A Literary Feast

The Tenacity of the Pea Plant

Posted on May 17th, 2013

Thin vines stretch across the honeycomb of air

climbing the chicken wire of the garden fence

with sticky new fingers

in a spiderweb of green.

In one gap, where – finding nothing to hold on to – the plant clearly doubted,

it encountered only another of its own arms

and the two wound round each other

and spiraled momentarily toward the sky

before pushing away,

leaving a perfect coil in the middle of nothing.

Despite this near miss, this almost fall,

the vine keeps reaching out from its most recent anchor,

groping blindly in the mystery of time and space,

trusting that eventually it will reach something,

if only itself.

 

I admire the pea plant.

It must take so much hope to wake up in the dark,

buried in the soft dampness of the soil,

and believe in the sun.

Worm Castings and Cat Pee: Journal of a Newbie Gardener

Posted on May 17th, 2013

My one adult experience with gardening occurred about 8 years ago. We were living in an apartment complex a few miles away from where I went to college. Each unit had a small plot of dirt in front of it which most of our neighbors filled with cheery aster mums or hyacinth bulbs. For ours, I decided on a row of fun (and functional) pumpkin plants.

 

Unemployed and in need of a project, I nurtured the pumpkins from seed to plant with loving care. Eventually they flowered and, the very next morning, the complex’s maintenance crew came by and mowed them down with a weedwacker. We left the plot barren for the remainder of the time we lived there and never returned to the hobby.

 

Armed with enthusiasm and a plot of land of our own, we decided to give gardening a second shot this spring.

 

Week 1, day 1: We assess the property. The front yard is ideal in terms of sun but I can’t fathom crouching and weeding in full view of our suburban neighbors. The back yard area is almost entirely shaded by a giant Norway Maple, so we purchase two large whiskey barrel planters to place in the sunny spot next to the driveway. I begin to feel like a hip urban gardener.

 

Week 1, day 2: After much struggling, we bust open the (hermetically sealed) tumbling composter we started using last summer. The payload is much smaller than expected so we head to the local gardening place to get a few bags of store-bought compost. While examining the ingredients, I exclaim, “Worm casings? That’s so mean!” thinking it must be a term for dried worm corpses. Mr. Max hushes me and says, “No it’s ‘castings.’” I’m still puzzled so he clarifies, “It’s poop.” I’m relieved and amused. We get a few bags and fill up our barrels. Now we just need plants.

 

Week 2, day 4: We attend a beginner seed starting workshop at a nearby farmers market. The workshop is given by a friendly small-scale commercial farmer who looks like (a young) Dennis Wilson. He’s knowledgeable and friendly, but the presentation keeps getting hijacked by experienced hobby gardeners (“What do you think of [expert level technique] detailed in the latest issue of [fancy gardening magazine]?”). Just when my annoyance reaches its peak, farmer Wilson shuts down the hecklers with a chalkboard diagram of a plant emerging from the seed pod. I silently marvel at the notion that a living thing can be awoken with just water and warmth. We pick up some seeds and tiny kale and spinach plants at the market.

 

Week 2, day 5: It’s still early spring, so I purchase a few frost covers online to protect the plants in the event of a cold streak. I plant the kale in the barrels and drape the bird netting (for the squirrels) and the green frost covers (for the cold) around them. Our backyard now looks like a weather balloon testing ground. However, my plan pays off — the plants stay vibrant and green even after a few 20 degree nights.

 

Week 2, day 6: I have more kale plants than will fit in our large whiskey barrel and they’re getting unhappy in their little plastic seedling containers, so I stick the overflow in terracotta pots. It’s still a bit nippy at night, so I wrap the potted kale plants in a hastily-purchased third frost cover that looks an awful lot like a regular polyester sheet. I give up on getting a perfect seal, rationalizing that my behavior has become overprotective — like those parents who bundle their toddlers in 3 layers of junior North Face jackets for a trip to the corner bodega. When I check the plants in the morning, I see evidence of frost damage on the outer leaves.

 

I am a bad parent.

 

Week 3, day 1: A bird poops on the frost cover, and when I go to examine it I discover that our neighborhood stray cat has also been using it to mark her territory. I contemplate putting the cover in the washing machine but instead just hope for rain.

 

Week 3, day 4: The thyme seedlings I started are alive but look spindly and unhealthy. I google “seedlings look bad,” but I’m overwhelmed by the dearth of information. Too much (or little) sun, or water, or maybe the seeds were just duds… how do you know which it is?

 

Week 4, day 1: We stop by a roadside plant sale and I’m in awe at the perfect vegetable and herb starts. We buy a container of little onions, some strawberry plants, and a few decorative succulents. I overhear one of the seasoned young farmers tell a customer that tiny seeds have such a low success rate that she always starts “ridiculously way more” than she needs. I make peace with the high mortality rate of the thyme seedlings.

