I bet you there's a contingent of readers out there somewhere saying, "Wordplay, this mythology is all well and good, but what about the 'everyday life' part? Have you ever once given us any sound, practical advice that we could actually use in daily living?" Now that you mention it, I'm not sure I have. In my defense, I have to say that I didn't think household hints, recipes, and the 10 best ways to organize your desk were in my line exactly. I assumed they were better handled by someone else, but maybe not.
Well, a myth specialist has to deal with the same little problems as everybody else (and maybe more--I can tell you for a fact I've had more than my share of aggravation when it comes to strange neighbors, uncivil behavior from random members of the public, and travel nuisances, for example), but I've written about of all that before. Besides, I'm guessing it would be better to "cut my teeth" in the practical hints department on something I have a proven remedy for, so I'm going to tell you how I successfully got a water stain out of an upholstered chair, the very one I'm sitting in now, in fact. And before you ask, yes, this too has a mythic component. It's in the spirit of Hestia, whose season we're in as the colder weather pushes us indoors and thoughts turn to hearth and home, that I gladly give you this advice.
First, some background, vis-a-vis, how the water stain came to be there. It's because of an accident in which the glass I was drinking from slipped when I was putting it on a coaster. Unfortunately, this beverage was as colorful and stain-intensive as it's possible to be (a mixed-berry smoothie), so the spot was about as bad as bad can be, almost like red wine on the fabric. I'd never had to deal with this situation before, so of course, I looked it up online and found a trove of ideas, the simplest of which involved blotting and mild dish detergent. I actually didn't think it would work, but it did, after a little persistence. Problem was, this treatment left a water stain that was much bigger, if less vivid, than the original trouble spot.
Now, don't distract me by wondering if the accident could have been a Jungian "slip" of some kind. I'm not going down that road. Suffice it to say there was a honking big water stain on the back of the chair. The chair isn't placed so that the stain really showed, but I knew it was there. I knew any remedy I tried would be risky, since I'd seen several warnings about checking for an item's upholstery code, which is supposed to tell you which treatments will and won't work, before starting. If my chair has such a code, I couldn't find it, so I just tried to figure it out on my own, with the result that I solved one problem but was left with another one.
The original accident happened quite a while ago, and not long after, I tried to remove the water stain by misting it with white vinegar. This might have worked if I'd been able to follow it up with steam, but I couldn't get my iron to direct steam onto the upholstery without actually touching it, so I had to abandon that method. Every now and then, I'd look at the chair and think, "I wish there was something I could do about that water stain." At some point, I looked up additional remedies, one of which caught my eye by stating that it would probably work even if the stain had been allowed to languish for a while. That seemed hopeful, but for one reason or another (the feeling that further attempts at cleaning might only make things worse being paramount) I didn't get around to it until recently.
Here's where I'll get a little philosophical: sometimes, when you can't do anything in a major way about truth in advertising, the downfall of American cinema, or bizarre neighbors, it helps to accomplish some little, concrete thing, even if it matters only to you. The remedy I had in mind involved carpet cleaner, which I already had, so one afternoon when there was lots of light, I hauled the chair over to the window, sprayed it lightly, and blotted carefully with a damp (not wet) white cloth. The idea was to avoid saturating the upholstery and to lift the stain off with the cloth. The instructions said to apply cleaner to a large area, not just the stain itself, so I treated the entire back of the chair.
Here's where another virtue came to the fore: patience. It really didn't look like anything was happening at first, although certainly the chair didn't look any worse. After the upholstery was dry, I reapplied cleaner and blotted again. I let the chair sit overnight, and then treated it a few more times, letting it dry between treatments. By the second to last time I did it, I could see that it was making a difference. Even in sunlight, I couldn't see the stain anymore, and the back of the chair looked the same as the front. I finished the process with a thorough vacuuming. Success!
Now, it may sound like a little thing, but I can tell you it was really satisfying to be able to solve even such a simple problem. Hestia would be proud (Heloise, too). My heart is a little bit lighter every time I look at the chair, which I bought at the same time I bought the desk I'm working on, just before I started my dissertation. I did some dissertation work sitting at this desk, which no doubt accounts for my pride at being able to return the chair to tip-top condition. Come to think of it, though, I did most of my writing while sitting on the couch, and it has a small water stain under the cushion where I tried to remove a spot of chocolate once. Perhaps the same treatment will work there, too, but right now, I'm still enjoying my success with the chair, so that will be a project for another day.
So there it is, how to remove a water stain from an upholstered chair. Now you can't say I never gave you anything. To all people of good will and stout heart out there, may all your problem-solving end this completely and this well, whether or not it involves a chair.
Thursday, December 3, 2015
Thursday, November 26, 2015
Getting Down with Pie and Jazz
It's Thanksgiving, the dinner has been eaten, and the dishes are soaking. It's been a quiet holiday, but as Thanksgivings go, I've seen worse, I promise. One of the best things about today was the mild and sunny weather, a nice departure from the typical drab-and-overcast Thanksgivings we usually see around here.
