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Articles on this Page
- 11/06/17--09:04: _Near the Arctic Circle
- 11/08/17--08:49: _Indian Summer Buzz
- 11/26/17--00:22: _Soglow's Igloo
- 11/29/17--08:41: _What Does it Feel L...
- 12/11/17--09:22: _The Private Life an...
- 01/02/18--08:34: _Article 2
- 01/13/18--03:23: _Shit Hole Countries
- 01/14/18--09:50: _Winners Circle
- 01/15/18--06:30: _Cappy and Sabine
- 01/19/18--09:16: _Who Speaks For Amer...
- 02/12/18--11:32: _Spring Training
- 02/13/18--08:48: _Sitting Pretty
- 03/13/18--07:15: _The O.J. Simpson Ps...
- 03/21/18--09:27: _Manet's pre-Moderni...
- 04/04/18--09:54: _Bach's Italy thru t...
- 05/09/18--08:17: _Come Spring
- 06/10/18--06:47: _Apropos of New Chips
- 06/13/18--07:59: _On a Photograph of ...
- 07/02/18--10:36: _Prepare to be Frust...
- 07/30/18--06:44: _Another Aperitif
- 09/10/18--17:19: _Smooth landing
- 10/30/18--09:18: _Duet for Two Mixes
- 11/01/18--09:58: _From the Gallery of...
- 11/27/18--10:18: _Pedigree from a Pri...
- 12/01/18--10:35: _Two New Recipes wit...
- 11/06/17--09:04: Near the Arctic Circle
- 11/08/17--08:49: Indian Summer Buzz
- 11/26/17--00:22: Soglow's Igloo
- 11/29/17--08:41: What Does it Feel Like ?
- 12/11/17--09:22: The Private Life and the Public Art - Salinger and Merrill
- 01/02/18--08:34: Article 2
- 01/13/18--03:23: Shit Hole Countries
- 01/14/18--09:50: Winners Circle
- 01/15/18--06:30: Cappy and Sabine
- 01/19/18--09:16: Who Speaks For Americans?
- 02/12/18--11:32: Spring Training
- 02/13/18--08:48: Sitting Pretty
- 03/13/18--07:15: The O.J. Simpson Psychopathic Confession
- 03/21/18--09:27: Manet's pre-Modernist Challenge
- 04/04/18--09:54: Bach's Italy thru the Eyes of an Hungarian Exile Jew
- 05/09/18--08:17: Come Spring
- 06/10/18--06:47: Apropos of New Chips
- 06/13/18--07:59: On a Photograph of Philip Hyde
- 07/02/18--10:36: Prepare to be Frustrated
- 07/30/18--06:44: Another Aperitif
- 09/10/18--17:19: Smooth landing
- 10/30/18--09:18: Duet for Two Mixes
- 11/01/18--09:58: From the Gallery of Heroes
- 11/27/18--10:18: Pedigree from a Prix Fixe
- 12/01/18--10:35: Two New Recipes with An Irrelevant Commentary
My maternal ancestors came from Northern Scandinavia. Norway, apparently. I've never been to Norway, but whenever I see a travel show on television about Norway, I try to imagine--from my "deep" racial memory (if indeed there is such a thing!)--how "at home" these chilly green and white landscapes seem to my sensibility.
Personally, I don't particularly like extremes of either hot or cold. When the temperature rises about 85 degrees or falls below 45 degrees, I get sort of miserable. The heat makes me lazy, takes away my appetite. The cold makes me want to bundle up. Doing physical work in the cold is probably easier, since the heat generated from exertion tends to moderate the affects of cold on the body.
In the movie Fargo, there's an attempt to satirize Minnesotans by having them mouth Scandinavian pronunciations, like "Yah!" or "Jah!" Maybe Minnesota, with its cold weather, is just enough like Scandinavia to justify this kind of stereotypical mugging. It's amusing, but maybe a little exaggerated.
My maternal grandmother's maiden name was Redner, or Raedner. I tried once to trace it back. I even visited the genealogical library in Salt Lake City, the one the Mormons maintain. Mormons are very interested in tracing ancestry. Ancestry has become a big part of the internet database, where you can interact with other "relatives" and build up surprisingly complete lines of verified descent on your family tree. At the Salt Lake library, I was only able to find a few faint references in Wisconsin, but nothing before about 1850. I haven't seriously followed the trail online, but I suspect I'd get somewhat farther back, if I tried.
Anyway, all this as introduction to my latest cocktail invention, for which I haven't found an appropriate name. Here's the recipe:
1 part Boodles gin
1 part limoncello
1 part Key Lime Liqueur
1/2 part fresh lime juice
garnish small wedge of lime if desired
mixed together over ice
makes one portion
The only unusual ingredient is the Key Lime Liqueur, which I find locally at BevMo. It has a pale green smooth creamy texture, and it's unlike almost any other mixer that I've tried. It's smooth without being dry (the way lime usually tastes). I've added some pure lime juice to this mixture, and even then, the Key Lime tends to make this gin-based drink on the sweet side. If I wanted, I could put in a whole portion of fresh lime juice, which would make it a bit more "cocktail-y" I think.
Sweet and cold, with a bit of citric acid. It's a classic combination, augmented by a commercial mix that is proprietary. The Key Lime may have other flavors added to it--perhaps cinnamon, or licorice? Who knows? Using proprietary mixes suggests that you're not completely in control of the combination, since some of its ingredients are unknown. But that's always been the case. So-called "bitters" fluids are mostly also secret, and those have been used for over a century. There are today dozens of new bitters formulas on the market. It seems to be the new horizon of cocktail mixing! Personally, I like to know what I'm putting into a drink, rather than using a brand-name combination which serves as its own advertisement.
