→ March 30, 2013
→ By

The Grifters.

I’ve got a draft blog post up on Braden Shipley and Aaron Judge, as well as a post with predictions for the 2013 season.

Jim Thompson’s 1963 novel The Grifters is my first encounter with his work, a neo-noir novel that draws from the prose style of hard-boiled detective novels but brings it outside of the detective genre, instead focusing on the cons themselves with barely a shamus in sight. The three main characters are all tied together in simple ways, but Thompson develops them each so deeply that the result is like a modern, dark Greek tragedy, written by someone who read too much Raymond Chandler. (Note: One cannot read too much Chandler.)

Adapted into the 1990 film of the same name by Donald Westlake, The Grifters centers on Roy Dillon, a mid-20s artist of the “small con,” little tricks designed to yield up to $100 that won’t attract too much notice from the police. His indifferent, manipulative mother Lilly is herself involved with the mob, as she has been for years, now helping them rig the betting against longshots at the track. Roy avoids most lasting relationships, as part of the life of the grifter but also a consequence of a childhood with a sociopathic mother, yet ends up involved with Moira Langtry, who is also on the make but whose motives aren’t immediately clear. When one of Roy’s small cons leaves him nearly dead and in need of convalescence, his mother makes her move to reestablish herself in her son’s life – for her own purposes, of course.

Roy is the far more developed character in the book, working from an independent sense of morality, wary of his mother yet unable to fully sever ties with her, but Lilly is far more fascinating – the mother who’d eat her young and who only views others as tools for her own advancement. (It cracks me up that the actress who played Lilly in the film, Anjelica Houston, is now the voice of the overly sweet Queen Clarion in the new Tinker Bell movies.) We get Lilly and Roy’s backstory through flashback chapters intertwined with the present time, which tracks Roy’s injury and recovery, and which allows Lilly to introduce Roy to the seemingly innocent nurse Carol, an immigrant who is reluctant to discuss anything of her past.

Thompson had to have been at least somewhat thinking in terms of Greek tragedies, especially Oedipus, when writing The Grifters, as the elements are too obvious for this to have been inadvertent. The incestuous undertone to Lilly and Roy’s relationship becomes clearer the more we watch the two interact, especially since sex is Lilly’s primary way of manipulating men, either to get what she wants or to get out of trouble. The three elements Aristotle identified as critical to the tragic plot – reversals of fortune, recognition, and suffering by one or more protagonists – are all present, especially in the two-part conclusion, the second half of which even surprised me. Greek tragedies often come across today as pedantic and dull, but Thompson uses both the plot and taut syntax to keep the tension high from the hit Roy takes the stomach in the first chapter to that final confrontation that lays everyone’s motives bare.

The style and subject matter reminded me of Chandler and Hammett, as well as They Shoot Horses, Don’t They?, which I read in February, but the strongest resemblance was to James Crumley’s The Last Good Kiss. Crumley’s novel is more violent and has less of the classical elements of The Grifters, but I wouldn’t be shocked to hear that Thompson had influenced Crumley’s work, especially since Crumley was in college and graduate school when two of Thompson’s most significant works, this novel and Pop. 1280 were first published.

Next up: B.S. Johnson’s manic metafictional absurdist novel Christie Malry’s Own Double-Entry.

Filed Under: Uncategorized Tagged With: , , , , ,
→ March 22, 2013
→ By

The Spirit Catches You and You Fall Down.

I’ve got a fantasy-themed post up today, answering questions from ESPN.com’s fantasy editors about divisive players for fantasy owners in 2013.

I hadn’t heard of Anne Fadiman’s The Spirit Catches You and You Fall Down until I encountered a reference to it in Alison Hoover Bartlett’s The Man Who Loved Books Too Much, in which she mentions it as one of her four favorite narrative non-fiction titles. I wasn’t sure how compelling the story of a Hmong girl with severe epilepsy who got caught in the cultural divide between her family and the American doctors who treated her would be as a 300-page novel, but Spirit is so thoroughly researched and so perfectly balanced that it turned out to be as engrossing as any non-fiction book I have ever read.