Over the last couple of weeks, the trees have been slowly shedding their leaves, and the fall colors have faded into a landscape of dun, charcoal, and dull green. Earlier in the week, a red or yellow tree here or there stood out like a beacon in a world of brown; now even those outliers have subsided into leaflessness. But when I sat outside for a few minutes this afternoon, drawn by the sun, I was looking at a blue sky through all those bare branches, and all in all, it was a pretty fair view. I don't know that I've ever sunbathed on Thanksgiving before--I wouldn't mind doing it more often.
I spent this past week cleaning and getting ready. Last Friday, it was shopping; Saturday and Sunday, it was cleaning and dusting. Monday I vacuumed and mopped the floors; Tuesday I did the laundry and made iced tea. Yesterday, I made pie crust, and finally, the piece de resistance, my Thanksgiving pie. I usually make Thanksgiving dessert ahead of time, and this year was no exception, but the dilemma of what to make preoccupied me for several days. It was probably the only thing I really had to think about, since I'd already decided on the potato recipe from last year that was so good with bay leaves and olive oil, the homemade cranberry relish, and some old standbys from years past.
I'm of the persuasion that thinks you ought to have pie (as opposed to cake or something else) for Thanksgiving. The question was, what kind? I've gone off pumpkin pie, which I used to like; I considered a chocolate pie, but in the end, it just didn't seem "Thanksgiving" enough. I've already had plenty of apples, it isn't the season for strawberries, and coconut is just plain wrong. So what about the pie I had last year, the caramel-walnut pie that was almost like eating candy and tasted so good in the buttery crust I made for it?
I thought about it, but the truth is that I associate that pie with a conversation I had while making it, and I didn't want to bring that memory into my preparations for this year's feast. New year, new plan. So I searched around in an old cookbook I have and found a recipe I'd never tried before, a nut pie with raisins and spices that seemed like the perfect accent to a Thanksgiving meal, traditional enough to go with the menu but unlike anything I'd made before. It called for corn syrup, an item I don't recall having in my kitchen since at least the early '80s, but it turns out that sugar and molasses work just as well. I made the pie last night, and as it cooled, a brown crust formed on the top, just like in the picture, giving no hint of what the center looked like.
This afternoon was a whirl of rinsing, chopping, and stirring, and I threw off my planning a little by sneaking off for sunbathing, but it didn't make any difference in the end as everything seemed to come together somehow. On the stereo, I put together what I considered to be the perfect soundtrack as a background to not only cooking but also eating and cleaning up: two parts jazz, one part roots rock, one part Linda Ronstadt (in her Nelson Riddle Orchestra days), and one part Irish fiddling. In case you've never tried it, jazz goes great with turkey, and there was enough variety in the mix to keep it all lively.
So what about this pie? I had imagined it would be similar to pecan pie, and it was, only . . . better. It actually has more sugar in it than last year's pie, which seems astonishing, but it doesn't have as much fat because, no cream. It's like a pecan pie with something unexpected, those raisins hitting your mouth like little nuggets of sunshine, the cinnamon, nutmeg, and cloves complicating the sweetness to just the right degree. I had thrown in some hazelnuts, too, as a good Celt should. I don't know that I would have liked this pie as a kid, but I hope my tastes have matured at least a little since then. It's a dessert for grownups who can appreciate the layering of flavors without just swallowing the entire thing whole, and it probably makes you smarter, too (=hazelnuts).
So that was my Thanksgiving: smoky jazz, turkey and dressing, blue sky and sunshine, a pie that will stand up to a week in the refrigerator, and a sink full of dishes. I hope yours was good, too.
Over the last couple of weeks, the trees have been slowly shedding their leaves, and the fall colors have faded into a landscape of dun, charcoal, and dull green. Earlier in the week, a red or yellow tree here or there stood out like a beacon in a world of brown; now even those outliers have subsided into leaflessness. But when I sat outside for a few minutes this afternoon, drawn by the sun, I was looking at a blue sky through all those bare branches, and all in all, it was a pretty fair view. I don't know that I've ever sunbathed on Thanksgiving before--I wouldn't mind doing it more often.
I spent this past week cleaning and getting ready. Last Friday, it was shopping; Saturday and Sunday, it was cleaning and dusting. Monday I vacuumed and mopped the floors; Tuesday I did the laundry and made iced tea. Yesterday, I made pie crust, and finally, the piece de resistance, my Thanksgiving pie. I usually make Thanksgiving dessert ahead of time, and this year was no exception, but the dilemma of what to make preoccupied me for several days. It was probably the only thing I really had to think about, since I'd already decided on the potato recipe from last year that was so good with bay leaves and olive oil, the homemade cranberry relish, and some old standbys from years past.
I'm of the persuasion that thinks you ought to have pie (as opposed to cake or something else) for Thanksgiving. The question was, what kind? I've gone off pumpkin pie, which I used to like; I considered a chocolate pie, but in the end, it just didn't seem "Thanksgiving" enough. I've already had plenty of apples, it isn't the season for strawberries, and coconut is just plain wrong. So what about the pie I had last year, the caramel-walnut pie that was almost like eating candy and tasted so good in the buttery crust I made for it?