There's something wrong with America. We didn't sort out the classes and put them in their places the way they did in Europe. Things got really mixed up here. A lot of the energy was stifled and twisted and fermented and synthesized into a rich brew, an alembic of pain and greed and dreams and grief-stricken loss and betrayal and hopelessness.
America is a country increasingly in flux. Our demographics are shifting. The so-called "races of color" are streaming in, and will soon overwhelm the so-called white races. As the era of the great European diaspora was thought to be dwindling, the third world is now spilling over. Are we any more tolerant of "diversity" than we ever were, or has all this flux just produced tension and free-floating animosity? I've always felt that forcing people to "accept" other ways of doing things is a recipe for resentment and identity anxiety.
One aspect of America's energy and drive and expansiveness has been its alcoholic indulgence. We went through a deep introspective convulsion in the 1920's, attempting to "temper" our temptation through Prohibition. It's widely thought that Prohibition was responsible for most of the big crime wave that swept over the country during that decade. The Stock Market Crash may have put an end to the sinful flagrant waywardness associated with it, but crime continued to flourish throughout the 1930's and 1940's. Where would Hollywood have been without the inspiration for the Noir paradigm, with its dark shadows and haunting evil undertones?
Drinking--that is, the "hard drinking" we associate with hard living and a devil-may-care attitude towards our own welfare and well-being--has also suggested the "high life"--care-free pleasure and a release of inhibitions and cautions.
Capitalism runs in cycles. Boom times and bad times. Overheated markets and periodic recessions. I've lived through a couple during my lifetime, but nothing like the 1930's, the Great American Depression.
America's drinking habits have been partly a reflection of the economy, and the general mood of the nation. After Prohibition, the American wine industry languished for decades, until its revitalization during the latter third of the last century, when it really took off. Drinking wine is usually associated with food, though taking it alone has its adherents.
Some people actually have hard drinks with food, though they're more often appreciated as a pre- or post-dinner libation. I like them best as a pre-dinner start, though I also like them for a mid-afternoon snack. In Berkeley, Cesar's is the perfect fair-weather hang-out, with seating that abuts the sidewalk, and a fascinating bar menu that changes constantly. It's very like a Spanish tapas place, but with a full bar that can handle a wide range of mixes--something that is pretty rare these days.
Here are three more recipes that I've chalked up on the weekly board over the last couple of months. Who knows whether these were invented sometime in the past by another curious bartender? There are hundreds of drink recipe books, whose contents aren't ever likely to be collated. So I'll have to assume originality here, evidence to the contrary notwithstanding. Cheers!
1 part tennessee rye whiskey
3/4 part sweet vermouth
3/4 part Sambucca Black
1/3 part creme de cacao
1/2 part fresh lemon juice
served on the rocks
4 parts dry vermouth
1 part blue curaçao
1 part anisette liqueur
1 part lime
served up with a lime twist
3 parts gin
1 part dry vermouth
1 part mandarin orange
1 part violette
1 part lime
served up with a lime twist
I first began reading The New Yorker in the early 1960's, when my mother gave me a subscription as a Christmas present. But I had seen the magazine on newsstands as early as the late 1950's. In those days, it was a very fat and prosperous looking rag, often well over a hundred pages an issue. It intrigued me, with its suppressed by-lines, encyclopedic register of events in New York City. The masthead of the magazine sat atop The Talk of the Town, and underneath it ran the lead editorial pieces. There were never any photographic illustrations then, but they had cartoons, and in the Talk of the Town section, they usually had little cartoon vignettes by a cartoonist named Otto Soglow, though the ones in the Town section weren't signed. Soglow's vignettes and cartoons had a simplicity of style, geometric and controlled, and a kind of innocence that was utterly dry.
Soglow, born in 1900, fell into cartooning by accident, and never left it. Eventually, his association with The New Yorker was so firm and familiar that his visual style was virtually synonymous with it.
3 parts gin
2 parts dry vermouth
2/3 part ginger liqueur
1/2 part maraschino liqueur
1 part fresh lime juice
Shaken and served up in chilled cocktail glasses.
This last year, among the various books that I have read, were two full-length author biographies: Salinger, by David Shields and Shane Salerno, and James Merrill: Life and Art, by Langdon Hammer. The Salinger book is like a collection of separately drawn episodes, with little attempt to link real life events specifically to Salinger's literary works. The Hammer book is a meticulously rendered account, almost a concordance of relationships between the events in Merrill's life and the separate poems he wrote. Both books are honest efforts, holding nothing back, and following the clues and implications wherever they lead. Neither book could have been written this way a generation ago, which may tell us something about the progress of our public culture--what we're comfortable with, what we're willing to acknowledge and even accept in our cultural heroes, how much truth we can stand to believe.
James Merrill, about whom I wrote in my last blog entry, is not a poet whom I had ever much admired. As an aspiring poet in the 1970's, I knew his books and comprehended his style. I knew vaguely that he came of privilege, and that his highly decorous, highly decorated verse seemed to be carried along on a prosperous negligence--that it belonged to a world I could never properly appreciate, having never had any direct experience of it, and unlikely ever to see it up close, first-hand.
