Showing posts with label blogcheating. Show all posts
Showing posts with label blogcheating. Show all posts

Wednesday, June 11, 2014

The Joy of "The Joy"


This article originally appeared in the Mountain Courier in March 2013, and I completely forgot to post it to my blog! My friend Suzanne, who edits and writes for the paper, suggested I write the article after seeing my collection of Joys in my kitchen pantry.

The sun slowly rises over a small sea of pop-up tents, my coffee and my breath adding to the quietly dissipating morning fog. A lone jogger pads by, the only traffic at this early hour. Piles of neatly stacked root vegetables, compulsively organized by a sleep-deprived farmer, wait patiently for the 10 am rush. My numbing fingers flick through the pages of a cookbook I’m perusing, looking for recipes to recommend with today’s cuts of grass-fed beef, pork, lamb and chicken that I’m here to peddle.

I was a vegetarian for the first 20 or so years of my life and have since been playing catch-up on how to cook things like pork belly and beef tongue. My customers and I, the adult novice, have found this particular cookbook quite handy for basic information and creative uses for a wide range of ingredients, both familiar and novel. The book is the Joy of Cooking, my ultimate guide on all things food.

Farm markets vary greatly across the region and the seasons, which translates into a certain amount of uncertainty as to what will be available at any given time. Seasonal produce is preferable for freshness, nutrition and the local economy, but sometimes one just doesn’t know what to do with a pile of kale and turnips, much less the wealth of parsnips or variety meats. It is here, in the unexpected and unexplored, that a good reference on cooking becomes invaluable.

It was not my intention to collect multiple editions of the Joy of Cooking. When my first copy came to me, I was more interested in it as a book—an antique livre to add to my library—than as a cookbook. A quick read-through, however, inspired me to assemble an unnecessarily complex cake using separate recipes for the batter, frosting, filling, and probably cake syrup as well, not to mention decoration. My notes on the subject are still tucked into the pages of this 1943 edition (1946 printing).

This first Joy was a gift from my mother, purchased in an antiquarian bookshop in Vermont on the advent of my first apartment, and thereby my first kitchen. Before this, my cooking skills had approximately encompassed rice, eggs, and—thanks to a summer in a friend’s well-appointed kitchen—homemade pizza and cinnamon rolls. As a vegetarian still working on my thesis, my most elaborate dish was stir-fried vegetables with tofu. The Joy was essential to me for basic instructions, factual lookups, information on the latest new ingredient from the food co-op and rules for baking. It was indeed the ideal first cookbook.

As things progressed I acquired two more editions: a brand new 75th anniversary revision bought as retail therapy, and my grandmother’s own 1952 edition complete with her notes and clippings. My three copies currently reside with a 1972 revision owned by a roommate; four Joys in total.

Irma Rombauer’s first edition came into being in 1931 as a collection of personal recipes from her “Victorian roots” to pass on to her children as they left the nest. It was also intended as a helpful guide to the newly minted housewife, alone and bewildered in her kitchen, written to be “so clear that a child can follow it.”

The early editions were a very personal affair for Irma and her daughter, Marion Rombauer Becker, who provided the first illustrations as well as helping her mother test recipes and organize the book. Irma’s wit and familiar tone lend themselves to a very friendly text in which the cook can feel as if she has a personal relationship with her cookbook and its writer. My 1943 Joy includes advice on war rationing, as well as bunches of recipes for aspics, gelatine salads, timbales and soufflés, all in the interest of disguising an array of leftovers. My recipe of choice, however, is for Crepes Suzette (essentially flaming French pancakes), which comes with an amusing anecdote about the dish’s origins with Chef Henri Charpentier and the Prince of Wales.

Both the 1943 and 1952 editions contain extensive advice on entertaining, how to execute full dinner service and from which direction the servants should serve the fish course. There is a handy chart on various fish and how to cook them, quite a lot on baking and confections, nutrition charts, wine charts, herb charts, leftovers charts and a glossary. Irma also took care to “give this book the impression of sobriety and stability it deserves [such that] the alcoholic cocktails have been relegated to the chapter on Beverages.” On the other hand, she also acknowledged that while smoking at the dinner table was très gauche (it destroys the palate), the hostess must provide cigarettes and an ash tray to make her guests as comfortable as possible.

