, I stare at the ceiling some more. This is like doing the back stroke – the only style of swimming I enjoy. Once or twice each summer it’s fun to go to some little lake in the mountains & bare my fishbelly-pale skin to the too-close sun, ears under the waterline, kicking & sculling just enough to stay afloat. It’s so quiet under the water. And the sky looks more & more like another, fully inhabitable world, so clean & uncluttered.

The peach was delicious.

Posted in Food and Drink, Greatest Hits, Poems & poem-like things, Riffs, The via negativa | 1 Comment

Creature

I used to work with this guy named Creature. I guess it’s been about twelve or thirteen years ago now. Creature was a large biker (ex-Pagans) and Vietnam vet who walked with a limp and sported a big black moustache and an unruly mop of hair. He ran the kitchen of a fairly high-class restaurant where I was hired to do prep work. Like most bikers I’ve met, he was a good storyteller with a very dark sense of humor. He rarely raised his voice, even when things got crazy – as they did almost every night in that cramped kitchen with a permanently broken dishwasher and an almost comically snooty female maitre-d’.

I remember Creature’s three-minute lecture on self-defense, prompted I think by disgust at my professed pacifism and my ignorance of all things violent and manly.

“First, do not go for the balls. You never know if a guy still has anything down there – a lot of real assholes don’t, they got ‘em shot off or blown up in Vietnam and they’ve been trying hard to make up for it ever since. You kick ‘em down there and you only piss ‘em off.

“No. Here’s what you go for: bridge of nose, throat, knees. The first is the easiest, ’cause you can break a guy’s nose just with a head-butt. Nothing is more painful or debilitating. Just grab him by the shoulders, pull him toward you, and slam down on his nose with your forehead, like this.” He demonstrates with me, except for the actual butting. We were taking a smoke break on the back steps.

“Just remember Quiet Riot – ‘Bang Your Head.’ Might be tricky if you got glasses on, though, ’cause they’ll go flyin’.

“Number two: throat. If you have to strike a blow, make it count. This is what you do if you really want to take someone out. You can kill someone that way, though, so be careful.

“Third, knees – a kick from the side or from behind, straight to the body’s weakest link. Then when they’re down, kick ‘em again – anywhere you think it’s gonna hurt.

“If you feel like you shouldn’t kick someone when they’re down, you shouldn’t be fighting at all. There is nothing pleasant or gentlemanly about fighting; it’s a nasty business. There are no fucking rules of war. You know that. You say you don’t believe in violence; I respect that. But if somebody’s raping your mother, you’re not going to just stand there, are you?

“I always tell people: never start a fight. Never put yourself in the position of having to start a fight. And if someone forces it on you, make sure you tell ‘em how much this bothers you. After you break the guy’s nose, or whatever, be sure to say as loud as you can, ‘I really, really, really hate to fight.’ If he has any buddies who might be thinking of helping him out, that always makes a real good impression.”

Creature wasn’t shy about discussing his American Indian ancestry or his criminal record. “When I was your age, man, I was in and out of jail for burglary, and when they finally got me for armed robbery, the judge gave me a choice: get a degree in advanced anal engineering at State Penn, or go to Vietnam. There was no Door #3 – I checked.

“So that’s how I ended up going to Vietnam, a grunt with a gun on a mission to kill Indians whose major crime was resisting being rounded up and herded onto reservations. And kill I did. Kill kill kill. Did it make a man out of me? No. It simply made me much more determined never to have anything more to do with assholes in uniforms. I don’t care if you’re a Pennsylvania state trooper or an army sergeant, if you’re wearin’ black pajamas or black robes. Something about a uniform immediately turns whoever wears it into an asshole.”

One of the punks I used to hang with saw me wave to Creature across the street one time and was aghast. “You know that guy?”

“Yeah. Why?”

“That’s the guy who came to our house when we fell ‘way behind in rent. We had let the phone bill slide, too, so the landlord couldn’t get a hold of us. But rather than stop by to talk things over, he sends a goon. That guy. He just walks in the front door one day, no knock, doesn’t say a word. Just limps in and sits down in the middle of the room, folds his arms across his chest, and sits there.”

“Didn’t you go, like, ‘Yo, who the fuck are you?’”