Lia Lee is the Hmong girl at the center of the book, born with a terrible case of epilepsy that caused massive grand mal seizures, one of which led to irreversible brain damage when she was four that left her in a vegetative state for the remainder of her life. (She died in September of 2012, shortly after the book was reissued for its 15th anniversary.) The conflict at the heart of the book swirls around Lia in the time between her birth and that neurological catastrophe; in those four-odd years, the doctors tried an increasingly aggressive course of treatment that Lia’s parents didn’t fully understand and with which they didn’t entirely comply, while also pursuing traditional Hmong treatments (what many of us would consider “woo”) along with or sometimes in place of what the doctors prescribed. This clash of cultures, exacerbated by a then-unbridgeable language gap and socioeconomic factors, led one doctor to accuse Lia’s parents of child abuse for their passive refusal to administer the prescribed medications, after which she was taken from them and placed in foster care for about a year. Not long after she was returned to the custody of her parents – with full support from the foster family that took her in – she suffered the massive seizure that effectively ended her life, although she remained in that vegetative state for fifteen years beyond it.

The phrase in the book’s title is the translation of the three-word Hmong phrase that refers to the disease we know as epilepsy, as the Hmong don’t have an exact word for it. In Hmong culture, many diseases and disorders we know to have clear physical causes are treated as ailments of the soul; Lia’s parents believed that the seizures were the result of one of her sisters slamming a door, which scared Lia’s soul out of her body, after which they had to try to coax it back in using methods like animal sacrifice. Fadiman’s greatest trick in this book is providing total balance between the two sides of the debate – it would be far too easy to paint the Lees, and the Hmong in general, as animist twits believing in superstitious nonsense that modern science should have killed off a few centuries ago. Fadiman never questions the scientific reality of epilepsy, but gives credence to the Lees’ beliefs as they affected their own perspective on Lia’s illness, treatment, and the final catastrophe, while also extrapolating from that to discuss the Hmong experience with the United States in general, from their time in the CIA’s secret army in Laos to their resettlement here starting in the late 1970s. The only real villain here is our government, which was happy to sacrifice thousands of Hmong men but did little to take care of this oppressed minority after the communist Pathet Lao overthrow the country’s monarchy and began a genocidal campaign that wiped out up to a quarter of the country’s Hmong population. (Laos remains one of the world’s only communist states, and, not coincidentally, is also extremely poor.) These detours into the history of the Hmong and their experience as immigrants to the U.S. add some needed context to the story; the Hmong left behind not just their homeland but their entire way of life, which revolved around self-sufficience through agriculture and the broad support networks of extended families (called “clans”), and then were resettled into unfriendly environments ranging from Minneapolis to Merced, California, where Lia’s parents lived. Fadiman touches briefly on a deep sense of betrayal among the older generation of Hmong, who felt that they were promised things by the U.S. for their aid during the war(s) against the communists and received very little of what was pledged.

Fadiman began writing the book as a magazine article that was never published, starting her research in the late 1980s almost a decade before the book’s initial release in 1997. In addition to reviewing 400,000 pages of medical records, she went back and spoke to as many of the principals involved in Lia’s care as she could, including the main doctors who treated her, the social worker who was most heavily involved with the Lees, and the Lees themselves, becoming so involved that Lia’s mother, Foua, began to refer to Fadiman as one of her “daughters.” (Including Lia, Foua had nine surviving biological children, most of whom went on to attend college in the United States and to find jobs and incomes that evaded their parents’ generation after the migration.) The book came out at a time when the idea of holistic medicine was still viewed as a concept from the fringes, never taught in schools and barely practiced in hospitals (according to Fadiman’s accounts). Since then, it has become more popular in academia and in practice, with The Spirit Catches You and You Fall Down a part of the process of teaching doctors to view the patient as a whole rather than strictly the disease or disorder. Yet I think the book’s core lesson goes beyond medicine; while many of you will read the book as I did, with an inherent bias towards the doctors who employed sound science while banging their heads against the wall of parents who refused to follow the regiment of pills that might have saved their daughter’s brain, Fadiman does a tremendous job of showing us how and why the Lees distrusted and feared American doctors and Western medicine, a gap that the doctors should, in hindsight, have worked harder to close.

Fadiman writes at an extremely high level, never talking down to the reader and avoiding inserting herself too much into the story. I did notice a few odd word choices – referring to one person as having an “exiguous crewcut,” or the frequent use of “hegira” to describe the Hmong’s exodus from Laos, an accurate word that I’d never seen before – but otherwise the book was extremely readable and moved as quickly as any novel, especially in the intense, often heartbreaking depictions of Lia’s neurological crises. Even when you know the eventual outcome is tragic, Fadiman manages to infuse the situations with tension through precision, painful passages of details that put me in the room with Lia, her doctors, and her bewildered parents. In some ways, it’s a terrible story, but one that needed a wide telling like this to help us all expand our cross-cultural understanding.