If I couldn't imagine participating in a world accessed through leisure, wealth and social connections, then my appreciation of Merrill's work would forever have a vicarious, excluded quality, like a child who, looking with intense interest upon a toy train behind a department store window, presses his nose against the glass. Literature, though, is one door into the unknown, a medium through which other lives, other milieus, can be viewed, estimated, judged, appraised, or envied or despised. I read somewhere once that "we love all worlds we live in," a fairly pretentious homily at first glance, though the more we think about it, the more intriguing it seems. Some Victorians believed that suffering was its own kind of romantic thrall, a notion you can see in much 19th Century verse and fiction. No one would suggest that people actually can love to suffer, but making art out of suffering is an old technique, certainly not limited to those at the bottom of the social or economic scale.
Though James Merrill grew up in relative splendor and riches, with everything provided and taken care of, his was not a happy childhood. His parents neglected him, and fought with each other, and divorced when he was 11. Though brilliant, from an early age, he was effete, ineffectual and isolated emotionally. A classic case of the incipient homosexual, with an intense and conflicted relationship with his Mother, while irretrievably distanced from his domineering but distant Father. By his late 'teens, he'd been initiated into the gay alternative, and he never looked back. This choice, whether voluntary or not, was unacceptable at the time, and led to difficult accommodations throughout his life, with a long-delayed coming out.
The poetry, early on, rather than becoming simply a refuge from the difficulties of a deceiving identity in the world, would become the testing and proving ground for self-examination and scrutiny, a forum for the dialectic between the outward projected man, and the inward questioning soul. In terms of the progress of his career as a writer, the volume Water Street [New York: Atheneum, 1962] is in several ways the key transitional turning point. A short collection of only 51 pages of text, its lead poem, An Urban Convalescence, is like a declarative statement of where his future lay. Reacting indirectly to the new vogue of confessionals (aka: Robert Lowell, Sylvia Plath, Anne Sexton, Frederick Seidel) then sweeping across the literary landscape, the poem addresses a real event--the tearing down of a neighborhood building in New York--and makes what sounds like a very personal and emotional statement, unusual up to that time for Merrill, and somewhat unexpected.
Formally, the poem isn't fussy or straight-jacketed, hinged with cleverness or artifice. It's almost conversational. Unpretentious.
Reading it now, really for the first time, I can see qualities in it that I mightn't have appreciated before. There's that terrific image of the huge crane "fumbl[ing] luxuriously in the filth of years / her jaws dribbl[ing] rubble," and "wires and pipes, snapped off at the roots, quiver." There's a sense of displacement, even disorientation that the speaker experiences with the leveling of part his familiar landscape, as if the transformation of the urban architecture had done a kind of violence to the unconscious. There's that peculiar reference to Robert Graves in The White Goddess, an ambiguous reference meant apparently to imply a clumsy deus ex machina in which the crane operator (note the pun on a classical bird) wreaks destruction as an agent of change.
The meditation turns sour as the speaker rejects the pat sarcasms of popular cant -- "the sickness of our time . . . certain phrases which to use in a poem . . . bright but facile . . . enhances, then debases, what I feel." Conflicted between the superficial disorientation of urban demolition--a shifting of the gestalt of his past--Merrill now turns against that very past--its tradition, its continuity, its smarmy models of performance and identity, and vows "to make some kind of house out of the life lived, out of the love spent." But it's the ambiguity of a love spent, as if exhausted. Though Merrill would perpetuate the empty husk of his relationship to David Jackson for the rest of his life, and would maintain roughly settled homes in Stonington, Connecticut, and in Athens, Greece, these were indeed "another destination"--of serial male relationships, primarily sexual in character, and ephemeral, and in that way love "spent" rather than permanent and "honey-slow."
The poem is remarkable for the frankness and casualness with which it initially expresses personal feeling, measured against the discipline of higher principles. While the second part at first feels superficially to be a kind of conviction, this falls apart at the end, as the speaker acknowledges the ambiguity of his moral position, an honesty that is unusual. At first, change is encountered numbly, and with revulsion, only to be grudgingly accepted in the end--the intervention of unwanted necessity. Hearing Merrill read this poem, later in life, with his dead-pan baritone, made it seem elegiac, and resolved, though this never happened in his life. Such declarations of principle are always provisional--as the poem admits--always subject to revision, accommodation, the small failures and retreats which constitute a life lived, out of a life spent.
An Urban Convalescence
Out for a walk, after a week in bed,
I find them tearing up part of my block
And, chilled through, dazed and lonely, join the dozen
In meek attitudes, watching a huge crane
Fumble luxuriously in the filth of years.
Her jaws dribble rubble. An old man
Laughs and curses in her brain,
Bringing to mind the close of The White Goddess.
As usual in New York, everything is torn down
Before you have had time to care for it.
Head bowed, at the shrine of noise, let me try to recall
What building stood here. Was there a building at all?
I have lived on this same street for a decade.
Wait. Yes. Vaguely a presence rises
Some five floors high, of shabby stone
—Or am I confusing it with another one
In another part of town, or of the world?—
And over its lintel into focus vaguely
Misted with blood (my eyes are shut)
A single garland sways, stone fruit, stone leaves,
Which years of grit had etched until it thrust
Roots down, even into the poor soil of my seeing.
When did the garland become part of me?
I ask myself, amused almost,
Then shiver once from head to toe,
Transfixed by a particular cheap engraving of garlands
Bought for a few francs long ago,
All calligraphic tendril and cross-hatched rondure,
Ten years ago, and crumpled up to stanch
Boughs dripping, whose white gestures filled a cab,
And thought of neither then nor since.
Also, to clasp them, the small, red-nailed hand
Of no one I can place. Wait. No. Her name, her features
Lie toppled underneath that year’s fashions.