I thought about it, but the truth is that I associate that pie with a conversation I had while making it, and I didn't want to bring that memory into my preparations for this year's feast. New year, new plan. So I searched around in an old cookbook I have and found a recipe I'd never tried before, a nut pie with raisins and spices that seemed like the perfect accent to a Thanksgiving meal, traditional enough to go with the menu but unlike anything I'd made before. It called for corn syrup, an item I don't recall having in my kitchen since at least the early '80s, but it turns out that sugar and molasses work just as well. I made the pie last night, and as it cooled, a brown crust formed on the top, just like in the picture, giving no hint of what the center looked like.
This afternoon was a whirl of rinsing, chopping, and stirring, and I threw off my planning a little by sneaking off for sunbathing, but it didn't make any difference in the end as everything seemed to come together somehow. On the stereo, I put together what I considered to be the perfect soundtrack as a background to not only cooking but also eating and cleaning up: two parts jazz, one part roots rock, one part Linda Ronstadt (in her Nelson Riddle Orchestra days), and one part Irish fiddling. In case you've never tried it, jazz goes great with turkey, and there was enough variety in the mix to keep it all lively.
So what about this pie? I had imagined it would be similar to pecan pie, and it was, only . . . better. It actually has more sugar in it than last year's pie, which seems astonishing, but it doesn't have as much fat because, no cream. It's like a pecan pie with something unexpected, those raisins hitting your mouth like little nuggets of sunshine, the cinnamon, nutmeg, and cloves complicating the sweetness to just the right degree. I had thrown in some hazelnuts, too, as a good Celt should. I don't know that I would have liked this pie as a kid, but I hope my tastes have matured at least a little since then. It's a dessert for grownups who can appreciate the layering of flavors without just swallowing the entire thing whole, and it probably makes you smarter, too (=hazelnuts).
So that was my Thanksgiving: smoky jazz, turkey and dressing, blue sky and sunshine, a pie that will stand up to a week in the refrigerator, and a sink full of dishes. I hope yours was good, too.
Thursday, November 19, 2015
Crocodile Tears
In view of this past week's events in Paris, this seems like a good time to stop and reflect, as Americans and world citizens, on the actions we should take and the kind of world we want to live in. I was uncomfortably reminded the other night--when I heard of the calls for sending more troops to the Middle East--of some of the consequences unleashed by 9/11. Up until now, it seems that many of our interventions in the region have only created new problems, so I'm not sure how people can be so convinced we'd see better results this time, but they'll tell you they are.
To me it seems that many suggestions for fighting terror are "after the fact" remedies, whereas it would be more constructive to address the causes of terrorism at the root. In medicine, the principle for good health is "an ounce of prevention"--why shouldn't this apply to geopolitical conflicts as well? I've heard people well-versed in the politics of the region discuss such factors as global warming, joblessness, and sectarian divisions as having a role in much of the violence that's occurred in recent years. At the same time, many people are trying to understand the success jihadists have had in recruiting members from other countries, so it's obviously a multifaceted problem.
Unfortunately, it's my impression that some of our leaders, despite what they say, are not as committed as they ought to be to really eradicating terrorism. War profiteering is a real thing; there's a lot of money to be made in that arena, and some of the people responsible for decision-making in matters of security have conflicts of interest that make you wonder how they could possibly be the best judges of these things. This is not to say that war is never justified, only that some of the people making these life and death decisions for us don't have the purest basis for doing so.
I'm regularly put off by discussions in which people attempt to discredit someone's argument based solely on who he or she is: "What do you expect from a Democrat?" or "What do you expect from a Republican?" does nothing to touch on the logic of what's being said. But it's naive not to consider a person's motives when you're weighing positions he or she takes on high-stakes issues that are more a matter of conjecture or professional opinion than pure logic. Someone may sound quite reasonable when they speak of Middle East policies, but what are they leaving out? How is their position influenced by factors you're not aware of? In some cases, decisions may be shaped by nothing grander than self-interest and profit motives. That's why, when I hear the hand-wringing over the killings in France, I wonder at the disingenuousness of some of the actors involved; the phrase "crocodile tears" comes to mind, and it's only too apt, I'm afraid.
I think it's a good idea to take the long view of any solutions the United States considers, in concert with other nations, in response to terrorism. The solutions that seem more likely to result in lasting peace would likely require wisdom, time, patience, and a re-evaluation of some of our past policies. I've often wondered why more isn't done to eliminate the financing of terror groups, for instance, but I'm afraid the answer is that in some cases we haven't wanted to look too closely at the sources of their support because of what we might see.