Filed Under: Uncategorized Tagged With: ,
→ March 20, 2013
→ By

The Magician King et al.

I have a new draft blog post up today, discussing two potential first-rounders I saw as well as former Mets draft pick Teddy Stankiewicz. Also, the Kindle edition of the indispensable cookbook Ruhlman’s Twenty is just $3.03 right now.

* The Magicians, Lev Grossman’s fantasy novel that was also a parody of popular fantasy novels, is one of my favorite books of the last ten years for the way it weaves (largely affectionate) satire of Harry Potter, Narnia, and Tolkien into an original story. In that book, Quentin Coldwater, an ordinary teenager in New York City, goes through a familiar series of events, becomes a wizard, and ends up visiting the land of Fillory, which he always assumed was fictional. Crossing the chasm into the world of magic and into this alternate reality brings with it all sorts of unanticipated problems, with some tragic consequences along with the successes and adventure.

Grossman followed that book up with a sequel, The Magician King, which he intended to be part two of an eventual Magicians trilogy. It does suffer a little from Middle-Book Syndrome, but that didn’t bother me as much as the split narrative that gives a lot of attention to the back story of one of the secondary characters from the first book, Julia. Denied admission to the magic school, Brakebills, that accepted her friend Quentin, Julia went through a difficult period of anger and depression, along with intermittent attempts to learn magic on her own, a path that ultimately brought her great pain even as she succeeded.

That pairing – triumph and tragedy, elation and pain – underpins both of the books in the series so far, something Grossman spells out more explicitly this time around when Quentin, setting off on an inexplicable sailing expedition within Fillory that lands him back on Earth when that’s about the last thing he wants, is told that becoming a hero can include tremendous sacrifice. This quixotic mission, which Quentin can’t even fully explain to himself other than to say that he feels like he has to do it, takes Quentin, Julia, and their crew of Fillorians to the barely-known Outer Island, and eventually beyond it to After Island and eventually to the End of the World, all in search of a set of Golden Keys that will save the known universe from the wrath of the gods, apparently themselves magicians of a higher order (although Grossman leaves their true nature somewhat unclear, likely wishing to avoid delving too much into the metaphysical) who wish to end the use of magic by mortals.

Grossman created and developed a strong set of characters in the first book, much as J.K. Rowling did when setting up the universe of Harry Potter in the first book in that series. In The Magician King, however, the only development we get is Julia’s through her history, as none of the few new characters we encounter is around for long enough to get that kind of development. I think ultimately that’s what made this feel like the second book in the trilogy – the story was still compelling, just a touch less so than the first book’s, but the character development and growth is largely absent. Quentin’s progress is halting until the book’s climax, and the others are just along for the ride.

That climax might not sit well with readers who loved the first book, but I think Grossman made a wise choice in how he wrapped up the story, at least for now. A big part of the first book’s appeal to me was in how Grossman would create a situation that would feel familiar, often directly recalling something from one of those great fantasy series I mentioned above, but would subvert it through an unexpected or unorthodox resolution. The Magician King is no different – very little is expected here, as triumphs can turn into tragedies in the space of a few sentences. There was one specific aspect that I would have preferred to see Grossman omit, an act of sexual violence that was horrific not just as it was described but for the way the act thoroughly debased the character who was victimized. Rape and sexual assault are valid tools for the fiction writer but should only be deployed when absolutely necessary. This time it wasn’t.

I think The Magician King will stand much more strongly when we get the third book in the series, given how many open questions remained at the book’s conclusion. It isn’t as thin as The Two Towers or, crossing genres, The Empire Strikes Back, stories that seemed to exist primarily as bridges from part one to part three. This book could easily stand on its own if we didn’t have quite so much of the Julia sideline in it. If you enjoyed The Magicians, this is a must-read.

* I’ve also read two other books recently in series I’ve enjoyed, Jasper Fforde’s The Woman Who Died A Lot and Alan Bradley’s I Am Half-Sick of Shadows. Fforde’s book, the seventh in the Thursday Next series and likely the second-to-last as well, follows the literary detective, still recovering from the assassination attempt from book 5, reentering the workforce in a reduced role, even as Goliath Corporation is as determined as ever to figure out her secrets and probably kill her once they’re done with her. Their plans involve sending out synthetic Thursdays that look and sound like the real thing to try to con her friends and family into revealing confidential information. At the same time, the town of Swindon is grappling with news that the Almighty’s recent series of smitings will reach their town in a matter of days, a problem that Thursday’s polymath daughter, Tuesday, is trying desperately to solve. The story is clever, as always, but I have noticed over the last three books that they’re becoming much less funny. The old jokes are wearing off and Fforde seems to be struggling to replace them. Fforde’s site indicates we won’t get book eight, which I think will be the end of the series, until at least 2016.