The words she must have spoken, setting her face
To fluttering like a veil, I cannot hear now,
Let alone understand.
So that I am already on the stair,
As it were, of where I lived,
When the whole structure shudders at my tread
And soundlessly collapses, filling
The air with motes of stone.
Onto the still erect building next door
Are pressed levels and hues—
Pocked rose, streaked greens, brown whites. Who drained the pousse-café?
Wires and pipes, snapped off at the roots, quiver.
Well, that is what life does. I stare
A moment longer, so. And presently
The massive volume of the world
Upon that book I swear
To abide by what it teaches:
Gospels of ugliness and waste,
Of towering voids, of soiled gusts,
Of a shrieking to be faced
Full into, eyes astream with cold—
All right then. With self-knowledge.
Indoors at last, the pages of Time are apt
To open, and the illustrated mayor of New York,
Given a glimpse of how and where I work,
To note yet one more house that can be scrapped.
Unwillingly I picture
My walls weathering in the general view.
It is not even as though the new
Buildings did very much for architecture.
Suppose they did. The sickness of our time requires
That these as well be blasted in their prime.
You would think the simple fact of having lasted
Threatened our cities like mysterious fires.
There are certain phrases which to use in a poem
Is like rubbing silver with quicksilver. Bright
But facile, the glamour deadens overnight.
For instance, how “the sickness of our time”
Enhances, then debases, what I feel.
At my desk I swallow in a glass of water
No longer cordial, scarcely wet, a pill
They had told me not to take until much later.
With the result that back into my imagination
The city glides, like cities seen from the air,
Mere smoke and sparkle to the passenger
Having in mind another destination
Which now is not that honey-slow descent
Of the Champs-Élysées, her hand in his,
But the dull need to make some kind of house
Out of the life lived, out of the love spent.
This week, Donald Trump, discussing new Congressional proposals for immigration policy changes, was reported to have reacted strongly to certain suggested elements that were presented to him, in a private meeting at the White House. In reviewing the policy with respect to Haitians--whose special status as refugees following the catastrophic earthquake there in 2010, was revoked in November 2017, and must return by the summer of 2019--whose protected status was to be extended or granted authorization to allow for citizenship, Trump was reported by some, who were present at the meeting, to have asked "Why do we want all these people from shit-hole countries [i.e., Haiti and nations of the African Continent] coming here?"
Response in the Press and in government was swift and unequivocal. The remark was universally labeled as racist, and condemned as a diplomatic error.
Since Trump's election, his "style" of interaction with the nation, and with the Press, has been unique in the history of the Presidency. Rather than making public announcements, carefully planned and scripted before-hand, he freely ruminates and fulminates on social media ("Twitter"), offering peremptory and inflammatory rhetoric and personal observation with seemingly little regard for the delicate contexts of public opinion, or the world at large. The man speaks his mind unashamedly and carelessly, frequently causing his staff to backtrack and mend fences in the wake of the damage (intended or not) he has created.
There is no doubt that Trump's style of communication is unconventional, though it bears some comparison to the new era of "reality television" and social media, which feeds off of rumor and innuendo. Trump is a new kind of President, perhaps a symptom of the times. One who is willing to offend and shock, sometimes deliberately, as a strategy to create unrest or reaction, or to keep his image and personality constantly before the public eye.
Trump's immigration policy positions have been pretty clear since the beginning of his campaign. He thinks our policy with respect to both legal and illegal immigration has been deeply flawed, and he's used that position to promote his "base" (supporters). Trump believes in a tightly controlled inflow of foreigners, one based not on "need" and sympathy, based not on racial preferences or perceived obligation, but on more traditional criteria, including fitness, skills, and suitability for assimilation. Over the last half-century, our immigration policies have tended more and more to be based on accommodation of perceived "need," refugee-ism, and conversion of those residing here illegally, in violation of their present or continuing status.
Trump's question arises out of a sense of frustration, that our immigration policies seem to have become a huge welfare system in which tens of thousands, hundreds of thousands, even millions of people are either given a free ticket to America, or granted amnesty from deportation and offered a pathway to citizenship, despite having flagrantly violated the laws of our country. The tide of public opinion has shifted over this period, from one committed to the fitness of application, to one of adoption and refuge. The question no longer seems to be whether someone might sensibly be expected to contribute to our country, but to be whether someone seems to "need" to escape from their respective country.
According to figures I've checked on the internet, Haiti is considered the poorest country in the world. It's poverty rate is the highest in the world, and the condition of its population, with respect to public health, education, employment skills, etc., is uniformly terrible. If any nation in the world could quality for shit hole status, it would be Haiti. The magnetic attraction of America to Haitian immigrants must be overpowering. Between 1990 and 2015, the Haitian immigrant population in America tripled in size. Of that number, nearly 50% subsist here on welfare, and as many as 100,000 Haitians reside in the U.S. illegally.
The question at hand is, what should our criteria be for American immigration policy, broadly speaking? Should we continue to prioritize our system to accommodate large numbers of refugees, and illegals, and those whom we feel we owe some reparations, in preference to the classic model of candidates who are educated, healthy, law-abiding, trained, least likely to be a burden on society, and who and apply legally?
Criticism of Trump's remark have focused on its racial aspect, though Trump himself has repeatedly denied a racial component in his attitudes. Certain stories have said that Trump has insulted "countries of color," as if any nation could be so described. Indeed, to insist on such designations seems more racially biased in its assumptions than one focused on traditional models. In the case of Haiti, its population is primarily of African origin. Those who claim "countries of color" as a criteria for policy adjudication, seem to want an immigration policy based on reverse racial preferences, as if we had an obligation to accommodate more "people of color" than so-called "other" racial types.