The problem of terrorism reminds me of a Mobius strip; some of the efforts to "fight it" only feed into it, and this is according to many people more familiar with the situation than I am. It's a loop that doubles back into itself, all of a single piece, where terrorists and their would-be antagonists are, at times, indistinguishable. It's like one of those M.C. Escher pieces in which stairways lead crookedly in all sorts of wild directions except the true one, or like Jorge Luis Borges' Library of Babel, in which an entire universe of books, an infinite trove of them, leads to boundless searching, bottomless to-and-froing, and endless climbing up and down--but never ever, not once, to any meaningful answers.
To me it seems that many suggestions for fighting terror are "after the fact" remedies, whereas it would be more constructive to address the causes of terrorism at the root. In medicine, the principle for good health is "an ounce of prevention"--why shouldn't this apply to geopolitical conflicts as well? I've heard people well-versed in the politics of the region discuss such factors as global warming, joblessness, and sectarian divisions as having a role in much of the violence that's occurred in recent years. At the same time, many people are trying to understand the success jihadists have had in recruiting members from other countries, so it's obviously a multifaceted problem.
Unfortunately, it's my impression that some of our leaders, despite what they say, are not as committed as they ought to be to really eradicating terrorism. War profiteering is a real thing; there's a lot of money to be made in that arena, and some of the people responsible for decision-making in matters of security have conflicts of interest that make you wonder how they could possibly be the best judges of these things. This is not to say that war is never justified, only that some of the people making these life and death decisions for us don't have the purest basis for doing so.
I'm regularly put off by discussions in which people attempt to discredit someone's argument based solely on who he or she is: "What do you expect from a Democrat?" or "What do you expect from a Republican?" does nothing to touch on the logic of what's being said. But it's naive not to consider a person's motives when you're weighing positions he or she takes on high-stakes issues that are more a matter of conjecture or professional opinion than pure logic. Someone may sound quite reasonable when they speak of Middle East policies, but what are they leaving out? How is their position influenced by factors you're not aware of? In some cases, decisions may be shaped by nothing grander than self-interest and profit motives. That's why, when I hear the hand-wringing over the killings in France, I wonder at the disingenuousness of some of the actors involved; the phrase "crocodile tears" comes to mind, and it's only too apt, I'm afraid.
I think it's a good idea to take the long view of any solutions the United States considers, in concert with other nations, in response to terrorism. The solutions that seem more likely to result in lasting peace would likely require wisdom, time, patience, and a re-evaluation of some of our past policies. I've often wondered why more isn't done to eliminate the financing of terror groups, for instance, but I'm afraid the answer is that in some cases we haven't wanted to look too closely at the sources of their support because of what we might see.
The problem of terrorism reminds me of a Mobius strip; some of the efforts to "fight it" only feed into it, and this is according to many people more familiar with the situation than I am. It's a loop that doubles back into itself, all of a single piece, where terrorists and their would-be antagonists are, at times, indistinguishable. It's like one of those M.C. Escher pieces in which stairways lead crookedly in all sorts of wild directions except the true one, or like Jorge Luis Borges' Library of Babel, in which an entire universe of books, an infinite trove of them, leads to boundless searching, bottomless to-and-froing, and endless climbing up and down--but never ever, not once, to any meaningful answers.
Thursday, November 12, 2015
L.A. Sees a Shooting Star
A news item showed up this week about a strange light in the skies over Southern California last Saturday night. I almost didn't read the article (because when isn't something odd happening in Southern California), but the story came with an amusing video shot by some excitable kids as well as descriptions of a host of reactions from residents. There were anxious calls to authorities and theories about UFOs and meteors, but the reality turned out to be somewhat more, well, if not mundane, at least more terrestrial in nature.
A ballistic missile submarine conducting a test fired the unarmed missile from off the coast, creating a spectacular display that was apparently visible even across state lines. The submarine was the USS Kentucky, conducting a test that was routine but unannounced--hence all the nervous speculation from the public. Yes, the USS Kentucky, but don't go thinking I had anything to do with it. Do I look like I know how to drive a submarine? Besides, I was thousands of miles away, in actual Kentucky, exiting Starbucks to avoid some excessive and unconscionable oversharing at the next table, though this may have happened a little in advance of the missile test.
But I don't have to have been there to imagine it. Over on Melrose, conversations over organic salads and vegan sandwiches would have ground to a halt as trendy diners tried to figure out if this was part of a filming; some of the beachgoers in Santa Monica and Malibu may have wondered if California was under attack--up at the Getty Center, people may actually have ducked. Near the observatory, a shooting star might have seemed quite plausible, while in the line at Diddy Riese, the UCLA kids must have had a field day with their cell phones. I'm not sure how much time people in Beverly Hills spend on their lawns; if someone was having a party, there may have been speculation about it all being a stunt for their amusement. Up in Topanga Canyon, it might have seemed like the dawning of the Age of Aquarius. Maybe in Watts, someone had a glimmer of the truth.
If it had happened here, I'm sure there would have been, likewise, a variety of theories, but the Age of Aquarius probably wouldn't have been one of them; the Second Coming, maybe, but not the Age of Aquarius. We see the world through the lenses we're used to using, but I imagine explanations for what was happening would have run a similar gamut. Such an unexplained event is bound to turn into a Rorschach test of sorts.