* I Am Half-Sick of Shadows, the fourth book in the Flavia de Luce series, has nothing to do with MLB’s postseason, but is another murder mystery involving the world’s most precocious prepubescent amateur chemist and detective. This time around, the murder occurs at Buckshaw, the estate of Flavia’s father, as half the town is snowed in during a charity performance by members of the cast of a film being shot at the house that week. There’s a surprising lack of chemistry in the main story here, as Flavia largely figures it out by deduction and old-fashioned snooping, although we get far more insight into the character of Dogger and hints of thawing from Flavia’s sisters, which I hope will continue in the next book, Speaking from Among the Bones, just recently out in hardcover.

Filed Under: Uncategorized Tagged With: , , , ,
→ March 20, 2013
→ By

Santa Monica and Houston eats.

This week’s episode of the Behind the Dish podcast is up, as is my piece for Insiders on potential breakout candidates for 2013.

My nationwide pizza crawl continued at Stella Rosa in Santa Monica on Tuesday night, convenient since I’d just seen Dominic Smith play around the corner at Santa Monica High School. Stella Rosa is also on that Food and Wine list of the best pizzerias in the U.S., but I thought it was just kind of average overall, a little better than the Arizona chain Grimaldi’s (related to but not owned by the same folks who run the original in Brooklyn) but not close to the others on the list I’ve tried. Stella Rosa makes the sausage for their sausage pizza in-house and they dust the pizza with fennel pollen, all of which is great, but the pizza was overtopped so that it was swimming in water – not just wet in the center, Neapolitan-style, but just watery overall, and with mozzarella that was so moisture-reduced already it became a little tough in the cooking. Their dough is more New York-style than ultra-thin Italian-style, crunchy underneath like the exterior of a baguette instead of like a cracker. They have an interesting menu of salads, so it might be a better experience with a crowd, and the attached marketplace (called “M”) offers some enormous cookies, including a chocolate chip cookie with dark chunks of chocolate and fleur de sel sprinkled on top that I may or may not have just inhaled.

I also neglected to mention the one meal I ate in Houston last week, at Bryan Caswell’s very highly regarded seafood restaurant Reef. Caswell was a guest judge on one episode of Top Chef: Texas, competed on the Next Iron Chef, and won a Food and Wine Best New Chef award … but Reef was really disappointing start to finish. The snapper in the snapper carpaccio was sliced too thickly and was very tough in parts, without enough of the tangy grapefruit agrodolce to go around. The redfish in that entree was very high-quality, but way too mildly flavored and in desperate need of a hit of acid. (Aren’t we all, though?) Even the dessert, a key lime tart with toasted meringue and fresh raspberries, was overdone – the meringue was smeared on the plate and then browned, so eating it with the tart, which is kind of the entire point of having it on the plate, was extremely difficult. I had been looking forward to this meal for a while, but every step of it was a letdown.

Filed Under: Uncategorized Tagged With: , , , ,
→ March 17, 2013
→ By

Minneapolis eats.

A few months ago, Food and Wine issued me a fairly direct and obvious challenge. Oh, they might have published it for everyone, but let’s be clear here – this one was aimed directly between my eyes, and no one else’s. They were mocking me, in a way, for calling myself a devotee of artisanal pizza, when, of the 48 pizzerias on their list of the best pizzerias in the United States, I had only visited TWO: Pizzeria Mozza in LA and Pizzeria Bianco in Phoenix. Food and Wine, I hereby accept your challenge.

The list, which I’ve reproduced in a Google spreadsheet if you want to play along at home, is quite seriously East Coast biased, with fully one third of the pizzerias located in New York City as well as one in its suburbs, while no other metropolitan area has more than five (San Francisco has four, with two more in Oakland and Larkspur). As it turns out, two of the restaurants on the list are located in Minneapolis/St. Paul, the mini-chain Punch Pizza, serving Neapolitan-style pizzas, and the slightly less traditional Pizzeria Lola, which diverges from the classic formulation in both crust and toppings. Both are strong, but even though I’m a traditionalist when it comes to pizza, Lola’s product is better.