My grandmother’s Joy, the 1952 revision, continues largely along the same track as the 1943 with general rules aimed at gaining an understanding and then a variety of applications. There are some exciting additions such as more pasta, which “takes a good deal of doctoring to make palatable,” a more organized list of household hints and with the new illustrator, Ginnie Hoffman, diagrams for everything. Irma and Marion can be seen slightly at odds in the introduction, where Irma insists that no cook will read anything but the recipe and information that he or she is looking for, while Marion believes that explaining how the book works is worth a page or two.

These earlier versions also include a fairly extensive section on game lumped in with poultry. Terrapin, of course, is now protected under the Endangered Species Act, and not many would consider squirrel a viable food source, never mind bear. While the inclusion of frog legs, aspics and the use of the singular “cooky” may give these editions a dated appearance, even the very earliest Joy in my collection emphasizes nutrition, taking note of Americans’ tendency toward overeating and not balancing caloric intake with nutritional needs.

As time and culture have progressed through the last 75 years, the target audience shifted away from the blushing bride and housewife toward an independent new cook. In the middle years, many sections bit the dust, including “Know Your Ingredients,” much of the entertaining instruction, and the gelatine concoctions. The 1970s were a time when horizons and palates were broadening, food was being shipped greater distances and people were eating tofu, of all things. Marion Rombauer Becker reorganized the book into sections on The Foods We Eat, Heat and Keep, which meant that absolutely everything was shuffled and, I found, rearranged in illogical order. The 1975 edition was the most popular Joy ever, so it must have made sense to most readers and cooks.

Which brings us to the 75th anniversary Joy, published in 2006, thanks to Ethan Becker, Marion’s son. As a Rombauer broodling and graduate of Le Cordon Bleu, Ethan brought respect for heritage and tradition while being open to change. The revision he put together organizes the recipes once again by their place in a meal, beginning with drinks, then hors d’oeuvres, vegetables, meats, desserts, and finishing with methods for preserving. The glory of this edition is the encyclopedic appendix that brings back “Know Your Ingredients,” a plethora of substitution, conversion and other charts, and information on every method you might need to know. Contrary to my assumption, this edition actually contains an expanded section on game, although the handy diagram on squirrel is omitted.

So here we are, back from market with an armload of food, ready to experiment, to learn a new way of preparing a favorite squash and what exactly to do with a bundle of fiddleheads. Any bride, bachelor, or impulse shopper will find his or her way with Joy, branching out into ethnic cuisines, more modern dishes and favorite personal recipes from Ethan, Marion and Irma herself.

Epilogue: I have since also acquired a mint condition, dust jacket-intact 1964 edition of Joy. It is happily nested with the others and gets regular attention from the chef.

The original version of this article in the print edition is here as a PDF. It includes tidibits from other contributors in a four page layout extravaganza.

Friday, May 30, 2014

In which I talk to myself a lot

More on setting up my first Drupal/Git/Drush site...

I've opted to ignore the multitudinous potential php settings for now, and am hoping things just work for the moment. Otherwise I'll keep procrastinating by fussing with server settings forever. I did find that my php version is easily changed by clicking edit on a domain in the dreamhost panel. And then my Drupal install moseys along much better.

If someone wanted to drop me a lecture/note about how I shouldn't be toying with D8 on a live server because [security] I'd actually be curious to know more.

Oh here we are, the php.ini wiki page for dreamhost: "We seriously aren't kidding about this" edition. Okay, yeah, still going to try not to mess with it for now. SO, moving along. Complete install using appropriate database. tum tetum.