The article didn't say whether the test made any noise or not, but if it didn't, I think it was a missed opportunity. A little sonic boom to shake up the cocktails on the rooftop bars and rattle the teacups at the Huntington Tea Room would have been just the thing for a full-on Night of Mystery. The video I saw featured no sound but that of a bunch of girls yelling as a radio played in the background, which was entertaining but provided little context.
When I read the article, to tell you the truth, I had a whimsical thought, which was that the whole thing reminded me of Mary Chapin Carpenter's song, "Halley Came to Jackson." It's a very sweet song about the effect of Halley's Comet on the inhabitants of a small town in 1910 Mississippi. For the people in Jackson, the coming of the comet is a visit from heaven, a time of celebration, awe, and wonder, as well as the occasion for a little well-placed wish-making. So Cal may not seem to have much in common with Mississippi, and perhaps it doesn't. (I can tell you, though, that even places as disparate as L.A. and Lexington KY are a lot more like each other than you might guess, and I know, because I've seen both of them.)
So I say that if you choose to "dream a little dream of a comet's charms," as Ms. Chapin Carpenter says, well, why not? A practical explanation may be perfectly true but doesn't rule out the phenomenology of the miraculous. Many of the people observing the mystery light experienced a sense of the marvelous, and who's to say they're wrong? Not I. My theory is that all proper wishes made on celestial objects on the supposition that they're shooting stars count. Unarmed missile, ball of gas and dust, what's the difference? I'm not being facetious--it's bound to beat anything you'll see on TV this week. I'm just glad someone else knows how to work the submarine.
A ballistic missile submarine conducting a test fired the unarmed missile from off the coast, creating a spectacular display that was apparently visible even across state lines. The submarine was the USS Kentucky, conducting a test that was routine but unannounced--hence all the nervous speculation from the public. Yes, the USS Kentucky, but don't go thinking I had anything to do with it. Do I look like I know how to drive a submarine? Besides, I was thousands of miles away, in actual Kentucky, exiting Starbucks to avoid some excessive and unconscionable oversharing at the next table, though this may have happened a little in advance of the missile test.
But I don't have to have been there to imagine it. Over on Melrose, conversations over organic salads and vegan sandwiches would have ground to a halt as trendy diners tried to figure out if this was part of a filming; some of the beachgoers in Santa Monica and Malibu may have wondered if California was under attack--up at the Getty Center, people may actually have ducked. Near the observatory, a shooting star might have seemed quite plausible, while in the line at Diddy Riese, the UCLA kids must have had a field day with their cell phones. I'm not sure how much time people in Beverly Hills spend on their lawns; if someone was having a party, there may have been speculation about it all being a stunt for their amusement. Up in Topanga Canyon, it might have seemed like the dawning of the Age of Aquarius. Maybe in Watts, someone had a glimmer of the truth.
If it had happened here, I'm sure there would have been, likewise, a variety of theories, but the Age of Aquarius probably wouldn't have been one of them; the Second Coming, maybe, but not the Age of Aquarius. We see the world through the lenses we're used to using, but I imagine explanations for what was happening would have run a similar gamut. Such an unexplained event is bound to turn into a Rorschach test of sorts.
The article didn't say whether the test made any noise or not, but if it didn't, I think it was a missed opportunity. A little sonic boom to shake up the cocktails on the rooftop bars and rattle the teacups at the Huntington Tea Room would have been just the thing for a full-on Night of Mystery. The video I saw featured no sound but that of a bunch of girls yelling as a radio played in the background, which was entertaining but provided little context.
When I read the article, to tell you the truth, I had a whimsical thought, which was that the whole thing reminded me of Mary Chapin Carpenter's song, "Halley Came to Jackson." It's a very sweet song about the effect of Halley's Comet on the inhabitants of a small town in 1910 Mississippi. For the people in Jackson, the coming of the comet is a visit from heaven, a time of celebration, awe, and wonder, as well as the occasion for a little well-placed wish-making. So Cal may not seem to have much in common with Mississippi, and perhaps it doesn't. (I can tell you, though, that even places as disparate as L.A. and Lexington KY are a lot more like each other than you might guess, and I know, because I've seen both of them.)
So I say that if you choose to "dream a little dream of a comet's charms," as Ms. Chapin Carpenter says, well, why not? A practical explanation may be perfectly true but doesn't rule out the phenomenology of the miraculous. Many of the people observing the mystery light experienced a sense of the marvelous, and who's to say they're wrong? Not I. My theory is that all proper wishes made on celestial objects on the supposition that they're shooting stars count. Unarmed missile, ball of gas and dust, what's the difference? I'm not being facetious--it's bound to beat anything you'll see on TV this week. I'm just glad someone else knows how to work the submarine.