“No, I guess we were too surprised and scared by the whole thing. And the phone didn’t work, so it’s not like we could’ve called the police. He just sat there for like half an hour —- well, I don’t know how long it was, but it seemed like a real long time — looking at me, looking at my housemates as we walked in and out of the room trying to act all casual and shit. It was like having a bomb in the middle of the room, and you don’t know if or when it’s gonna go off. He finally got up and left. Never said a word.”

“Did you pay the rent?”

“No, but we all moved out a few days later. We didn’t want anything more to do with that landlord.”

I lost touch with Creature after I got fired. (My crime: attempting to make a meatless soup.) One of his nephews by a previous marriage was a good friend of mine, and he kept me informed of Creature’s exploits — which remained fairly tame, at least on the surface. He was just a genial, law-abiding guy who ran a good kitchen and whipped up a mean roux. And no, I don’t know how he got that nickname. I was always afraid to ask.

Posted in Food and Drink, Greatest Hits, Memoir | 1 Comment

Drinking alone beneath the moon

by Li Bai
(a.k.a. Li Po, 701-762)

Yi hu jiu

I.

In the middle of the flowering grove, one jug of beer.
Drinking alone – no friends or family near -
I raise my cup, invite the moon to join me.
Counting my shadow, we’re a party of three.

But moon’s a lightweight, doesn’t know how to drink,
And shadow simply matches me cup for cup.
For now, though, they’ll do just fine, I think.
Spring is here, my friends! Let’s live it up.

I start to sing; the moon sways to and fro.
I get up and dance – shadow reels in disarray.
Sober, we crave the company of some jolly fellow;
Drunk, each goes his separate way.

Freed of all ties, yet bound forever more,
Let’s get back together on the galaxy’s far shore.

2.

Come April, and the village of Xianyang lies deep in fallen blossoms. Who can bear to be alone with sorrow in the spring? Who can gaze on such sights as these and stay sober? The unseen Maker rolls his dice: for you, wealth and a long life; poverty for you, and a life cut short. But one mug of beer can balance life and death, even out a thousand things that confound the intellect. Drunk, I lose track of heaven and earth, sitting alone on my mat, unmoving, unmovable. I end by forgetting that I ever existed at all: pure joy, then, for the no-one left behind!

3.

If Heaven above be not besotted with beer,
why should a Beer Star appear in heaven?

If Earth, too, be not a tippler,
why do we find a Beer Springs on earth?

With beer thus beloved above and below,
drinking beer can hardly be against nature.

I’ve heard a clear brew likened to a sage,
while the slang term for a cloudy beer is saint.

Since I’ve drunk deep of saints and sages,
what need have I to search for spirit guides?

Three cups, and the Great Way lies open;
a gallon, and everything resolves into Suchness.

Simply strive for beer and find contentment.
Don’t speak of these arcana to the sober ones.
_________

This translates three of the four sections of the original poem. The first section best imitates the rhyme and meter of the original.

“Sage” and “Saint” were code words for strained and unstrained beer during a period of prohibition in the early Tang Dynasty.

For other translations of ancient Chinese beer-drinking poems at Via Negativa, see The guest (Du Fu) and Night drinking at the western pavilion of the Flower of the Dharma Temple (Liu Zongyuan).

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The guest

by Du Fu
(712-770)

It’s spring, so the water’s high
on both sides of my house.
Watch your step.
I’m used to greeting seagulls -
whole flocks of them, every day!
Please excuse the fallen blossoms.
With no other visitors,
I haven’t swept the walk.
You’re the very first guest
to enter by the wicker gate.

Living so far from the market,
our meals are plain – no
fancy dishes. And poor
as we are, our beer’s
a little stale. But
we can invite my old neighbor
to drink with us, if you’re willing.
I’ll give a holler over the fence:
“Come help us finish off
the rest of this beer!”
__________

This translation is dedicated to my friend Chris.

Beer: The Chinese word jiu refers to alcohol in any form. Since most undistilled fermented beverages in East Asia come from grains rather than fruit, it seems more accurate to refer to them as beer rather than wine.

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Night drinking at the western pavilion of the Flower of the Dharma Temple

by Liu Zongyuan (773-819)

We gather at the Jetavana
Sunset Pavilion,
immerse ourselves
in drinking meditation.