There is no doubt that President Trump is rude, and speaks his mind. There is no doubt that he is often ignorant, and even foolish in his behavior and speech. But the point here isn't racism. It's about actual immigration policy, and whether we should continue to adjust that policy to suit models and targets that prioritize race over other measures.
Reality is often unpleasant. We've had Presidents in the past who spoke bluntly, and sometimes rudely (usually in private). The difference with Trump is that he doesn't care how he's perceived, or he believes that creating embarrassment, or distress, or confusion--even if it backfires or reflects back on him--is his prerogative.
Frankly, I don't care if he's rude. I've disagreed with almost every program he's advocated, and he's clearly, despite his style and campaign claims, a classic Republican who serves the interests of the rich and big business. But the issue here isn't racism. The media simply has it wrong.
We live in strange times.
The Democratic Party is holding the federal government funding package in Congress hostage to the Dreamers, who constitute something like .00216718% of the population (allegedly 700,000 individuals, but probably many more uncounted).
According to speculative reports I have read online, the San Francisco Giants' 2018 line-up is shaping up to look like this:
Andrew McCutchen RF
Joe Panik 2nd
Evan Longoria 2rd
Buster Posey C
Brandon Crawford SS
Brandon Belt 1B
Hunter Pence LF
Austin Jackson CF
Madison Bumgarner P
With the acquisition of McCutchen and Longoria in the off-season, the line-up has been beefed up with additional right-handed power, something that has been sorely lacking over the last several seasons. It is possible, of course, that Jarrett Parker or Mac Williamson may move up in the team rankings, which might change the outfield alignment. And there is always the possibility that a previously unsung platoon man may rise to the top. Pablo Sandoval is still only 30, which seems a bit early to consider his career over. Could he ever hit .300 again? Perhaps if he stopped the switch-hitting, and stuck to left-handed.
The front-line starting pitching staff is not much different than 2017, which means we have three excellent starters, at least on paper. Can Samardzija ever live up to his potential? Can Cueto return to his 2016 form? And in the bullpen, we now have Dyson and Melancon, both of whom is a finisher. Could they perform in tandem? One as set-up, the other as closer? Matt Moore is gone (thank god), as is Matt Cain.
What does 2018 portend?
As always, it depends on performance. This group has loads of talent, and if they all played to potential, they'd be hard to beat. The three starters are perfectly capable of winning 18 games each. Mccutcheon, Panik, Posey, Longoria--all capable of All Star stuff. Will Belt have a breakout year? Will Pence regain his previous prowess? Can this group hit over 200 homers? Will the two closers get 45 saves?
Latest from the stainless steel counter, a new combination made exclusively from liqueurs.
2 parts sweet vermouth
2 parts Cachaca
1 part Amaretto liqueur
1 part fresh lemon juice
Swirled and served up, possibly with a garnish of orange peel.
This combination has no "straight goods" and might therefore be considered an aperitif mix. One could, I think, substitute some of the vermouth and Cachaca with golden or white rum (in a 2 to 1 to 1 to 1 to 1 formula), and this would be a somewhat stronger drink, but I don't think the taste would be altered much, or for the better. Amaretto is a powerful flavor, but seems to meld nicely with the other two ingredients.
Complex combinations can taste ambiguous. The great majority of spirits drunk around the world are taken straight. Cocktails, almost by definition, signify coordinations of flavors, bringing together proprietary products, fruit and vegetable products, with specific "goods" (traditional spirit distillations). We have at our disposal today, hundreds of varieties of goods, as well as a host of mixing ingredients--so many that no one could ever exhaust the possibilities. Some drinkers settle on one spirit, or simple combination, and never deviate from it. Others, such as myself, are restlessly trying new ideas, conjuring up unlikely marriages, imagining improbable bedfellows.
Who would think of introducing aquavit to Chartreuse? Curiosity--rather than invention--can be the mother of . . . what? A new discovery, or a blind tasting-alley? Many of the experiments I conduct never find their way into my cocktail blogs, because they're failures. One of the hallmarks of a successful cocktail is that it will inevitably taste right from the start. Some flavors are intriguing, but don't hold up. Cloying sweetness, stingy dryness, blandness, excessive tartness, etc.
This recipe has a decidedly complex flavor. It's smoothness may be an indication that none of its constituent components are allowed to stand out. Anyone of these--gin, vermouth, aquavit, Chartreuse--can be drunk straight; and in other combinations, they can be the dominant flavor. A lot of complex drinks--those, say, with more than 3 separate parts--strike just the right note, like a scientific formula. Makers of swords, for instance, learn to combine individual metals in the precise proportions to create strength, durability, flexibility, and the perfect tapering blade-edge. There's no question that mixing cocktails involves some of that same balancing act, though finding it is rarely attempted with the same devotion and intensity as making useful alloys.
2 parts gin
2 parts dry vermouth
1 part aquavit
1 part yellow Chartreuse
1/2 part Barenjaeger
1 part fresh lemon juice
In the end, you must follow your own instincts. When I'm contemplating a mix, I begin either with a spirit (say, scotch), and then meditate what "spin" I might guess would twirl it in the right direction. I suspect that the venerable old Rusty Nail was invented in just way, with someone wondering how Drambuie would affect scotch. Since Drambuie is made out of scotch, it wasn't much of a leap.
I have a lot of drink mixing books, and there are dozens and dozens more out there. Most of them begin by reiterating the classic combinations with the familiar names, and then timidly suggest a few original ones of their own. Having dipped into quite a few, I now look for books that boast all new recipes, rather than repeating the tried and true.