Friday, November 6, 2015
Three or Four Views of Florence
I spent some time tonight looking up paintings by artists of the Italian Renaissance described by another writer in her memoir of Italy. Whether it was something in her descriptions that moved me or the power of the paintings themselves speaking through her (or both), I'm not sure--but I made a note last night to get online and look for digital versions of the works. Many of the frescoes, paintings, and statues she mentions are familiar to me from a long-ago art class as well as my own brief visit to Florence years ago, but I hadn't thought about them in a while.
One of my clearest memories from my visit is climbing Giotto's Tower on a sunny afternoon and seeing the hilly Tuscan countryside, already resident in my imagination from that undergraduate art class, unroll in full, three-dimensional life from horizon to horizon. I have been trying to think of the word that describes that experience--it wasn't surreal, or even hyperreal, though it was more than a little magical, like any experience in which something beautiful, imagined, and hoped for turns out actually to exist in the material world. Saying that I had a sense of shocked (delighted) recognition probably comes closest to the truth.
While looking tonight at online versions of Fra Angelico's frescoes in the monastery at San Marco, I started to think I was right about a suspicion I began forming last night that this monastery was also a place I'd visited on my trip. I recall being in an ancient and intensely cold thick-walled building, traipsing around from monk's cell to monk's cell with the tips of my fingertips practically blue, looking at some famous art. The author of the memoir I'm reading was obviously not there in November, since she said nothing about cold and was apparently at leisure to contemplate the paintings without brain freeze or actual frostbite entering the picture (in fact, I believe she was there in late spring). Tuscany was beautiful in the sunshine but also turned out to be surprisingly cold, especially in some of those venerable interiors.
I was only in Florence briefly but formed an impression of an elegant and severe beauty softened by the enfolding countryside. The author of the memoir, who knows Florence intimately, writes of the simple happiness she experienced sitting in public squares, visiting shops, observing architecture and people, and partaking in the rituals of daily life. She made me believe that many of the things I only glimpsed in my brief stay would be there waiting for me should I ever chance to make my way back. Dante, Giotto, cappuccino, gelato--what more could you possibly hope for?
It was only on the heels of reading an excellent crime novel set in Florence that I decided to revisit Ms. Harrison's (also beautifully written) memoir. I picked up the novel at the library a few weeks back, thinking it would be interesting to read something set in a city I had visited and found intriguing. I hardly recognized Florence in the novel, which was written from the point of view of an embittered ex-policeman turned private investigator. Though he obviously loved his city, it was a love without illusions, born of long experience as a police officer. He saw it with warts intact, cheap cafes and sketchy riverside districts included. I believe I imagined him as something of a latter-day Dante, with the poet's somewhat embittered love for a place that had turned its back on him.
Contrasting my memories with the points of view of a fictional Italian PI and an Italian-American memoirist has taught me several things: Florence is prone to devastating floods (I must have missed all those historical markers); there is a place called the Boboli Gardens that evidently didn't figure prominently in our guidebook; I didn't spend nearly enough time just sitting in piazzas; and if I ever go to Florence again, it will surely be in the spring. I hadn't even read Dante in a serious way the last time I was there, so that alone is reason to go back. I trust and believe that the Tuscan landscape is still as beautiful and inspiring as it was 26 years ago, and that my own eye, veteran of many more sunsets, sunrises, and hilltop views since then, will appreciate it even more.
One of my clearest memories from my visit is climbing Giotto's Tower on a sunny afternoon and seeing the hilly Tuscan countryside, already resident in my imagination from that undergraduate art class, unroll in full, three-dimensional life from horizon to horizon. I have been trying to think of the word that describes that experience--it wasn't surreal, or even hyperreal, though it was more than a little magical, like any experience in which something beautiful, imagined, and hoped for turns out actually to exist in the material world. Saying that I had a sense of shocked (delighted) recognition probably comes closest to the truth.
While looking tonight at online versions of Fra Angelico's frescoes in the monastery at San Marco, I started to think I was right about a suspicion I began forming last night that this monastery was also a place I'd visited on my trip. I recall being in an ancient and intensely cold thick-walled building, traipsing around from monk's cell to monk's cell with the tips of my fingertips practically blue, looking at some famous art. The author of the memoir I'm reading was obviously not there in November, since she said nothing about cold and was apparently at leisure to contemplate the paintings without brain freeze or actual frostbite entering the picture (in fact, I believe she was there in late spring). Tuscany was beautiful in the sunshine but also turned out to be surprisingly cold, especially in some of those venerable interiors.
I was only in Florence briefly but formed an impression of an elegant and severe beauty softened by the enfolding countryside. The author of the memoir, who knows Florence intimately, writes of the simple happiness she experienced sitting in public squares, visiting shops, observing architecture and people, and partaking in the rituals of daily life. She made me believe that many of the things I only glimpsed in my brief stay would be there waiting for me should I ever chance to make my way back. Dante, Giotto, cappuccino, gelato--what more could you possibly hope for?