Got hostname right, port default appears ok. Dreamhost phpmyadmin seems to have organized my dbs using the underscore I dropped in to differentiate test and production dbs. Hoping that's not a problem. Totally writing things to db now! whee. This is so nerve wracking, given how frequently things seem to break. Then I'll have to go back and clone to my root directory for my site, too, but not until I have something worth having up front.

meh, nuts. Admin menu doesn't display, just shows "array." Works fine on local. Maybe I'm not doing this quite right if things are that different. Also the whole thing is slow as all get out. oh, I needed to clear my cache. When did drush cc all go the way of the dodo? It's hard to keep up with a learning curve that keeps doing loop-the-loops.

ehhh I got distracted working frontend site building and haven't been keeping notes! I still can't get my search block to display, not sure why. Finally got my blog view to display the grid first by disabling the contextual filter (tho I'm still not sure why it was showing "3 2014" instead of "May 2014").

Now need to get my drush site aliases up and working so I can push the db up and see what happens. I suppose I might as well be doing my dev on my /test directory, since I'm not really doing dev so much as design. Heaven help me if I ever get to the theming part of the program here. At least my concept is super simple and minimalist. For now. Now where did I put my sketches?

Or I could just export the dang db and import it to the remote and deal with it later when I have slightly more time. It bothers me to do this the "wrong" way, though. Ok, export, import check. Then I just need to... definitely not the most elegant way to do this. Kinda broke things. Totally lost track of my git system. Maybe I should just get my site-aliases to work.

Note to self: fix things with chmod u+w. Finally got back to close to where I started by copying settings.php over. Somewhat easier to follow instructions for site aliases here. That plus the instructions in example.aliases.drushrc.php. 

Dreamhost specific Drush install instructions!? yes! ... no. That installs the old Drush, I need Drush 7, which requires composer, which requires that the php phar extension be enabled, which it isn't. Seriously, you've got to be kidding me. I just want to sync my database! Ok, got the phar extension working, though I *really* don't understand why it wasn't. See also (again) Dreamhost's wiki here on php settings.

Finally got Drush on the remote, more or less. So now running drush @test status locally at least comes up with a different result... "Drush 7.0-dev does not support Drupal" and "Fatal error: Call to undefined function conf_path() in /home/[me]/.composer/vendor/drush/drush/includes/bootstrap.inc on line 783" ...what? ok, maybe I need to do my alias a little different, can't get that until I run the install script again on the remote? Do I even remember how to do this part anymore?? ok, got drush site-alias @self copied, added to my drushrc.php locally, eventually got rid of a stray paren that was really messing things up, and finally drush @test status works!

... now I can try syncing my dbs. Which fails on the first try with "Error: no database record could be found for source @dev." erm. Ok, so both @dev and @test pass drush sql-conf. That's good. ...I'm completely at my wits end here. HELP.

And then I can set up an alias for my production site, which I haven't even provisioned or whatever yet- need to clone to site root, install, set up alias, and sync. Right? That should be easy at this point. ...right?

Eventually I will get to theming!

Thursday, February 21, 2013

What color is your flower?

few weeks ago a friend suggested that I fill out the "Flower exercise" from What Color Is Your Parachute? The exercise is designed to help you figure out what you're looking for in a career, and from what I can tell, it's also the core of Parachute (My copy is from something like 1980, and I haven't quite managed to read it). The book actually goes into quite a lot of detail on how to fill out the flower, but you can also just wing it based on the petal titles.

I know, it sounds a little hokey. I thought so too, especially since I thought I had a pretty good idea what I was looking for already, but I went with it. Turns out it's always helpful to get thoughts outside your head, whether to see all the facts in one place, leave reminders for yourself or generate new thoughts in the process. I don't want to make mine entirely public, but here are a few things I'm looking to do in my career:
  • Make information widely available and easy to access. That could be something straightforward like library work, or structuring webpages so that users can find what they're looking for plus several things they weren't. It could even be backend support for projects with this as a goal, e.g. part of a multidisciplinary team.
  • Help people become inspired to be self-motivated, informed learners who never just say "I don't know," but rather "Let's look it up."
  • Provide information services through products that are viable, upgradeable, scaleable and generally future friendly. So, no silos, relative links, transferable data, that sort of thing. 
As for skills, I have profiles on Coursera and Codecademy that will give a bit of an idea what MOOCs I've been fiddling with, and this project should also make it pretty clear what I'm capable of (anything! mwahaha*ahem). Generally: HTML, CSS, JS, some SQL and PHP, WordPress, Photoshop, Lightroom, baking, gardening... 