The mist gives way to darkness.
Water laps against the steps.
The blossom-laden trellis glows
in the moonlight.

Never let your exhaustion show
to Venerable Inebriation.
One glance and it’s clear
which heads have yet
to turn white.
__________

This translation is dedicated to all the bloggers gathering at the Cambridge Zen Center and elsewhere in the Boston area this weekend: Beth, Pica, qB, Lorianne, Leslee and Abdul-Walid.

Jetavana – One of the first Buddhist monasteries, a converted pleasure-garden. The poet probably knows it from the opening of the Diamond Sutra, a very popular text in Tang Dynasty China: “Once, the Buddha sojourned in the Jetavana Park with an assembly of twelve hundred and fifty bhiksus…”

immerse ourselves in drinking meditation – literally, “together pour samadhi beer (rice wine)”

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Bosasa!

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The Good Friday edition of NPR’s National Geographic Radio Expeditions, The Sacred Corn Beer of the Tarahumara, put me in a very religious mood.

For the Tarahumara, the astringent, homemade corn beer is a sacred social lubricant – and during Easter week, or “semana santa,” the entire town of Norogachi turns into a giant brewpub. Corn kernels are soaked, ground up, boiled and spiked with a local grass to help the mixture ferment.

The Tarahumara (who refer to themselves as the Raramuri) are a linguistic group of 120,000 who share a common language and have preserved their culture through isolation and resistance. For them, beer is an elixir for healing, a barter item and a divine beverage.

“God taught the Raramuri how to make corn beer,” says Guadalupe Espino Palma, the traditional governor of the Norogachi district. “We make offerings of tesguino to God himself, and He drinks it also. We use tesguino for dancing, and we enjoy drinking it.” Even getting drunk is a spiritual act, he explains.

Bill Merrill, a Smithsonian Institution anthropologist who’s spent 30 years studying and working with the Tarahumara, says the tesguino chases out the “large souls” within, leaving only the “little souls.” “And so when people get drunk that’s why they act like children,” he says. “Because the souls that are controlling their actions are the little souls, like little children.”

Paradoxically, by keeping to their traditional customs, the Tarahumara – like the Yaqui and several other indigenous peoples of Mexico – have preserved what was also the Medieval and Renaissance European way of celebrating major religious holidays. The Jesuits who originally missionized among them, beginning in the late 16th century, introduced elements of Old World village religion, but were also generally tolerant of syncretism. And putting on communal pageants and brewing various types of beer are customs with ancient pedigrees in the region, so it’s hard to know how much innovation the missionaries were really responsible for.

It’s a shame that drinking alcohol has become such a thoroughly profane activity in modern times. Only since the Industrial Revolution has it become cheap and practicable for ordinary people to obtain alcohol at any time and to drink in private – essential preconditions for the spread of alcoholism. Even among contemporary Tarahumara,

“It’s easier to get drunk on a couple of beers or a bottle of tequila than to make tesguino and share it with everyone,” says Carlos Palma Batista, director of the Raramuri Education Initiative, a Ford Foundation project to help preserve native language and knowledge.

The Easter celebrations of the Raramuri are a big draw for tourists. By custom, participants will drink, dance, drum and carouse for as long as the tesguino holds out, whether two days or two weeks. Spring planting will wait.

And during this corn beer communion, in place of “happy Easter,” the Raramuri will say to one another “bosasa” – “fill up, be satisfied, be contented.”

I celebrated Easter by bottling my latest batch of homebrew. I’ll admit I’m still brewing with malted barley; my friend Crystal Dave, who sent me the link to this story, said I should try making tesguino.

Maybe I will. After all, brewing corn beer is an age-old Appalachian custom. The problem is, the damn Scotch-Irish always insisted on distilling it into whiskey. And I don’t think they ever shared any of it with Jesus.

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Out of the eater

This past weekend, at our blogger conclave, I brought up the subject of positive valuations of female avoirdupois in country blues songs from the 20s and 30s. Since apparently the phrase “pigmeat mama” isn’t as widely known as it should be, I decided to Google it and came up with the following. Sexology and ethnography are always funnier in German – especially if, like me, you don’t actually know German.