 

Week 5, day 2: The potted kale seems have recovered from my neglect and is thriving, as are the plants in the two whiskey barrels (more kale and spinach). I tell a friend that we are gardening and he mentions that his neighbor started a garden last year, but grew way too much kale. Mr. Max and I respond in unison: There’s no thing as too much kale.

 

Week 6, day 6: We have a spell of perfect, but dry, sunny weather. We water and weed with reckless abandon. The photos I take of our growing garden begin to replace my bad memories of guillotined pumpkins and neglected houseplants. I read Oranges, the John McPhee book about the history of citrus, and fall in love with the descriptions of 18th century citrus greenhouses. I find out that it’s possible to grow potted citrus trees indoors in the Northeast and I try to sell Mr. Max on the idea of a meyer lemon tree in our guest bedroom. He is reticent until I mention that the tree would provide a key source of vitamin C in an emergency situation. I know him too well.


Week 7, day 1:
Most of the thyme seedlings have died off, but the ones that remain look like they might make it. The lilac blooms mostly mask the odor of the cat pee’d frost cover, which sits outside awaiting a hose-down. We rest for a moment on the back porch, looking out at our growing edible landscape, and I think, “This could be worth it.”

The Woods

Posted on April 18th, 2013

The Woods invite you in
but they never ask you to stay
the graceful couple you’ve always admired
and wanted to know better
thank you for having us,
you have a beautiful home.
conversation over drinks is brilliant,
revealing;
specks of light on the forest floor
the children run away to explore
the hidden hollows of the house
and you are happy to let them.
then dinner:
modest and memorable
only recalled as a collection of sensations
rather than as a meal.
friends drop by unexpectedly,
and hold hushed conversations with the hosts
before rushing off
the Birds, casual and loquacious, but shy
the Deer, you’ve always wanted to be
closer to
and those more sinister and silent
who you never see, but rather feel
a mysterious and fleeting tingle
on the back of your neck
and the Woods eventually fall silent and
look anxiously at each other and have
their own business to attend to
and this has been lovely
but we really must be going
as you wonder nervously which room
the children have gotten into.

The Mouth’s Delights

Posted on April 18th, 2013

The savor of some favored food:

sage stuffing, say.

Braised scallops.

 

The shaping of a spoken word:

echo in a cavern.

 

Your lips upon your lover’s lips:

You taste his pulse.

It fills you.

Wax and Wane

Posted on April 18th, 2013

With a pantry full

Possibilities abound

I am limitless

 

With a cupboard bare

Promise has been fulfilled

I am satisfied

Just Make Cookies

Posted on April 18th, 2013

Back before I even remotely knew my way around a kitchen, back when a typical dinner consisted of some item from the vegetarian column of the frozen food aisle, I asked my grandmother for the recipes of some of my favorite things – chocolate chip cookies, banana bread, vegetable soup, and other simple things. “The basics,” I told her, telling her loud and proud I was finally interested in learning how to cook. My mother once made a batch of rice krispie treats that went so badly we had to throw it all out, including the pan (to this day I still don’t know how that’s even possible), and that was about the extent of her cooking skills – but my grandmother, with all her years of professional catering behind her, was the perfect candidate for culinary mentor.

The first recipe she gave me was for her chewy, caramelized, salad plate-sized chocolate chip cookies, the most notable and delicious of her regular cycle of baked goods. What an auspicious beginning to my sure-to-be-celebrated culinary future!

What she put in front of me went something like this:

1 lb. butter
1:3 sugars
4 ½ flour
bp
VANILLA

Cookies. [soft]

This – this was not what I was expecting. No instructions, no cooking temperature or time, not even a full list of ingredients or quantities. Follow-up questions elicited only a series of exasperated ”Just make cookies,” despite how many times I told her that I didn’t know how, that being the point of this whole exercise. This was no time for cookie-related poetry; I wanted details!

Whether she meant it or not, what she did the day she gave me her chocolate chip cookie recipe was throw me off the end of the dock to teach me how to swim in the lake. After my initial frustration, I set about untangling the simple set of words she’d handed me, what felt like an overwhelmingly large open space with a small and well-defined target. But the desire to recreate an item so entwined with my childhood was an unremitting tug, and I moved forward despite not knowing where to start. It required years of baking and studying other people’s cookie recipes for me to understand the basic concept and chemistry of good cookies, before I could even think about turning my sights back to this bewildering series of recipe-like words. Then there were dozens of failed attempts, months of adjusting ingredient quantities and cooking temperatures and of learning to read the batter for corrections and to know the exact moment the cookies should come out of the oven. Eventually it all fell into place, and I began to churn out batch upon batch of cookies indistinguishable from the ones on which I was raised. Victory! Now all I had to do was repeat the process with the stack of other cryptic recipe-puzzles she’d given me in the meantime.