Punch’s model is very simple – rather than offering table service, Punch has customers order at the counter and delivers the pizzas to the table in short order thanks to the quick cooking times. They offer a large number of red (with tomato sauce) and white (take a wild guess) varieties, and also allow you to build your own, as well as offering ways to customize by adding an extra drizzle of EVOO or swapping out regular mozzarella for buffalo-milk mozzarella (do this, you probably find dumber uses of $3 a dozen times every day). The centers of the pizzas are “wet,” which is traditional in Naples (Napoli, hence “Neapolitan”) but which I think most Americans find weird and offputting. You will probably eat the center of the pizza with a knife and fork, and even as a dedicated folder of pizza slices, I am okay with this.

Punch’s crust is very thin at the center, light and puffy at the edges, with a healthy char on the exterior but not underneath (which is correct). I went with the “Rugula,” with prosciutto crudo and arugula on the basic tomato/mozzarella pizza, and while the flavors were strong across the board, the fact that the prosciutto is added post-oven meant that the pizza cooled off very quickly after reaching the table, probably by the time I’d reached the second half of it. My friend Will went for a sausage and pepper variety that had a good kick to it from cracked red pepper, not enough to call it spicy but just enough for a little surprise as you eat it. I also noticed his stayed warm longer than mine did, so maybe giving the prosciutto 30 seconds in that hot oven would have solved the problem (plus it starts to render the fat just a little bit, which is awesome). I’d call this a 55.

Pizzeria Lola, on the other hand, is a solid 65 for me. Their crust is also thin, and is even thinner around the edges than at more traditional places like Punch or Bianco, so it’s not as high or as soft. But the balance of flavors was better, even on my oh-so-not-traditional Korean BBQ pizza, with mozzarella, short ribs, sesame seeds, a sweet soy glaze, and arugula. (I really like arugula.) These slices were strong enough in the center to hold them up and fold them – I assume they also use reduced-moisture mozzarella or they press some of the water out of the fresh stuff to avoid the wet centers. I would tell you how my friend Evon’s pepperoni and caramelized onion pizza was, but he is incredibly selfish and greedy and also reads this blog which is the best part of the whole story. The caramelized onions were legit, though, deep amber, sweet, and tasting strongly of the wine they used for deglazing them. They offer chocolate chip cookies for dessert, mostly cooked beforehand, then reheated until gooey at the edge of the pizza oven, and, if you want, you can get two of them with a goblet of their own vanilla soft-serve ice cream for $5 and I strongly recommend that you do this and get some extra napkins. I also tried a beer called a Surly Furious, which sounds like the name of a bad comedian from New Zealand, which was medium in color and had a strongly nutty flavor, a little like cashew brittle. Evon also took me to his favorite pub in the neighborhood, George and the Dragon, for more beer (although their menu looked like it’s worth trying), where I tried Steel Toe Dissent, a “dark American ale” that was as dark as a porter, with heavy coffee notes, but lighter in body than most porters and stouts.

I had one other meal while in Minneapolis, a return visit to Hell’s Kitchen, which I’d visited on my last visit to the Twin Cities back in 2006. I am pleased to report that the corn meal waffle is still on the menu and is still amazing, as is the house-made maple-bison sausage. They no longer serve loose-leaf teas in cast-iron pots, though. I know there are other breakfast places in Minneapolis but I could eat that waffle every morning for a year and not get tired of it. I also had an espresso from Dunn Brothers, which was a little sharp for me – not acidic or bitter, more like spicy, enough that I added a pinch of sugar, something I rarely do with the best espresso (Intelligentsia, Press, Superstition, etc.). I did want to try the People’s Organic Cafe’s coffee, but their downtown location is closed on the weekends.

Filed Under: Uncategorized Tagged With: , , ,
→ March 14, 2013
→ By

More Phoenix/Valley eats.

I’m glad to report I’ve found another solid non-chain option out in the west Valley, moderately convenient to Glendale and not far off the route to Goodyear – Ground Control, a coffee roaster that has a strong menu of salads and sandwiches, located on the border of Avondale and Goodyear. I’ve only visited once so far, but the chipotle turkey sandwich, with freshly sliced roasted turkey, havarti, tomatoes, and a thin spread of chipotle mayo, came on an incredible rosemary flatbread along with a side salad for just under $10. The flatbread meant that most of what I got was filling, not bread, and when the filling is good (as mine was) this is a favorable ratio. Ground Control also offers cheese boards and gelato made in-house, if you’re not racing off to a game as I was.