Die Figur der Big Fat Mama ist dem oriental-afrikanischen Schönheitsideal entlehnt. Damit war keineswegs eine formlose und anerotisch-fettleibige Frau gemeint, sondern eher eine groíŸe, deren weibliche Kurven bis an die Grenze der Ertrí¤glichkeit ausgebildet waren. GroíŸer, schwingender Busen, ausgebildeter Bauchtí¤nzerinnen-Hüftspeck, breit ausladende, gebí¤rfreudige Hüften, massiv-pralle Schenkel, groíŸe FüíŸe und einen provokativ aufreizenden Gang. Tommy Johnson besang diesen Frauentyp folgenderart: “Big Fat Mama, meat shakin’ on her bones and everytime she shake it, some skinny girl goin’ lose the home”. Blind Lemon Jefferson singt von einer “Heavy Hip Mama”, die die Mí¤nner so lange ausnahm, bis ihr alles in der Nachbarschaft gehörte, wí¤hrend Ed Bell, ein Alabama-Bluesman von einer Frau berichtet: “She makes the blind man see and the dumb man call his name”. Auch Prediger und Geistliche waren vor der Unwiderstehlichkeit stramm-üppiger Weiblichkeit nicht gefeit: “She makes the preacher put his bible down” und Son House sang: “I got me religion on this very day, but womens and whisky would’nt let me pray”….

Die manchmal respektlosen Bezeichnungen, die man Frauen zudachte, hatten oft mit ihrer Stellung in der lí¤ndlichen Gesellschaftsstruktur zu tun und waren nicht immer abwertend gemeint. Beginnt man mit der “Milkcow”, wie sie durch Kokomo Arnold, Big Bill Broonzy, oder Son House besungen wird, beschreibt durchaus eine Art von existentieller Wichtigkeit. “…ain’t had no milk an butter, since my cow been gone”, oder “…if you see my milkcow, please drive her home”. Milk and Butter konnte eine Sexmetapher sein, aber auch Liebe und persönliche Obsorge. Doch es hieíŸ auch “Strange bull in the pasture.”, wenn Gefahr von einem Rivalen drohte, oder die Angetraute im Verdacht stand, fremdzugehen. Ehemuffel, die sich bloíŸ auf den GenuíŸ erotischer Abenteuer beschrí¤nken wollten, meinten lakonisch: “Why buy a cow, if I can get milk under the fence”. Frauen, die eher nymphomanischen Charakter hatten, waren bloíŸ “Pigmeat”, Schweinefleisch. Aber was bedeutete die “Pigmeat Mama” bei Blind Lemon, wenn er sang:” I got a call this mornin’, my pigmeat mama was dead.” Lemon ruft den Doktor, aber der sagt, daíŸ sein Pigmeat ganz gesund sei, aber “…she done gone dead on you”, also ihre Liebe war gestorben. In einem anderen Lied stellt Blind Lemon fest:” I love my baby, just like a farmer loves his jersey cow…”, wohl eine Reizzeile für moderne Emanzen. Wer setzt da eine Kuh mit dem Wert und der Würde einer Frau gleich. Die Kuh war oft das Einzige, was ein armer Pí¤chter besaíŸ und eine Frau war oft leichter zu bekommen, als eine Kuh. Ob es Liebe im höheren Sinne gab, kann ich nicht sagen, denn das Leben war für die Schwarzen so hart, daíŸ sie mit dem Existenzkampf und dem Damoklesschwert des Rassismus soviel Probleme hatten, daíŸ der Alltag nur rudimentí¤r-primitives Denken zulieíŸ.

Here’s a translation by Babelfish. (The robot assumes that the entire text is German; thus, the quotes in English are also “translated” to the best of its ability.)

The figure of the Big Fat mummy is taken to the oriental African ideal of beauty. Thus by any means an informal and anerotisch fettleibige woman was not meant, but rather a large, whose female curves to to the border of the bearableness were trained. More largely, swinging bosom, trained Bauchtaenzerinnen Hueftspeck, broadly unloading, bear-joyful hips, substantial-solid thighs, large feet and a provocatively up-provoking course. Tommy Johnson besang this woman Mrs. the following following: “Big Fat mummy, meat shakin ‘ on ago bones and everytime she shake it, some skinny girl goin ‘ draws the home”. Blindly Lemon Jefferson sings from a “Heavy Hip mummy”, who excluded the men so for a long time, until you belonged everything in the neighbourhood, during OD Bell, a Alabama Bluesman reported of a woman: “She makes the blindly one lake and the dumb one call his name”. Also prediger and clergyman were not protected before the irresistibleness of stramm sumptuous femaleness: “She of makes the preacher PUT his bible down” and Son House sang: “I got ME religion on this very day, but womens and whisky would’nt let ME pray”….