The other petals include things like: I'd like to work in a sunny, friendly office, with bikeability, sensible benefits, and most importantly lots of opportunity for learning and inspiration from colleagues, classes, workshops, conferences. 

And continuing with the embedding problem, here are some snippets of Parachute from Google Books in an iframe:

Wednesday, February 6, 2013

From the archives: Moose!

pulled onto Jenne road at 8:15, a left turn. As I advanced down the narrow dirt path at perhaps 10 or 15 mph, something moved in my left peripheral. I slammed on the brakes, stopping Gemma (my car) in her tracks. At the same moment, the poor moose I had startled walked out of the bushes to the side of the car, just a foot from my front bumper. I sat very still, being slightly worried that the moose would get the idea that I was trouble and should be trompled.  
The moose had other plans. He (I’m assuming it’s a he. It was a moose of moderate size without antlers) started ambling down the center of the road in front of me, completely blocking passage by any way.
So I waited. And I waited. The moose butt in front of me continued to mosey and generally take its time getting down the road ahead. When it was a moose butt in the distance, I started scootching up, revving my engine a little to let him know I was there. 
Two big moose eyes and ears turned to look at me in a vague, moose-like approximation of indignation. I stopped and went back to staring at moose-butt. Finally he decided, of his own accord, mind you, to get off the road, and stepped delicately into some shrubs. 
As I pulled past the spot where he had disappeared I muttered under my breath in mild frustration: Meese.

Originally posted to a previous (now defunct) blog on August 28th, 2006. One of two moose-sightings I had while living in Vermont!

Wednesday, October 31, 2012

Frustrated Ramblings

his is not my usual style, and I don't like posting things like this, but I've spent too much of today irked with various Google products. Below is a version of a post I made to a Gmail Google Group. I could go into more detail and try to get across how frustrated I am that Google is making it more and more difficult to do simple things simply, rather than the other way around. I can't even easily find a basic "feedback on our new product" option anymore, which is pretty disappointing.

Google, what happened? Back in 2004 when we all got Gmail for the first time everything was so friendly and thoughtful, and now I get the sinking feeling that users are being left behind in the interest of a shiny new future. Stop pushing so hard.

So here's a couple thoughts on the trial version of the new compose setup for gmail:

1) I've seen way, way too many people saying "whelp, guess I'll get used to it" about this and other gmail/google changes. This seems wrong: the UI should conform to user needs, not the user to the UI. While some people may prefer this new layout, it's not right for everyone. Which brings me to:

2) Not all messages are going to be short little snippets that should be composed in a mini window, tucked over the inbox, or even popped out. Many people compose complex, lengthy emails and require the space both physically on the screen and mentally by having the new message be the only thing visible.

On top of that, hiding all the controls makes it much more difficult to see what's available at a glance, remember to add links or formatting, and as other users have said, to glance at the send list to make sure a recipients work/home email has been selected.

Therefore, perhaps the new compose could be implemented more like the priority inboxes, as a choice that each user can make and switch between based on actual, personal needs.


More from WebMonkey.com, ParisLemon (who wants still less), GHacks (which refers to people like me as "advanced users") and some snarky people over here. You get the idea.

Wednesday, July 18, 2012

A Bountiful Update

gnoring the many iterations of the issues mentioned in the previous post that came up in the process of attempting to put together this post, here's a few more recent photos of one part of my garden. Somewhat recent. A few are from as early as March, when the bulbs had just started blooming, others are from mid-June, when the veg really started getting bushy.

vegetables, zucchini, garden, blossoms, fruit, growing, Virginiazucchini, leaf, huge, garden, NoVAIris, bulb, flower, garden, bloom, purple

I may regret hosting these photos on my own domain in a week or two when I find a longterm solution, but heck, I wanted to get posts up. The next post might just go back to using Picasa for sanity's sake. The entire blog may move as well, to make it easier to reference various directories.