Back in Phoenix, after years of hearing recommendations from locals (including some of you), I finally made it to Beckett’s Table, which is next door to the strip mall that houses crudo. Beckett’s Table’s general vibe is upscale comfort food, with a menu full of hearty dishes that often center on a rich ingredient (short ribs, dumplings, pork shanks), never deviate too far from the spirit of the dish, but use top-quality ingredients to elevate it. I had that pork shank, called a “pork osso buco confit,” and couldn’t get over how rich and yet clean-tasting it was, not heavy or fatty like I feared it might be if it wasn’t cooked long or slowly enough. I was there with my daughter, whose mac and cheese was actually made fresh (not from a box), after which she ate a sizable chunk of Joe Posnanski’s chocolate cheesecake. (I knew once he offered to share, he was in trouble.) I was impressed by the real food on the kids’ menu; it’s not smaller portions of adult entrees, but at least it’s food cooked to order that treats kids like actual people, not like pets. We started with a cheese board while we waited for Joe, which came with three small slices of a 60-day aged goat cheese, grilled pieces of sliced sourdough from a local baker, house-made cranberry chutney, and spiced nuts, all outstanding but not a great value at $15. Those of you who follow me on Twitter saw the chocolate-covered bacon s’mores, but I have to tell you it looked better than it tasted; the best part was actually the homemade marshmallows. Everything was good, but I’d order differently on my next visit.

Tuesday night, I was solo for dinner and tried Franco’s Italian Caffe on Scottsdale Road, which has found a devoted following after just a few months, partly because Franco had previously run restaurants here before moving to New York while his daughter was in school there. Franco himself is Italian-born, but the menu is more Italian by way of New York City, with fare that is heavier than the bright, clean flavors of true Italian food. The pasta erbe aromatiche, apparently a signature dish (according to my server, who was very friendly but butchered every Italian word he said), comprises strozzapretti in a sauce of prosciutto cotto fresh herbs, and white wine reduced and then finished with a thick coating of cream. My pasta was slightly overcooked, not Olive Garden level but still further than I would call “al dente,” and the sauce, while full of the flavors of the herbs and pleasantly salty, was just way too heavy. The burrata starter special was also quite ordinary, with the cheese lacking salt and the prosciutto crudo not enough to make up for it. This is good Italian-American food, but based on one dinner at each place, I think Davanti Enoteca just up the road is a better option. EDIT: Davanti closed in May of 2013.

For more eats around here, sorted by stadium, check out my Arizona spring training dining guide.

Filed Under: Uncategorized Tagged With: , , , ,
→ March 12, 2013
→ By

Blood, Bones & Butter.

A little admin stuff first – my new weekly podcast for ESPN, Behind the Dish, debuted today, featuring an interview with Astros GM Jeff Luhnow and a conversation with fellow writer Joe Sheehan. I appreciate the support of all of you who listened to Baseball Today and mourned its end, so I hope you’ll tune in to the new show. It should be up on iTunes today (there’s a technical problem on their end, I’m told). Spread the word.

Also, I have new posts for Insiders on Jeff Samardzija, David Holmberg, and other Cubs and Dbacks and on Yordano Ventura, Brandon Belt, Tyler Skaggs, and more.

–

Gabrielle Hamilton is a self-taught and, in her words, “reluctant,” chef who achieved great acclaim for her tiny New York restaurant Prune and the honest, rustic fare she has served there for the past fourteen years, eventually winning the James Beard Award as NYC’s best chef in 2001. Her brilliantly written memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is a masterpiece of the memoir genre, a perfect emulsion of food writing and autobiography that will make your mouth water with descriptions of food yet never shies away from critical introspection.

One central thread, Hamilton’s own relationship with food and, by extension, how much that relationship tied to her relationships with friends and family, runs through the entire book, but rather than giving a single story, Hamilton splits her memoir into a sort of triptych: one section on her childhood and adolescence, one on her stop-and-go path into a career in food (with a detour to Michigan for a master’s in creative writing), and one on her unfulfilling marriage to an Italian doctor, Michele. Food is everywhere in the book, yet the book isn’t about food. It is about Hamilton’s peculiar life, with her passion for cooking a recurring character in every episode.