The sometimes irreverent designations, which one zudachte women, had to do often with their position in the rural social structure and were not always devaluing meant. If one begins with the “Milkcow”, like her by Kokomo Arnold, Big Bill Broonzy, or Son House besungen become, a kind of vital importance quite describes. “… ain’t had NO milk at butter, since my cow been gone”, or “… if you lake my milkcow, please drive ago home”. Milk and butter could be a Sexmetapher, in addition, love and personal Obsorge. But it was called also “strand bulletin into the pasture.”, if danger of a rival threatened, or the Angetraute in the suspicion to foreignhappen. Ehemuffel, which wanted to be only limited to the benefit of erotischer adventures, meant laconic: “Why buy A cow, if I CAN GET milk more under the fence”. Women, who had a rather nymphomanischen character, were only “Pigmeat”, schweinefleisch. But which meant the “Pigmeat mummy” with blindly Lemon, if he sang: ” I got A call this mornin ‘, my pigmeat mummy which DEAD.” Lemon calls the doctor, but it says that its Pigmeat is completely healthy had thus died, but “… she done gone DEAD on you”, their love. In another song blindly Lemon determines: ” I love my baby, just like A more farmer loves his jersey cow… “, probably an attraction line for modern Emanzen. Who sets there a cow with the value and that became for a woman directly. The cow was often the only one, which a poor tenant possessed and a woman was often more easily to get, than a cow whether it to love in the higher sense gave, cannot I not say, because the life was for the black ones so hard that they had problems with the struggle for existence and the Damoklesschwert of the racingism as much that the everyday life permitted only rudimentary-primitive thinking.

Setting aside the question of whether characterizing a vital folk tradition as “rudimentary-primitive thinking” itself constitutes “racingism,” here’s another unintentionally humorous passage for the sake of contrast. It’s an excerpt from an excerpt of Carol J. Adams’ The Sexual Politics of Meat: A Feminist-Vegetarian Critical Theory, included in Cooking, Eating, Thinking: Transformative Philosophies of Food, Deane W. Curtin and Lisa M. Heldke, eds. (Indiana University Press, 1992):

There are some incontrovertible assumptions that determine our approach to life: Stories have endings, meals have meat. Let us explore whether these statements are interchangeable – stories have meat, that is, meaning, and meals have endings. When vegetarians take meat out of the meal, they take the ending out of the story of meat. Vegetarians become caught within a structure they attempt to eliminate. Our experience of meat eating cannot be separated from our feelings about stories.

This last strikes me as a highly debatable and culturally biased assertion. The bias becomes even stronger in the next paragraph, where universality is assigned to Western storytelling conventions:

We are the species who tell stories. Through narrative we confer meaning upon life. Our histories are structured as stories that postulate beginnings, crises, resolutions; dramas and fictions animate our imagination with stories that obviously have a beginning and an end. Narrative, by definition, moves forward toward resolution…Often meaning can only be apprehended once the story is complete…

Meat eating is story applied to animals, it gives meaning to animals’ existence….Animals’ lives and bodies become material fit to receive humans’ stories: the word becomes flesh….

Vegetarians see themselves as providing an alternative ending, veggie burgers instead of hamburgers, but they are actually eviscerating the entire narrative. From the dominant perspective, vegetarianism is not only about something that is inconsequential, which lacks “meat,” and which fails to find closure through meat, but is a story about the acceptance of passivity, of that which has no meaning, of endorsing a “vegetable” way of living. In this it appears to be a feminist story that goes nowhere and accepts nothing.

Alternately, of course, it may appear to be bullshit. Which is, of course, entirely “vegetable” in origin. As are we, according to that most patriarchal of texts, the King James Bible: All flesh is grass.