...But this is a gardening post, and I digress.

cucumber, baby, fruit, tiny, prickles, blossom, vine, gardennew garden, seedlings, dug, amended, compost, raised bedrose, blossom, flower, bloom, renovated, organic, prunedharvest, bounty, cucumber, zucchini, winter squash, organic, fruit, Alexandria, VAgarden, bushy, crowded, raised bed, biointensive, companion, square footIris, flower, bulbs, division, March, bloom, Alexandria, VA

These are dated photos, so just know there's more growth, plus a second bed of veg not to mention a third bed of herbs. As soon as it's not so terribly hot the stack of bricks (all found in the yard) will become a small patio...

Saturday, July 14, 2012

Technical Testing Tribulations

ay back in November I finally staked my claim on a corner of the internet by registering and hosting a website under my name. I had stalled for almost a full year, thinking there was too much I would want to research before pinning down a registrar/host. Turns out that was the easy part (once I realised I didn't need a slew of dedicated servers in the former Soviet Bloc).

After choosing DreamHost at the recommendation of a friend and a popular website (Lifehacker, who recently re-affirmed DreamHost's dominance), all I had to do was learn how to code an entire website. And not just any website, one that would display a photographic portfolio dynamically and interactively and [buzzword] and [so on]. Ok, so I haven't quite gotten to that part yet, but the site exists and is a decent placeholder.

pie, blueberries, tart, lemon curd
The holdup is that I'm the sort of person who can't just throw up something pre-fabricated and call it a day, I have to learn how to code the entire thing myself, learn databases and cascading stylesheets, from scratch. Maybe once I've done that I could take an easier route, but without understanding the background it seems too much like cheating. Besides, most of the point was giving myself opportunity to learn, given that my photos probably aren't going to start flying off the shelves (there are some up, but they, too, are placeholders).
poached, apricots, tart, pie, cheescake
So in the meantime I've just been using the web export feature in Adobe Lightroom (a god-send for those of us who like cataloging, integration with other applications and services and powerful but simple tools). The problem I'm leading up to is that I'd like to stop hosting the photos I use in blog posts on Picasa and move them all over to a dedicated storage folder on my website. Heck, someday I should move this blog there, too.
orange, chiffon, chocolate, meringue, pie
The problem is that to use a photo in a post, I need to have a link to the .jpg file that will never change, or at least use a relative link to just "/kitten.jpg" rather than "http:// blah/folderA/section56/kitten.jpg" and so on. So that's one solution. But I also need the photo to link to a gallery view on my website, so that the clicker can browse through other photos from my blog, and also use spiffy navigation controls to browse by keyword or just mosey back through other parts of my portfolio.

I'm not going to list how much of that I have no idea how to accomplish, because it's too overwhelming. But, I've written an entire blogpost about it now, so that will hopefully motivate me.

Oh, and the reason there are random photos of pie here is because they're hosted on my website, just... not very sophisticatedly.

Saturday, March 31, 2012

Etymology, or, Seeing the trees for the forest

eautiful.         Pronunciation:  /ˈbjuːtɪfʊl/
Forms: beautefull, beutifull, beutyfull, bewtifull, bewtyfull, beuty-, butyful, beautifull, beautyfull, beautiful, beautifull.
Etymology:  < beauty n. + -ful suffix. Occas. compared with -er, -est, usually with more, most.

A.2.a.  Affording keen pleasure to the senses generally.
A.3. Impressing with charm the intellectual or moral sense, through inherent fitness or grace, or exact adaptation to a purpose. 1
Là, tout n’est qu’ordre et beauté,
Luxe, calme et volupté.2
beauty, n.   Pronunciation: /ˈbjuːtɪ/
Etymology:  Middle English bealte,  beute, < Old French bealte, beaute,  biaute,  earlier beltet, modern beauté, (cognate with Provencal beltat,  beutat, Spanish beldad, Italian beltà ) < late Latin *bellitātem, < bellus beautiful: see -ty suffix1.