It was only on the heels of reading an excellent crime novel set in Florence that I decided to revisit Ms. Harrison's (also beautifully written) memoir. I picked up the novel at the library a few weeks back, thinking it would be interesting to read something set in a city I had visited and found intriguing. I hardly recognized Florence in the novel, which was written from the point of view of an embittered ex-policeman turned private investigator. Though he obviously loved his city, it was a love without illusions, born of long experience as a police officer. He saw it with warts intact, cheap cafes and sketchy riverside districts included. I believe I imagined him as something of a latter-day Dante, with the poet's somewhat embittered love for a place that had turned its back on him.
Contrasting my memories with the points of view of a fictional Italian PI and an Italian-American memoirist has taught me several things: Florence is prone to devastating floods (I must have missed all those historical markers); there is a place called the Boboli Gardens that evidently didn't figure prominently in our guidebook; I didn't spend nearly enough time just sitting in piazzas; and if I ever go to Florence again, it will surely be in the spring. I hadn't even read Dante in a serious way the last time I was there, so that alone is reason to go back. I trust and believe that the Tuscan landscape is still as beautiful and inspiring as it was 26 years ago, and that my own eye, veteran of many more sunsets, sunrises, and hilltop views since then, will appreciate it even more.
Thursday, October 29, 2015
Masks
The fall colors are turning fiery, the autumn wind is blowing ("O, wild West Wind, thou breath of Autumn's being"--Shelley), and my Halloween cookies are baked. This, then, is my Halloween post. I'm always bemused by Halloween. As a kid, all I had to do was dive in and enjoy it, which I did. Once you grow up, and going around asking people for candy (with every expectation that they'll give it to you) is no longer an option, your choices, in my opinion, are much less satisfying.
You can become the kind of adult who goes to costume parties cleverly attired as a zombie or a politician and stands around drinking spiked punch, or you can be the kind that sets out spooky and/or humorous yard displays and hands out candy to the kids. There's also a third set of options if you're like me and live in an apartment building that doesn't get pint-sized trick-or-treaters or offer any lawn decoration opportunities--in which case, you can either do nothing, watch a scary movie, set out a themed candle or candy dish, or bake cookies in Halloween shapes. Since your actual responsibilities are zilch, any degree of participation is up to you.
I usually just think about how much I enjoyed Halloween as a kid, feel a bit nostalgic, and eat some cookies (I used to set out a "pumpkin" candle holder, but I think it's in the back of the cabinet somewhere). I'm guessing that most people with kids at home re-live their childhood memories by making Halloween fun for their own children, and that sounds to me like a reasonable way to approach things.
Many people will disagree with me on this, but I'm not really a fan of adults dressing up as ghouls and things on Halloween. One of the things I remember about childhood Halloweens was that the fun was anchored in a sense of safety. You were wandering around outside after dark in a way you never would normally, dressed as someone you definitely were not, tripping over your hem and wearing a mask, and there was certainly something at large, a special Halloween spookiness. Then you'd knock on someone's door and a solid and ordinary-looking adult that you'd seen dozens of times would answer with a bag of Butterfingers or boxes of Milk Duds, reminding you that no matter how thin the membrane between ordinary reality and the otherworld on All Hallows Eve, you could reach out and touch normal reality at any time. When there are too many big people running around in masks, it starts to seem more like real pandemonium.
I have a prejudice against masks. I was thinking about this the other night and how much in the minority I may be on the issue when I happened to read, in a memoir, about someone else's distaste for masks in the context of her visit to Venice. I think my dislike stems from the knowledge that the human face itself is a mask par excellence, requiring much skill and patience to read. If the human countenance is already a disguise (and I admit that it may sometimes be a protective disguise--a necessary thing), adding additional layers of covering seems to complicate reality a bit too much. It's a little like Inception, the movie in which dream architects find a way to enter into and function in alternative layers of consciousness, making base-level reality difficult to ascertain after a while. Which face is really yours, this one or that one?
I'm not against costumes, though. Who doesn't like to dress up? My idea of fun would be to separate the adult festivities from the children's on All Hallows, so that the adults were there to supervise the kids on Halloween and then had their own parties on All Saint's or All Soul's day. I could see saying something like, "OK, the theme is the Eighteenth Century." Or possibly, "Come as your favorite character from either Shakespeare or Mark Twain. Interpret this any way you like--only no masks." I think the fun of seeing people caught in an out-of-context sartorial challenge would be much greater than trying to figure out who's behind what mask.
You'd always have to keep a few straw hats or jerkins on hand for people who showed up without one, and you'd have the burden of trying to figure out what kind of food to serve to people dressed up as Mozart or Martha Washington. But it would be worth it, wouldn't it?
Thursday, October 22, 2015
Winnowing
Last week, I didn't wax poetic about the beauties of autumn, so this week, I will. A lot of us have mixed feelings about fall, but it has its compensations. Why it is that I find myself wanting to write about it in rapturous tones every year might seem a bit mysterious, since it actually isn't my favorite season. I've thought about that, and here's what I think explains it: the movement of summer into fall is more momentous than anything else in the year other than the transition from winter into spring.