In vernacular cultures the world over, the boundaries between bodies are never very clear-cut. It may be true, as I wrote yesterday, that every being is a slow fire. But we are also, potentially, food – a statement that can be seen as either tragic (the vegetarian assumption) or comic (the Rabelaisian position). In a new essay at Wild Thoughts, Hank Green has a great little essay about the experience of being tongue-kissed by a gray wolf. It begins:

As humans we have the capacity to be both predator and prey. Vegetarian or not, I promise you, get a good hunger started in your belly and cute and fuzzy things will look much less like companions and much more like corndogs. I’ve looked at squirrels that way and they can tell. Generally they are indifferent or curious, but when I’m real hungry…they keep back.

Just as animals that were once our prey can see my hunger and my intent in my eyes, we can see the same in animals that were once our competitors or our predators.

I remember my first time face to face with a lion. At one moment the gigantic thing was obviously concentrating very hard on a nearby leaf that had fluttered across his vision. They are, after all, still cats, still curious and cute. The next moment the lion locked eyes with me and my knees weakened. I knew what the squirrel felt like under my hungry gaze; to that lion, I was the corndog.

A coherent philosophy of food would have to take account of predation, sex, sacrifice, gathering, hunting, cultivation, and diverse methods of food production, including those that involve animal and fungal helpers (dairy products, honey, beer, yeast bread, etc.). It would have to develop aesthetic systems for all five senses. Why has Western philosophy so limited itself to the world perceived by the mind’s eye? “The sage is for the belly, not for the eye,” says the Daodejing. That’s because “The eye is not satisfied with seeing, nor the ear with hearing,” as Qoheleth observed. But the belly – the belly knows its limits. It’s not a question of narratives and endings, really, but of emptiness and fullness. Or as Memphis Minnie put it, “Keep on eating, baby, till you get enough.”
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For more in this vein, see Our booty, ourselves.

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Primordial wonton

I’m in a bibliophiliac ecstasy. Yesterday I got two new books in the mail: Robert Alter’s magnificent translation and commentary on the Pentateuch – The Five Books of Moses (Norton, 2004) – and the “philosophical translation” of the Daodejing by Roger T. Ames and David T. Hall (Ballantine, 2003), a groundbreaking work. I am going back and forth between them like a dog with two supper dishes, or a bigamist who can’t decide which wife to spend the night with.

Dividing my attention this way – especially between two such contrasting works – may not seem like such a good idea. Eventually, of course, I’ll have to settle down with each in turn, take them to bed with me, read them with all the slowness and attention they deserve, lingering over each beautiful footnote. But in the meantime, this compare-and-contrast exercise has already yielded some tasty fruit. Last night, in the Appendix to Ames and Hall, I found the following:

Daoist cosmogony does not entail the kind of radical initial beginning we associate with those metaphysical cosmogonies that describe the triumph of Order over Chaos. In fact, the Zhuangzi‘s well-known account of the death of Lord Hundun – often translated negatively as Lord Chaos, but perhaps better rendered positively as Lord Spontaneity – provides a rather strong Daoist objection to the “One-behind-the-many” reading [of passages in the Daodejing that appear to refer to Dao as a kind of first principle]:

The ruler of the North Sea was “Swift,” the ruler of the South Sea was “Sudden,” and the ruler of the Center was “Hundun, or Spontaneity.” Swift and Sudden had on several occasions encountered each other in the territory of Spontaneity, and Spontaneity had treated them with great hospitality. Swift and Sudden, devising a way to repay Spontaneity’s generosity, said: “Everyone has seven orifices through which they can see, hear, eat, and breathe. Spontaneity alone is without them.” They then attempted to bore holes in Spontaneity, each day boring one hole. On the seventh day, Spontaneity died.

But why according to Zhuangzi shouldn’t one wish to bring order out of hundun? A reasonable question, indeed, if hundun is the confusion and disarray – the formless surds – that other cosmogonies describe as primordial Chaos. But if hundun is the spontaneous emergence of novelty that honeycombs all construals of order in the continuing Daoist present, then the imposition of order upon it means the death of novelty. After all, it is spontaneity that makes the life experience deliciously indeterminate and, in some degree, unpredictable. To enforce a given design is simply to select one of a myriad candidates for order and to privilege that one over the rest. Swift and Sudden have transformed the unsummed and causally noncoherent dao into a single-ordered world.