I. abstractly: 2. That quality or combination of qualities which affords keen pleasure to other senses, or which charms the intellectual or moral faculties, through inherent grace, or fitness to a desired end; cf. beautiful adj. 3.

   A girl came in the café and sat by herself at a table near the window. She was very pretty with a face fresh as a newly minted coin if they minted coins in smooth flesh with rain-freshened skin, and her hair was black as a crow's wing and cut sharply and diagonally across her cheek.
   I looked at her and she disturbed me and made me very excited. I wished I could put her in the story, or anywhere, but she had placed herself so she could watch the street and the entry and I knew she was waiting for someone. So I went on writing.
   The story was writing itself and I was having a hard time keeping up with it. I ordered another run St. James and I watched the girl whenever I looked up, or when I sharpened the pencil with a pencil sharpener with the shavings curling into the saucer under my drink.
   I've seen you, beauty, and you belong to me now, whoever you are waiting for and if I never see you again, I thought. You belong to me and all Paris belongs to me and I belong to this notebook and this pencil. 3
1. "Beautiful, adj. and n." Second edition, 1989; online version December 2011. <http://0-www.oed.com.libsys.arlingtonva.us/view/Entry/16680>; accessed 26 February 2012. Earlier version first published in New English Dictionary, 1887.
2. Baudelaire, Charles. "L’Invitation au Voyage." Online version 21 mars 2012 à 15:42 <http://fr.wikipedia.org/wiki/L%27Invitation_au_voyage_(poéme)>; accessed 30 March 2012.
3. Hemingway, Ernest. A Moveable Feast. New York: Scribner, 1964. Print.

Monday, December 19, 2011

Quotations: Calvino

n the shop window you have promptly identified the cover with the title you were looking for. Following this visual trail, you have forced your way through the shop past the thick barricade of Books You Haven't Read, which were frowning at you from the tables and shelves, trying to cow you. But you know you must never allow yourself to be awed, that among them there extend for acres and acres the Books You Needn't Read, the Books Made For Purposes Other Than Reading, Books Read Even Before You Open Them Since They Belong To The Category Of Books Read Before Being Written. And thus you pass the outer girdle of ramparts, but then you are attacked by the infantry of the Books That If You Had More Than One Life You Would Certainly Also Read But Unfortunately Your Days Are Numbered, with a rapid maneuver you bypass them and move into the phalanxes of the Books You Mean To Read But There Are Others You Must Read First, the Books Too Expensive Now And You'll Wait Till They're Remaindered, the Books ditto When They Come Out In Paperback, Books You Can Borrow From Somebody, Books That Everybody's Read So It's As If You Had Read Them, Too. Eluding these assaults, you come up beneath the towers of the fortress where other troops are holding out:
     the Books You've Been Planning To Read For Ages,
     the Books You've Been Hunting For Years Without Success,
     the Books Dealing With Something You're Working On At The Moment,
     the Books You Want To Own So They'll Be Handy Just In Case,
     the Books You Could Put Aside Maybe To Read This Summer,
     the Books You Need To Go With Other Books On Your Shelves,
     the Books That Fill You With Sudden, Inexplicable Curiosity, Not Easily Justified.
Now you have been able to reduce the countless embattled troops to an array that is, to be sure, very large, but still calculable in a finite number; but this relative relief is then undermined by the ambush of the Books Read Long Ago Which It's Now Time To Reread and the Books You've Always Pretended To Have Read And Now It's Time To Sit Down And Really Read Them...

 From If on a Winter's Night a Traveller, by Italo Calvino. Wonderful book, you should go read it.