Hamilton’s path to culinary stardom was accidental, but also extremely odd, not something you’d ever recommend to a would-be chef. Her offbeat family imploded when her French-born mother suddenly demanded a divorce from Gabrielle’s set-designer/artist father, ushering in a period when Gabrielle was largely left without parental supervision, a tragicomic setup that led her both into the kind of libertine behavior you’d expect from a 13-year-old without adults around and into a lifetime of extreme self-reliance. She began working in restaurants and bars, as a dishwasher or a server, and eventually working insane hours for catering outfits in New York, learning how to cook as she went rather than at culinary school. Her disdain for fussy, pretentious food gives her an opportunity for some hilarious rants; her own culinary ethos is about as far from a “chef’s tasting menu” as you can get. Instead, she waxes more romantic when describing an Italian sandwich she purchased at a pork shop in Brooklyn (unnamed, sadly) or the fresh seasonal vegetables she finds during annual visits to her mother-in-law in Rome and Puglia. Even in the final section, which details her latent disaffection with her marriage, one that wasn’t founded on love and never grew into anything more than friendly co-parenting, Hamilton still uses food as the foundation for the exploration of her own emotions.

While Hamilton infuses nearly every page with her passion for food, it’s her clear yet highly evocative writing style that sets Blood, Bones & Butter apart. She can express so much in just a few sentences, as in this passage, describing the scene at a coffee place in Grand Central Station:

I hate hating women but double-skim half-decaf vanilla latte embarrasses me. I ordered a plain filtered coffee, as if I were apologizing on behalf of my gender, and when I dug through my heavy purse to pay for it I discovered in my bag a diaper, a resealable jar of apricot puree, and one of Marco’s socks, which had somehow in the general loss of boundary and private real estate that is Motherhood, made its way in there.

That second sentence there is a thing of beauty, its odd punctuation contributing to its sense of barely contained chaos, all while we get Hamilton’s scorn for overly prissy fake coffee drinks and her exasperation at the loss of self that comes with the addition of one or more kids. When Hamilton describes her experiences in catering kitchens, or takes you through Michele’s family estate in Italy, or talks about the large family meals that bookend the story – the giant lamb roasts her father organized when she was a kid, and the family meal with her now ex-in-laws that appears in the epilogue-cum-“reader’s guide” – you can hear the sizzle of the meat as it cooks. If she’s as good of a chef as she is of a writer, Prune must be amazing.

One stray thought on the book: in a passage about women’s roles and struggles in a professional kitchen, Hamilton offers this thought:

If anything, I have come to love the men who also feel that the kitchen is abetter place when women are allowed to work in it, the men who feel that if any part of society is abused, that it demeans the rest of society.

Emphasis mine there, because that summarizes quite nicely why I will block people on Twitter who use the r-word, or a gay-bashing epithet like the word for a bundle of sticks, and it explains why I find team nicknames like Indians or Braves or that odious one that plays football in Washington so offensive. Intent to demean is not required for something to demean. Simply creating a division that sets one part of the population as “other” is demeaning. We do not name sports teams after Italians or Jews or African-Americans, after lesbians or Sikhs or the disabled, yet we think nothing of naming sports teams after Native Americans, or using words that are obvious proxies for them. (Would you see the implicit racism in a sports team called the Atlanta Slaves?) Hamilton’s praise for men who want women in their kitchens and treated as equals says much about her character, and what kind of co-worker and boss she must be, especially in an industry that often adulates alpha males with domineering personalities.

Next up: Lev Grossman’s The Magician King, the sequel to his 2009 novel The Magicians, which I reviewed that August.

Filed Under: Uncategorized Tagged With: , , , , ,
→ March 7, 2013
→ By

The Sharper Your Knife, the Less You Cry.

I have a new post up on Ryu Hyun-Jin and Yasiel Puig and did a Klawchat as well.

One more negative book review before I move on to one I’m really enjoying, this time on Kathleen Flinn’s flimsy cooking-school memoir The Sharper Your Knife, the Less You Cry: Love, Laughter, and Tears in Paris at the World’s Most Famous Cooking School, in which the author tells the story of her time at Le Cordon Bleu in Paris, which coincided with her engagement and marriage to the love of her life. Unfortunately, the book just isn’t very well written (in terms of prose) and the telling is so superficial that we’re not getting enough of the food nor are we getting enough of the personal anecdotes that could make a book like this a fun read even if it’s light on the cooking.

Flinn’s reason for going to cooking school is easily the best aspect of the book: Laid off from a dot-com job with Microsoft’s sidewalk.com unit (it’s never named, but if you’re familiar with the industry it’s obvious who she worked for), Flinn decided to chase a long-denied dream of attending Le Cordon Bleu, one of the world’s oldest and most prestigious culinary arts programs, one she was encouraged to pursue years earlier by none other than Julia Child. Flinn’s then-boyfriend Mike encourages her to do it, even leaving his own career on hold for a year-plus to move to Paris with her and have what I imagine was the adventure of a lifetime.