Well, yeah. But every act of artistic creation, every authentic making represents such a privileging, regardless of its origins in spontaneity. That’s the tragic beauty of life, it seems to me – and that is why I continue to draw so much inspiration from the great expressions of theistic faith, such as the Bible. This notion of a seven-day-long process of imposing a creative and destructive will sounds awfully familiar! But again, Chaos and Order are modern – or at least Hellenic – categories that don’t always fit the most ancient parts of the Bible. (After all, as a god of storm and whirlwind, as the agent of watery or fiery destruction, YHWH works as often through “chaos” as against it.)

When God began to create heaven and earth, and the earth then was welter and waste and darkness over the deep and God’s breath hovering over the waters, God said, “Let there be light.” And there was light. And God saw the light, that it was good, and God divided the light from the darkness. And God called the light Day, and the darkness he called Night. And it was evening and it was morning, first day.

Alter says about “first day” that, “Unusually, the Hebrew uses a cardinal, not ordinal, number. As with all the six days except the sixth, the expected article is omitted.” So perhaps we would do better to translate as if this were a Mayan text: “And it was evening and it was morning, Day One.” Because these are the days that will recur week after week and year after year until the end of time, no? I find it difficult to credit that the original authors of this passage understood divine creation as a one-time event. The mythic imagination doesn’t work that way.

Alter’s note for “welter and waste” points up the contrast with the Zhuangzi‘s hundun.

The Hebrew tohu wabohu occurs only here and in two later Biblical texts that are clearly alluding to this one. The second word of the pair looks like a nonce word coined to rhyme with the first and to reinforce it, an effect I have tried to approximate in English by alliteration. Tohu by itself means “emptiness” or “futility,” and in some contexts is associated with the trackless vacancy of the desert.

But that desert, or wilderness, remains an essential testing ground for spiritual heroism and a major locus of theophany throughout the Bible, so perhaps we are meant to understand tohu as empty more in the way that a womb might be construed as empty, rather than as a mere nullity or vacuum. Tohu wabohu could perhaps be seen as Openness – a close cousin of Spontaneity. And indeed, in this cosmogony God shapes or distills things from this omni-potential matter; there is no creation ex nihilo in the Bible.

Set against the vivid language of Genesis, the Daoist allegory may seem a little dry. And I’ll admit, I’ve never been a big fan of allegory as a genre, which may explain why I never focused on this passage in A. C. Graham’s translation and commentary (Chuang-Tzu: The Inner Chapters, Hackett, 2001 – another philosophically and philologically informed effort).

Graham, I discover, chose to leave “Hun-t’un” untranslated, supplying the following note:

Hun-t’un is the primal blob which first divided into heaven and earth then differentiated as the myriad things. In Chinese cosmology the primordial is not a chaos reduced to order by imposed law, it is a blend of everything rolled up together; the word is a reduplicative of the type of English “hotchpotch” and “rolypoly”, and diners in Chinese restaurants will have met it in the form “wuntun” as a kind of dumpling.

So there’s God in his white apron at the Panda House restaurant, rolling out the dough to make dumplings. Thus, at least, the pictures taking shape in the tohu-bohu of my mind, all higglety-pigglety.

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Cheer

After yesterday’s post, readers might get the impression that I am lacking in holiday cheer. Far from it! In fact, I have a mugful of “cheer” right at my elbow – enough to make me sing mindlessly to the computer as I click through my blogroll. Don’t be thinking it’s some Christmas carol, though. For some reason, the tune stuck in my head right now is “How Much is that Doggie in the Window?”

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My major Christmas present from my parents this year was a new, super-adjustable desk lamp with incandescent and florescent bulbs. It’s basic black and highly functional in design – the kind of thing favored by graphic artists, one suspects. It will replace the funky little lamp I have been using to save my eyes from the glare of the computer screen. Yes, my parents have become enablers for my blog-addicted lifestyle.

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On our way back from getting a Christmas tree on Tuesday, we swung by the Amish store where we buy many of our staples (whole wheat flour, brown rice, basic herbs and spices, etc.). My mother gifted the women who run the store with a loaf of chocolate tea bread, which prompted immediate reciprocal gifts of a large jar of canned peaches and a little jar of hot pepper jelly. Then, just as we were about to leave, S. came running out and asked if wanted some of the ornamental kale from her garden before she got rid of it. “Sure,” I said, and took the better part of one, big plant.