What I know now, years after trying to decipher that first recipe, is that my grandmother’s idea of a recipe is generally more like a set of cues or a series of way-markers – a sequence of words, numbers, and phrases carefully chosen to remind her of the most important bits. When she handed me, kitchen novice, that first recipe, it presented itself as an undecipherable piece of poetry, each word packed with a world of intended meaning I couldn’t even begin to know how to translate. For its author, bolstered by decades of cooking experience, the sparsely populated notecard said everything she needed to know. No need to specify eggs, salt, or chocolate chips, when you know they’re there. No need to explain that one should start by mixing together the sugars and butter, when it’s what you’ve done to hundreds of batches of cookies over many years. To most audiences, “cookies” is just a word, but to her, it says it all.

There are many dozens of recipes just like the one I first tackled, all scattered throughout my grandmother’s kitchen. They’re all short lists of ingredients, connected here and there with brackets and arrows, most annotated with a cooking temperature or a warning of over-mixing or a reminder of a favorite serving dish to use. Sometimes they take on a bit of an e.e.cummings quality, indentations and line spacing intentionally placed and packed with just as much meaning as the words between them. In many cases only one or two key words distinguish one recipe from another amongst the dozens of similar ones scrawled down in her notes, and some recipes contain only those differences (once she once sent me for chocolate cake says only “just yolks, [up arrow] bs, 15 longer,” all referring to how it compares to her previously favored chocolate cake recipe, which I then spent over 40 minutes trying to find in my recipe file).

At first I found all of this frustrating, but the more time I spend with these stripped-down recipes the more I appreciate them for their efficiency and openness. A conventional recipe, with all of its specificity and definitive statements, can seem confining and restrictive (even if it doesn’t need to be), bringing along with it a disquieting need to punctuate the cooking process with reassuring check-ins. My grandmother’s recipes, on the other hand, bring along an empowering sense of creativity and intuition, only the most essential elements floating to the surface. Roaming wild within the open spaces of her recipes is where I’ve learned what I really wanted to know about cooking, though I couldn’t have predicted that back at the beginning. It’s where I learned to trust my intuition and to trust the food itself, and the vast majority of the time it’s all worked out wonderfully. If, back at the start, she had handed me the complete, detailed recipe for those chocolate chip cookies, I wouldn’t know even close to what I know about baking today.

Someday I’ll be the recipient of all those stacks and notebooks and binders full of recipes, and all that poetry will be mine to decipher, and mine to pass along to some other unsuspecting future cook. They have no idea what they’re in for.

Ralph’s Shirt

Posted on April 18th, 2013

I wear Ralph’s flannel shirt
When making pizza dough,
Flour dust
on the cuff
Yeasty smell, like damp
spring
Makes me think
of the flowers, rising
from his garden
In a laughing
riot and a booming
greeting
like May
thunder
every time I see him.

One Mile South

Posted on April 18th, 2013

The chickens rise with the sun

but do not venture into the uniform white –

there is no more earth to scratch.

 

The farmer’s breath is taken with the violent

gust wrapping its arms around her, into her.

Matted hair and flushed cheeks

her face weeps without sadness.

Or for the brilliance of the day:

the muted voice of the land

the afterthought of a tree on the horizon,

weeping, too, against the north wind.

 

As darkness befalls the hill

snow-cover lightens the early dusk.

Nebulae wink from a perfect crest

above the barn

to halt even the most self-absorbed.

A moment too long in the cold

just to look on beyond the boots

and the frozen muck, up to the Greater.

Bighting, writhing frigidity

(there aren’t enough words to describe)

eats through layers

of wool and other fiber

to find its way up her belly and down her neck.

The farmer must smash the goat’s ice bucket

with a hammer just to be lashed

by the shrieking water beneath.

Every day twice a day

she breaks the ice but the hole

gets smaller.

 

A lone wood stove burns through these dark nights

the embers glow long

in the farmer’s blush.

 

The Fifth Year

Posted on April 18th, 2013

So there is this tree that I drive by every day that I leave the house.

A long time ago, this tree grew up around this sharp-edged rock
(Probably shale).
As it grew, a corner of the rock became lodged in the trunk.
And so, the rock was lifted up off the ground
(about a foot).
You can only see it when you are driving North
and sometimes I will go seasons when I forget about it.
But it stays with me,
like an itch I can’t scratch.
As if I could scrape off a scab of longing
and ease some pain inside my heart
by removing the rock from the tree
and dropping it unceremoniously on the ground.
I’m usually driving too fast to stop,
but my mind remains on the tree and the rock.

As the tree grew around the rock,
did it embrace it or carry on in spite of its unusual burden?
Who am I to remove the rock?
Maybe the tree and the rock need each other
and I am interfering in something I have no business in.
Who am I to leave the rock?
How many times did I look the other way
when I could have helped someone or something?