Friday, August 13, 2010

Demons of Simulacra

Just when you think you've perceived a subject clearly - just when the glass, or the light, or the peephole that has allowed you to observe it with certitude - nature fools you. Blame it on perspective, on distortions in the medium, on the demons of simulacra: You can't always believe what you see. In optics it's called an aberration - when light is imperfect, when rays fail to converge to a sharply defined focus. It can be due to a flaw, to the distance, or perhaps even to a failure in the optic nerve. Astronomers know this as the aberration of heavenly bodies: You think you see a star to the left, but in fact it is to the right, because, though every hair on your head is in place, you are reeling through the universe at considerable velocity. This is very like the moment when you gaze out the window of a moving car and the rain looks as if it is falling sideways. It is now. Its trajectory is a plumb line toward the center of the earth, following the brute pull of gravity. But if you are planted serenely in your seat, it is hard to factor that you are rushing along the earth's surface, and so what you think you see happening isn't happening at all.

Cellophane, Marie Arana, p. 255.

Wednesday, February 24, 2010

...without man, it sank back into the realm of the unimagined and unconceived and hence into meaninglessness...

"...if, in his house in the mountains, he was being observed less and less, so rarely that, when he pointed his mirror telescope at people who he presumed were observing him from the cliff, they turned out to be observing not him but something else through their field glasses, chamois or mountain climbers or whatnot, this state of not being observed would begin to torment him after a while, much more than the knowledge of being observed had bothered him earlier, so that he would virtually yearn for those rocks to be thrown at his house, because not being watched would make him feel not worth noticing, not being worth noticing would make him feel disrespected, being disrespected would make him feel insignificant, being insignificant would make him feel meaningless, and, he imagined, the end result might be a hopeless depression, in fact he might even give up his unsuccessful academic career as meaningless, and would have to conclude that other people suffered as much from not being observed as he did, that they, too, felt meaningless unless they were being observed, and that this was the reason why they all observed and took snapshots and movies of each other, for fear of experiencing the meaninglessness of their existence in the face of a dispersing universe with billions of Milky Ways like our own, settled with countless of life-bearing but hopelessly remote and therefore isolated planets like out own, a cosmos filled with incessant pulsations of exploding and collapsing suns, leaving no one, except man himself, to pay any attention to man and thereby lend him meaning..."

-from The Assignment, or, On The Observing of the Observer of the Observers, Friedrich Dürrenmatt (Agee translation)


Dürrenmatt surprised me, when I opened the book and the chapter long sentences left me breathlessly trying to keep up with a hyperactive train of thought that continued until it found its destination: the sub-text. (I would try to pull off un-punctuation here, but I just haven't got it in me right now. A few long sentences will have to suffice.) I think that kind of free-form, rolling structure left the book much more open to exploring the ideas behind the text because the characters were not immersed in keeping track of "he said, she said" and all sorts of awkward exposition. The point of the book is definitely not the plot. I've been considering the difference between "literature" and popular novels lately, and it seems like "literature" is more often about the ideas behind the story, while popular works are more plot-centric. These of course follow Freytag's dramatic arc of exposition, rising action, climax, falling action, and resolution (also see Aristotle's Poetics for a good lesson in why your writing isn't up to snuff). The Assignment does follow the same arc, but manages to sound like voices in your head rather than words on a page, thus, at least for me, expressing itself without needing analysis.

And if any of my writing about books seems a bit odd, it's because I've been voraciously reading Jasper Fforde's Thursday Next series. By book four I've grown to accept the fact that popping in and out of chalk pavement pictures books and working alongside fictional characters like Emperor Zhark and Hamlet is just as normal as time travel. Highly recommended, although I haven't finished books four and five just yet.

Monday, October 26, 2009

I have no words


Last fall I was beginning to explore ideas for my Plan of Concentration project in the world of children's books and attended a book making workshop with Linda Lembke of Green River Bindery. At that point it was my intention to create my own wordless picture book using my own photographs to tell a semi-autobiographical story. The original concept was a little too much to execute in the time I had, so the eventual product was simplified considerably (result is the purple book with the leaves at left). Now apart from the fact that the Brattleboro Museum and Art Center (BMAC) is awesome (It's one of the things that enamored me to Brattleboro in the first place, thanks to an Andy Warhol exhibit) there's the fact that I love children's books and bookbinding as an art. So, all of this led to my being at an exhibit of artwork from Kaori Hamura's book Dream Seasons, a wordless narrative illustrated with stylized paintings on wood (if you like paintings on wood, also check out Audrey Kawasaki). The exhibit also included a list of other wordless children's books and related works, and I thought I'd share some of it here. The list was originally produced by BMAC, but I'm adding a few books of my own, as well.