The kale was limp from having been through a couple months of freezing weather, but it still smelled and tasted good and strong. I thought its festive colors would be perfect for a light, Christmas Eve supper, and in fact I was rather pleased with the recipe I came up with. I like to think of this as a brand-new holiday tradition, as I recently heard someone on NPR describe something or other.

Ornamental Kale and Walnut Sauce with Pasta

Clean and chop into 2-inch squares 4 – 6 c ornamental kale, striving for roughly equal quantities of green and purple leaves.

In a large saucepan, sauté a hellacious amount of minced garlic, about 1/4 t dried red pepper flakes and 1/2 c ground English walnuts in 1/4 c olive oil at medium-low heat for several minutes, until kitchen begins to reek. Then add kale, a couple glugs of red wine and about 1 1/2 c canned tomatoes, chopped, with juice (about 1/2 c). (Fresh tomatoes are tasteless and virtually devoid of nutritive value this time of year. Save your money.) Lid the sucker and let ‘er steam for a bit.

Meanwhile, cook pasta. I used about 12 oz whole-wheat shells, but other chunky sorts of pasta would probably work just as well. When kale is pretty much wilted, add salt (not much) and black pepper, 8 kalamata olives, slivered and half a can of reduced-sodium chicken broth. (Vegetarians can try substituting soup stock or, better yet, a good miso broth.) Give it a minute or two to heat up, then mix in the drained pasta and a buttload of parmesan or romano cheese.

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I might’ve added something else, but I think that’s all. Some of my culinary experiments prompt my parents to say things like, “Well, that was very, um, interesting!” But this time, they both went back for rare second helpings. However, I must admit that the pairing with a raw cabbage salad was slightly unfortunate. Last night I had to be careful to keep the blankets tightly pinned to my body every time I turned over in bed, if you get my drift.

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Now that I’ve largely gotten over my childhood greed, and prefer actually to receive boring presents so as to avoid all excitement and the loss in sleep that entails, my favorite part of holidays like Christmas is the feasting. Well, O.K., maybe I’ve just substituted one kind of greed for another. At any rate, the other new recipe I’m inordinately pleased with this year is also my own invention, though I fancy it’s fairly similar to what my medieval European ancestors may have consumed this time of year: wassail! I served it to some visitors on Wednesday night, and two out of three were highly enthusiastic. (The third objected to the high licorice content – a fair complaint, if you don’t like licorice.) I won’t give the entire recipe, since it won’t mean anything to anyone who isn’t a homebrewer. But for those who are, here’s the gruit (herbal mix used instead of hops):

-> loose-packed pint dried mugwort
-> 2 oz dandelion root, roasted
-> 1/2 oz coriander seed, crushed
-> 1/2 oz Indian sarsaparilla root (Hemidesmus indicus)
-> 2 oz wild ginger root (Asarum canadense)
-> 2 oz licorice root (“dry-hopped” in primary)
-> 1 c (4 oz) dark baker’s cocoa

I’ll probably post the complete recipe in the homebrewing section of my other website at some point. In the meantime, anyone who wants to learn more about brewing traditional, unhopped ales should persuse my misleadingly named Short Treatise on Homebrewing and the True Meaning of Gruit.

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I feel confident in recommending this gruit because my friend Chris, who is a trained beer taster, was one of my guests on Wednesday night. He regaled us with a number of fascinating tales of his exploits in Africa, of which (owing to the lateness of the hour and the strength of the brew) I remember only this:

During a tour of a paper-making cooperative in Malawi last month, Chris said, the guide kept pointing to these very large, dark sheets hanging up to dry and saying “This paper made from the elefandong!” And each time he would laugh uproariously. Chris smiled and nodded, unwilling to admit he didn’t know what the hell the guide was saying. After the third time it happened, however, he decided to follow up. “Now, what exactly is this ‘elefandong’?”

“Elefandong? You know – elephan’ poo-poo!”

I now know what I want my first, commercially published book of poems to be printed on…

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My older brother called yesterday with, among other things, some news about his first offspring, expected in mid- to late-January. “They’ve decided on a name!” my mother informed me last night over the purple pasta repast. “They’ve decided to call her Elanor, after a character in Lord of the Flies!

I’m sure William Golding would be proud.

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