Here's to variety!
Le Dejeuner sur l'herbe [The Luncheon on the Grass 1863] is a painting by Edouard Manet [1832-1883]. It is a familiar painting, now recognized as among the most important pre-Modernist paintings.
The history of painting over the last 500 years is a record of a succession of styles, a development both of technique and of subject matter. The gradual emancipation of the artist from the limitations of formal strictures, as well as of the range of acceptable narrative, during the 19th Century, is an account of challenge and defiance of cultural norms, with each stage setting a higher bar of permission, for those who would follow. The idea of revolution in art, is born in the late 18th and early 19th Centuries, and to a large extent, we're still carrying on this struggle of resistance and renewal through invention and discovery.
How must the public have felt, in 1863, upon first seeing this large [about 7x12 feet!] canvas at the Salon des Refuses? Clearly intended to shock, the picture is also a commentary upon classical subject matter, updating and placing it in ironic contrast to its putative historical models.
Though the figures are drawn in a realistic manner, they seem stiff and posed, as if in imitation of some formal, theatrical posture. This rigidity would be normative in a lot of classical scenes, but here it seems completely out of place. We have difficulty inventing a narrative that would explain the nude's disrobing, or her presence between the two conversing men. Is her nudity a violation of her sex, or is she a projection of the aesthetic preoccupation of the figures, who seem to be stand-ins for the painter himself. Or is she just a piece of furniture in a satirical cartoon?
It's the incongruousness of the nude's presence which determines our reaction. She clearly doesn't belong in the painting, in the same way that she doesn't belong in a real picnic in the France of the 1880's. It's like a temporal displacement, a forced enjambment of contradictory contexts. This incongruousness has more connection to later artistic movements--Surrealism or Dadaism--than to any discernible tendency of its time. The painting may seem shocking, or humorous, or defiant, but it doesn't strike one as "beautiful" or graceful or cheerful, or even melancholy or moving. It's an aesthetic statement, one intended to draw a line in the sand, either an end or a beginning, depending upon your point of view. In a way, it's more typical of how Warhol or Lichtenstein might conceptualize it, than how any critic or viewer would have in the 19th Century.
Outside the area of the figures, the painting seems pretty sketchy, an afterthought, the brush strokes casual, even careless. This contrast between the hard clarity of the foreground figures against the pictorially drab background also underscores the sense of imposition, of a truncation of the historically separate modes. Manet seems to be emphasizing the disjunction, without making any overt attempt to connect the opposing contexts. This kind of deliberate exaggeration and disjunction has much more in common with later absurdist depictions than anything else of its time.
Unless, of course, we are willing to apply the same Modernist or Post-Modernist criteria to earlier, classical works such as those of Giorgione, whose two pictures here are commonly accepted precursors of the Manet work, both of which display much of the same kind of accepted "techniques"--the skewed perspectives, the incongruous nudes, the staged quality of the narrative, and the sketchy metaphorical landscapes which form the backdrop of the drama. If we think in a relaxed way about these earlier efforts, it's easy to see how naive, absurd and unreal they are. That we should, on the one hand, see these 16th Century canvases as typical masterpieces employing standard mythical subject matter, while viewing the Manet as a shocking challenge, tells us much about how later developments and critical accommodations of the emancipation of art from the clichés of previous dogma have altered how we view works within the progression of historical development.
Were audiences in the 16th Century as offended by the nudity of such canvases as these by Giorgione, as audiences in the 1880's must have been by Manet's? Did they see art in the same way we now tend to do, as natural reflections of the spirit of the time, rather than as evidences of a kind of divine inspiration whose purpose was to inspire them to imagine another kind of (ideal) reality?
It's been an odd year.
The predicted droughts of Global Warming haven't quite materialized, though the winter rains weren't quite enough to reassure Californians. As anyone knows, the crucial factor is the Sierra snowpack, which is what feeds the dams and reservoirs that irrigate our region.
But Spring is always a time for renewal, and the poets have to perform their task to celebrate it.
Embarking upon my seventh decade, as, more and more, my life begins to take on a familiar shape, my memories consolidate into a design that feels, increasingly, inevitable. My genetic inheritance, my early tendencies, my upbringing--the "country of my consciousness"--all appear to coagulate around something called Curtis, which I accept or regret according to my mood.
Meeting new friends, while old ones drift away. Saving what's valuable, and cleaning out the clutter. Coming to terms. Resolving.
Here are three new recipes from the stainless steel counter, which doubtless bear my personal stamp, though there may be bartenders somewhere in the world simultaneously duplicating them, unbeknownst to me. If I've inadvertently imitated someone else's concoction, my apologies.
The first two were designed to be served up, the last over ice. The first two are for two drinks, the last for one.
3 parts gin
1 part apple liqueur
1/2 part maraschino liqueur
1/2 part sugar syrup
1 part fresh lemon juice
2 parts aquavit
2 parts dry vermouth
1 part Berenjaeger liqueur
1 part limoncello
1 part lime juice
1 1/2 parts white rum
1/2 part cachaca
1/2 part banana liqueur
1/2 part lime juice
May all your Springs be rejuvenating, and all your toasts come true.
It's all about the oil, I think. They come in small packages, about enough for 2-3 people to consume in one sitting. I suspect that they'd quickly go rancid once exposed to air, even in the ice-box. Perishable.
Summer again, and time for cool accompaniments to relaxing late afternoons.