Wordless Children's Books
David Wiesner is pretty good at purely illustrated stories, and wildly popular, too. My favourites are Tuesday, and Sector Seven, but there's also Flotsam and Free fall and a few others. He's very adept at putting the extraordinary into a context that makes it seem quite, well, ordinary, as in the cloud factory in Sector Seven, but while maintaining a sense of wonder, as in Tuesday.

Chris Van Allsburg put together a book of illustrations that are explained only by a single line of text that merely alludes to a greater, unknown story and inspires plenty of speculation among readers. The Mysteries of Harris Burdick goes under wordless books for me because so much of the value of the book comes from what the reader's mind creates to fill in the whole story behind each illustration.

The Arrival
by Shaun Tan is just a plain beautiful book. It's more of a graphic novel, with many, many detailed illustrations in order to get the story across, but still with plenty of room for imagination (which is what I think wordless books are really all about).

A few more, which you may look up on your own (builds character):
Home, by Jeannie Baker
Museum, by Barbara Lehman
Oops, by Arthur Geisert
The Red Book, also by Lehman
The Snowman, by Raymond Briggs
Trainstop, also by Lehman
Un-brella, by Scott Franson
Yellow Umbrella, by Jae-Soo Lui

If you're into this sort of thing, go check out the tag lists for Wordless, Stories Without Words, and Wordless Books on LibraryThing.


Do you prefer book links to LibraryThing or to Amazon? I think LT provides more information on a book, but if you want to go buy it right away you might want Amazon. However, I highly recommend hunting down books at your local bookshop, or at least clicking through a website like FlashlightWorthy, which provides awesome books lists and could use some support. If you're actually reading this, why not comment? Comments are constructive!

Saturday, September 26, 2009

Self-development...

...is really what this blog business is about for me at this point. It's a good way to get my thoughts out in a somewhat public way without too much pressure, but still enough to keep me on my toes (hopefully). In lieu of spending a few hours collecting links and thoughts right now, and in the interest of posting *something* (it's been a while), here are some thoughts I've written out in other forums recently.

Someone asked me how I relate my interests to each other, specifically, Biology, Photography and Librarianshippy:

I would have to say that it's a lot about documentation and archiving visual information. I started out taking photographs (years ago) with the intention of putting them all in albums and preserving them for posterity. My intentions have shifted since then, and now I feel as if I try to document fleeting feelings I have about a place or time. This is actually extraordinarily difficult. How do you capture all the feelings, nostalgia and hopes of a sunrise without making it look like just another sunrise? I can't say as I've found the answer to the problem. My interest in biology also motivates me to examine landscapes and fauna [especially in close-up form].

And in the process of applying for a job I wrote out this, in response to some questions on the application:

The degree I received from Marlboro College is in photography and biology because I am also a photographer with a passion for knowing how things work on the molecular level. You could say I have a weakness for genetics. However, on a recent 13 hour solitary drive, I came to the conclusion that I really want to make information and knowledge available to as many people as possible. This solidified my conviction that I would like to become a librarian, which had previously been based on my love of books.
It is hard for me to pinpoint specific areas of literary interest. My personal collection is greatly varied, ranging from classic children's books to mysteries and science-fiction, with themes of food, history and, of course, books about books. It's always been very difficult to name my favorite books, but the two that spring to mind are Gastronomical Me, M.F.K. Fisher and The Big Golden Book of Elves and Fairies.
So that's kind of what I'm up to these days. Thinking a lot about what I'm doing, why I'm doing it, where I'm going, and trying to make long and short-term plans make sense together. Meanwhile, my life, built here in Vermont for the last four years, and in this apartment for the last two, is being packed into boxes and shipped off to the future. How strange it will be when I get there to meet it all, and open box after box full of the past.