It makes me think of the word “cleave”,
our old friend with the double meaning.
Cleave from in all of it gradations,
from ice floes calving to the simple separation of muscle and bone.
Cleave to, which never sounded right to me,
but I suppose you can to cleave to another’s breast.

It makes me think of all the ways
I push and pull people I love towards and away from me
As well as people I have yet to love
in an effort to find some kind of balance with
boundaries, autonomy, love.

It makes me think of all the times I’ve shut down
in an agony of indecision
trying to figure out if the rock is Cleaving to
or the tree is Cleaving from
the sharpness of both rejection and acceptance.

The Plum Thief

Posted on April 18th, 2013

Art and entertainment establishments often puzzle the generations that are far enough removed from the time when their works seemed in any way revolutionary. If we weren’t afraid to take swipes at established geniuses, we could say that Andy Warhol was no better than a graphic designer proficient in Photoshop, The Rolling Stones sounded like an average bar rock band with a croaky singer, Godard made films encompassing all the signposts of a precocious art film student, and e. e. cummings simply couldn’t figure out how to set the spacing on his typewriter.

 

This is all very arguable, of course, and probably at least somewhat inaccurate – for full disclosure, I enjoy all of the above except Warhol, whose innovations I nevertheless recognize. Still, many imitators have arisen since these individuals first changed the rules of the game, many falling short, others perhaps surpassing the originals in quality. It is quite probable that new generations of artists and fans don’t see the same thing their forebears did when evaluating the innovators.

 

Then, there are individual works of art that did not change the game, and may not have even been the best that their creators had to offer – and yet, they managed to become the face and representation of their form, like a hapless CEO or Senior VP leading (and often sinking) a company full of quality staff. The Wild One , a cinema classic, is corny and borderline unwatchable today, with its mediocre acting and self-seriousness. And as poetry goes, few representations of the form puzzle me as much as This Is Just To Say , by William Carlos Williams.

 

I first encountered the poem about ten years ago, on the wall of a New York subway car. (No, it’s wasn’t spray-painted or scratched into a window with a screwdriver.) The city’s Poetry In Motion initiative, which occasionally displays brief poems and excerpts of longer pieces along the walls of subway cars – giving commuters something to stare at besides poorly designed ads for English classes and all manner of plastic surgery – at one point chose this gem. I read and re-read it, each time wondering what it was about the piece that made it worthy of consideration.

 

Poetry is generally not the easiest art form to swallow, and I believe a huge part of the reason is that much of it today does not conform to any meter or rhyme scheme. Poetry was a major part of literary education in pre-1990 Russia: children were required to memorize poems by famous writers like Pushkin and Mayakovsky, and recite them from memory in class, but all of these poems could not have been written as anything but poetry. Ditto for Shakespeare’s greatest works. Poetry has since become a very liberal term, resulting in what looks like paragraphs of prose broken down into random lines and stanzas. No wonder the poems most people memorize today are song lyrics.

 

This Is Just To Say is widely believed to have originated as a note Williams left for his wife one morning; for whatever reason, he later turned it into a poem. Much discussion has circulated around this ode to plums and unrestrained gluttony. As there is no real rhythm, scholars have dug deep, seeking patterns in sound like a literary student digging around for meaning in a short story that might not have one. Asks one such analysis: What is the tone – is he apologetic, jovial? Not to state the obvious, but who cares? He couldn’t control himself and ate a bunch of plums that weren’t his to begin with. Sure, we could argue about the details, but what is it about the poem that even deserves all the debate?

 

Perhaps I am just a philistine; after all, that’s also my view of the Mona Lisa. What’s she smiling about? Was da Vinci making faces at her from behind the canvas? Was she even a woman at all? This debate is as tired as the one about Shakespeare’s identity. It belongs to the heap of moot points. If we did know the truth, would it change the resulting body of work, or the quality of the individual piece? Were the mystery resolved (unlikely), what sort of change would it bring to our lives? In the face of real-time issues like feeble economy, immigration reform, and a healthcare system no army of economists can figure out, have we really run out of things to argue about?

 

The most interesting thing about the poem is the icebox. It tells us that Williams lived in a world without refrigerators, where even the wealthy used iceboxes to store their perishables. This realization makes you think about the times: What else did Williams have access to that we have since replaced, or now take for granted? Otherwise, the poem is a smirk. The bastard ate his wife’s plums, didn’t leave her any, really enjoyed them for the qualities that good plums generally possess, and despite his written apology doesn’t seem all that sorry. And the world kept spinning.

 

Then again, perhaps the poem is a success – if Williams wrote it in jest, one aimed at the consumer of the arts. Hey chin scratcher, he would say. I can turn anything into a poem, and you will like it, and you will argue about it all night, and I will have forgotten those plums the next morning.

 

This is just to say that some classics really are overrated.