Around here, spring changes into summer almost imperceptibly, and there's not that much difference between a day in late autumn and an average winter day, at least to look at. All the bright colors of mid-autumn, the golden light, and the harvest festivals mark the culmination of the year and its fulfillment. It's a burst of exuberance before things settle down for the long sleep of winter. Underlying the celebration is the knowledge that the light and warmth of summer are going, and there's cold and snow and windshield-scraping somewhere ahead, but somehow you don't think about that on a beautiful Indian summer afternoon with leaves drifting lazily down and acorns crunching underfoot.
I seem to recall past times when fall colors were brighter than they have been in recent years--I may even have read something about climate change potentially affecting the vibrancy of autumn leaves--but I'm not sure I could reliably call it a trend. It does seem to me that both spring and autumn have been somewhat delayed in their arrivals of late. On the other hand, I remember a particular autumn day in college when a class held outside a few days before Thanksgiving had the benefit of a gorgeous blue sky and leaves of every riotous hue imaginable still on the trees. I usually think of October as the colorful month, but that's proof it isn't always the case.
You can be happy in any season. I've been elated on gloomy days and out-of-sorts on sunny ones and think it's best to let the seasons be the background to life, not the map to it. Still, it's never bad to enjoy the things that only happen at certain times of the year. Emerson said that "each moment of the year has its own beauty . . . a picture which was never seen before, and which shall never be seen again." Earlier this evening, for instance, when I took something to the recycling bin, I glanced toward the west and noticed, behind the trees, a sunset not particularly showy but unique in being a particular shade of orange I don't remember seeing in the sky before. I had to look at it for a minute to try to figure out what it was. Apricot? Peach? The color of a creamy orange sherbet, melted in a bowl? A quiet color, but a pretty one, framed by houses and subtly variegated foliage, and I bet I never see another sunset quite like it.
If there's any poet who captured the feeling of autumn successfully, it has to have been Keats. I think of his ode "To Autumn" every fall, and various lines about "mellow fruitfulness" and "ripening to the core" start running through my head round about September each year. There's his famous personification of autumn as a woman(?) winnowing her hair in a barn, a sort of late-in-the-year Botticelli or Pre-Raphaelite type, I would guess. A lovely image, and a poetic one, though I can't help thinking that if I had a barn and saw such a creature sitting in it, I'd have to ask her what she was doing there. It's my practical streak, at war with my aesthetic side. (You never know--she might be the Loathly Damsel.) Even poetry has its limits.
But enough of that . . . it's almost time to start baking gingerbread cookies for Halloween.
Around here, spring changes into summer almost imperceptibly, and there's not that much difference between a day in late autumn and an average winter day, at least to look at. All the bright colors of mid-autumn, the golden light, and the harvest festivals mark the culmination of the year and its fulfillment. It's a burst of exuberance before things settle down for the long sleep of winter. Underlying the celebration is the knowledge that the light and warmth of summer are going, and there's cold and snow and windshield-scraping somewhere ahead, but somehow you don't think about that on a beautiful Indian summer afternoon with leaves drifting lazily down and acorns crunching underfoot.
I seem to recall past times when fall colors were brighter than they have been in recent years--I may even have read something about climate change potentially affecting the vibrancy of autumn leaves--but I'm not sure I could reliably call it a trend. It does seem to me that both spring and autumn have been somewhat delayed in their arrivals of late. On the other hand, I remember a particular autumn day in college when a class held outside a few days before Thanksgiving had the benefit of a gorgeous blue sky and leaves of every riotous hue imaginable still on the trees. I usually think of October as the colorful month, but that's proof it isn't always the case.
You can be happy in any season. I've been elated on gloomy days and out-of-sorts on sunny ones and think it's best to let the seasons be the background to life, not the map to it. Still, it's never bad to enjoy the things that only happen at certain times of the year. Emerson said that "each moment of the year has its own beauty . . . a picture which was never seen before, and which shall never be seen again." Earlier this evening, for instance, when I took something to the recycling bin, I glanced toward the west and noticed, behind the trees, a sunset not particularly showy but unique in being a particular shade of orange I don't remember seeing in the sky before. I had to look at it for a minute to try to figure out what it was. Apricot? Peach? The color of a creamy orange sherbet, melted in a bowl? A quiet color, but a pretty one, framed by houses and subtly variegated foliage, and I bet I never see another sunset quite like it.
If there's any poet who captured the feeling of autumn successfully, it has to have been Keats. I think of his ode "To Autumn" every fall, and various lines about "mellow fruitfulness" and "ripening to the core" start running through my head round about September each year. There's his famous personification of autumn as a woman(?) winnowing her hair in a barn, a sort of late-in-the-year Botticelli or Pre-Raphaelite type, I would guess. A lovely image, and a poetic one, though I can't help thinking that if I had a barn and saw such a creature sitting in it, I'd have to ask her what she was doing there. It's my practical streak, at war with my aesthetic side. (You never know--she might be the Loathly Damsel.) Even poetry has its limits.
But enough of that . . . it's almost time to start baking gingerbread cookies for Halloween.
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