This one's composed entirely of liqueurs, with no "goods" as such. Which makes it purely an aperitif, in the European sense, suitable for college students and polite ladies, between homework sessions or shopping trips. It may be diluted as much as desired with effervescence, to vary its strength.
1 shot Aperol
1 shot grapefruit liqueur
1/2 teaspoon creme de menthe
1/2 teaspoon lime juice
topped off with unsweetened carbonated lime water
served over the rocks, with or without a garnish (orange or lemon or lime) probably in a tall glass
I think you will like this one.
3 parts select bourbon
1 part Amaro
1 part dry vermouth
1 part B & B liqueur
1 part fresh lemon juice
poured over ice in any common tumbler
What is dryness in language?
What is dryness on the palate?
Wet versus dry.
"You're all wet!"
"How dry of you!"
Lime is dry, and molasses is wet.
Pope is dry, whilst Swinburne is wet.
We could continue this little game for quite a while.
Meanwhile, the ice is melting.
The earth is warming.
The girls are bored.
The time's wasting.
This is a concoction which begins dry, but "opens up" the way a good red wine may, as oxygen interacts with the complex molecules in the vintage.
Don't be put off by your first impression. First impressions can be deceiving.
"Don't be such a conceited sod!"
And so I rest my case.
Here are two new inventions from the steel counter.
When we built our house in 1991, I wanted a stainless steel counter. I didn't have anything specific in mind regarding kitchen activity, I had just always admired stainless steel counters, which were then beginning to be considered stylish, supplanting the white painted appliances, and later tile surfaces which were big in the 1960's and '70's. Each kind of surface has its pluses and minuses. Stainless steel is very easy to clean, and presents a high sheen. On the downside, it can't be mended (the way tile can), and over time, it will exhibit a soft cross-hatch of very tiny scratches. I suppose these last could be buffed to a new shine, but who would go to that trouble?
Neither wife nor I are serious chefs--though she's an inveterate collector of cookbooks--albeit we definitely are connoisseurs of good food and drink. Not sure how I got into the cocktail habit, but it's a pleasant hobby. People go to school to learn to be bartenders, but I doubt there's much to teach, beyond the basic ingredients, and a few memorized popular recipes. The social interactive part's probably as important as the "science"--making your customers feel at ease, unburdening their cares or just cheering them up.
I like the idea of inventing a concoction that the "professionals" mightn't have thought of (yet). Aquavit--the Scandinavian liquor--is largely neglected by bartenders, though to my mind (and palate), it's a perfectly distinct and cooperative ingredient. Its flavor ranges across caraway, cumin or fennel, which makes it quite unlike gin or vodka.
St. Germaine has become popular over the last decade. Not sure if it was used in previous times. Probably in Europe.
3 parts Tanqueray "10" gin
1 part ginger liqueur
1 part Cointreau
1 part Linea aquavit
1 part fresh lime juice
Shaken and served up
garnish lime wedge
3 parts Irish whisky
1.5 parts dry vermouth
1 part St. Germaine liqueur
1/2 part ginger liqueur
1 part fresh lemon juice
Shaken and served up
Bill Berkson's Since When [Minneapolis: Coffee House Press, 2018, 262pp.], as an analogue of his life, seems pretty much right on.
It starts out with a fairly traditional straight "David Copperfield kind of" autobiographical account, beginning with his childhood, his parents--for about 40 pages--then devolves into a loose amalgam of anecdotes, portraits, isolated memories, essays, reports and odd bits. That fragmentation and disintegration of narrative says a lot about the life story of one of America's most interesting--and in many ways, illustrative--cultural witnesses: The transformation of class, the friction between and among diverging or converging groups, precincts, which characterized Bill's journey from a would-be patrician to a sophisticated artist and critic.
Because the book, though substantially "finished" by the time he died, appeared posthumously, it gives it an odd "behind the membrane" feel, as if Bill were speaking to us from beyond the curtain. And there is something conclusive and omniscient about it, as if it were about something that was already history. Bill's life and character had that quality, of a witness to event, personalities--always attentive, always recording.
New York for many people is the center of the universe, or at least the cultural nexus of the United States. People would migrate there, because it was where things happened, where careers were made, where the energy was. Bill's parents were part of that, having come to it from other parts of the country--the world they made, the world Bill grew up inside of. So that leaving that world, as Bill did, in his '30's, to come to California, represented a counter movement, perhaps in some sense a repudiation of the destiny the city represented. Though a native, who would never really be "away" in spirit, that was a distinct break.
Raised as an only child in a connected, well-to-do family--his father was the general manager of the Hearst International News Service, and his mother a professional promoter in the New York fashion world--he sidestepped the usual professions (business, the law, etc.) of his class, to become an avant garde poet and art critic, who moved seamlessly between and among groups and individuals of widely different backgrounds, never losing his center. This would probably only have been possible in New York, where the art and commerce were in such close proximity, one could assume a sort of incognito profile, lubricated with the native charm and good looks he'd been blessed with. This profile, nurtured on security and confidence and connections, would sustain him all his days.
I first met Bill in the mid-1970's. I had been loitering around in the back office of Peter Howard's small bookshop on Shattuck Avenue in Berkeley, when I noticed a blue folder of poems on a shelf. I picked it up, and discovered it was a typescript draft of Blue Is the Hero, Bill's selected early poems manuscript. I had read some of his poems in little magazines, and had been intrigued by his work, which seemed sophisticated and rich in ways I liked. Later, when I applied for a small publisher's grant, I listed this book as a possible project for publication. When I contacted Bill (in Bolinas), he quickly agreed to the idea. He had thought that Braziller might pick it up, but they hadn't. This led to an amicable relationship that went on for a couple of years, while the book was in the editing and printing stage(s). I visited Bill in Bolinas, and we corresponded a good deal. Afterwards, we stayed in touch over the years, first by mail, and then eventually by e.mail. As it turned out, he liked my work as well (writing a nice blurb for my collection Stanzas For An Evening Out); had I not self-published my early work, he might well have undertaken it. What was clear from the beginning, though, was that we moved in different circles, and it was unlikely, if not impossible, that we would ever really spend much time together. The first things I remarked about Bill were his appearance--sort of trusty American good looks--and his voluble charm. (The only odd things were his ears, which were widely set; and he was a southpaw.) He was a great reader of his own work, imparting almost an actor's skill in delivering his lines, in a natural speaking voice, devoid of the kind of monotone or nervously uncertain quality one often hears from writers and poets. I always had the feeling he was just "talking" his work, rather than reading it.
Because of his connected background, Bill had hobnobbed with famous people all his early life, and his orientation always included the social dimension. Larry Fagin's early "The Bill Berkson Story" --
The Bill Berkson Story
I discovered some bran macaroons, Sunshine
You can buy in the supermarket, Finest,
But they're Sunshine, which reminds me
Of what Norman Winston said in the Hotel de Paris,
Monte Carlo, at a party given by Elsa (Dinner) Maxwell,
And I sat one person away from Noel Coward (I have a
Photograph). Garbo was there, too, and I was . . . it was
Great. We had this very dog-faced (sad) waiter and
Norman said "Do you have any macaroons?" The waiter
Couldn't believe it. He called for the Maitre D'
Who had a batch macaroons made up special, but it took
1/2 hour (we had coffee). John Gunther was speaking.
Norman built the shopping center where Larry Rivers'
Mural is hanging I think (out at Smithtown) and . . .
--is a funny, though somewhat exaggerated, take on Bill's elevated tone. The evocation of famous people--his parents routinely came into contact with familiar figures in entertainment, the arts, the theatre, fashion and sports--became a nostalgic diorama in his memory, and I've always thought that his work (like his life) was just poised between the social and aesthetic modes, balancing an awareness of the personal, with the ratiocination of the inner visionary eye--i.e., you couldn't focus on one without remembering the other. And his ability to do that, without awkwardness or pressure, I always admired. Behind all that, too, was the knowledge that Bill, unlike almost everyone else in the Bolinas scene, was financially secure, his father having provided for him in the form of an annuity before he died in 1959.
The fact of Bill's life--his self-transformation from a quasi-upper middle class heavy to a 'Twenties style underground bohemian--was a process he undertook deliberately, eyes wide open. You might have expected Bill to be a snob, but his interest in people and things was stronger than any insecurity (or haughtiness) his background may have implied. He became, as in the tradition of Mencken, an aristocrat of complex taste.
For a long time, it was hard to separate Bill from his connection to Frank O'Hara, particularly since, as the older poet's keeper of the flame after the fatal accident on Fire Island in 1966, he seemed preoccupied with that--or at least one's consciousness of that connection overshadowed the other things Bill was doing. He worked as a writing instructor, an editor (Big Sky), and eventually segued into serious art criticism and teaching. His relationship with O'Hara, though "Platonic" in its intimacy, for many years shaped his reputation as much as anything else he may have done.
Bill's work began in a kind of wholesome confusion, then became refined and somewhat focused. Then, in later age, he dove back into abstraction and became pretty scattered. Blue Is the Hero  documents the first two stages, then, with Serenade , everything gets very ambiguous and complex and frivolous (in my view). My favorite book is Lush Life , the title taken from the great lyric single by Ellington. (If you listen to the chord changes in that piece, you have a good shorthand of Bill's character. If that sounds mysterious, then so be it.)
The last chapter of Bill's life began with his lung transplant in 2004, after 40 years of heavy smoking. He'd thinned down, and his features had changed, from the "rugged" crust of middle-, to the more fragile ghostliness, of old age. I last saw him in person about 10 years ago, after this miraculous reemergence.
Since When is filled with his familiar voice--
"That shock, shortly before my sixtieth birthday, of realizing that I had slipped over a line and had spent more than half my life in California, all the while maintaining my New York credentials . . . That natural habitat we carry in and around us is so telling."
Regarding the smokey air from the so-called "Camp Fire" forest fire in Northern California in November 2018.
This may seem counter-intuitive, but I grew up in a house with a man who insisted on having a roaring fire
in the fireplace, most Winter nights.
The house routinely smelled like woodsmoke, and I suppose the "air quality" was probably not the best.
I would be the last person to think that these fires are anything but a tragedy to the planet, and to humanity in general.
But everyone going around wearing masks and saying "tsk tsk" has become more of a social cliché.
The dangerous air part is clearly being over-stated, in my EVHO (ever so humble opinion).
The underlying narrative will ultimately involve determining the actual cause, which now appears to have been another PGE snafu. That's the real issue.
My wife's boss lost his big home in Paradise--house, barn, entire contents. Everything. Someone needs to answer for that, and it may be that the utility crisis will devolve into local jurisdictions, since corporate oversight seems to have been completely abandoned by the Pee Genie.
1 part Pisco
1 part limoncello
1/2 part lemon juice
1/2 tablespoon amaretto
Served over the rocks, and stirred.
3 parts aquavit
1 part cinnamon liqueur
1/3 part creme de menthe
1/3 part black Sambucco
1 part fresh lime
Shaken and served up with lime skin garnish.