However, that sense of adventure just never comes through on Sharper‘s pages. There’s a rote sense to Flinn’s days in school – go in, cook, screw some stuff up, take the food home – that we don’t get any of the color of the school itself as we did in Michael Ruhlman’s seminal The Making of a Chef, yet we also get only the slightest feel of life as an expat in Paris, or of the terrific romance between Kathleen and Mike. Side characters are painted in two dimensions, and sometimes one, like their overbearing, freeloading houseguests from Seattle, a lesbian couple who seem to be on the verge of a breakup with every interaction. I closed the book with no clear picture of who anyone was except for Kathleen herself, and even she came through in a faded image, driven by hackneyed life advice more than an abiding passion for food. (I’m sure she has that passion, but it never comes through on the pages.) Flinn’s habit of ending sections and chapters with awful cliches – “Sometimes, the places life takes us can be so unexpected” or “I wonder if graduating higher in the class rankings is worth the price she may ultimately pay” – is grating and indicative of a broader writing style that reads like it was written by someone who hasn’t read enough great writers, who believes that this is how you craft a story.

If this subject interests you, I can’t recommend Ruhlman’s book highly enough, as it balances the food and the educational experience very well against the fascinating personalities with whom he went through the school. I just found Flinn’s book paled in comparison and was much harder to push through given the weakness of the prose.

Next up: I’m just 50 pages into Gabrielle Hamilton’s Blood, Bones & Butter and it’s amazing, extremely well-written and, thus far, a compelling story.

Filed Under: Uncategorized Tagged With: , , ,
→ March 6, 2013
→ By

Loving Frank.

Nancy Horan’s Loving Frank falls in one of my least favorite categories of fiction – historical fiction written about real, well-known personalities, where the author is putting words in the mouths of people who likely never said or did anything of the kind. Frank of the title here is Frank Lloyd Wright, and the novel tells the story of his affair with Mamah Borthwick, a married woman who was friends with Wright’s first wife and eventually ran off with Wright, living with him until her murder at the hands of one of the family’s servants. Little is known of their affair’s details beyond scurrilous reports in contemporary newspapers, which pounced on the controversy, stalling Wright’s career in the States for years; Borthwick left few letters behind, leaving little direct evidence of her character and personality. The result is that Horan has fabricated two impossibly good characters in Borthwick and Wright, building a romance between them that feels antiseptic for its simplicity while glossing over the very real matter of both parties abandoning their young children for several years while they pursued their relationship and careers in Europe.

Borthwick and her husband, Edwin, hired Wright to build them a house, and during the process she and Wright developed a relationship around their shared interests; in Horan’s retelling, both were married unhappily to spouses who could not satisfy them intellectually, so the affair is primarily one of thoughts and emotions rather than physical attraction. Horan depicts Wright as demanding and somewhat temperamental, but also incredibly sensitive, a hard-driving boss who is tender and loving when he leaves the office – surely an idealized version of the actual Frank Lloyd Wright, who couldn’t have just left his haughty nature at work when it suited him. Borthwick was, in reality, a translator for the early European difference feminist Ellen Key, a secondary relationship Horan also explores in the book, similarly endowing Key with so many positive traits (and a way with words that just sounds artificial on the page) that she is hard to accept as a real-life character. Borthwick’s feminism contrasts with her desire to follow Wright, and eventually she must make small albeit significant choices between her affair and her wish to have an independent identity and career, but Horan can hand-wave these away because the pair did end up residing together at the origianl Taliesin in Wisconsin, a home Wright built specifically for the two of them.

The false tone of the text poisons it from the beginning of the book, unfortunately, and Horan seems to have too much affection for these superficial characters to recognize that, by lionizing them, she ends up demeaning them instead. Borthwick leaves her children far too easily – leaving her husband, an amiable provider who only wants a homemaker rather than an independent thinker, is much easier to understand – with too little remorse or guilt or even plans to maintain relationships with the children while she’s traveling with Wright and eventually studying on her own in Europe. An emotionally evolved woman like this fictional Borthwick would realize the deleterious effects of abandoning her two young children at their ages, and, more to the point, she’d miss them so powerfully that leaving with Wright and staying with him for months would have been excruciating choices. Horan needs to get Borthwick on that boat with Wright and almost dismisses Borthwick’s maternal instincts because they’re inconvenient. I found it difficult to avoid judging both characters harshly for leaving their children like that; I cannot imagine a situation where I’d leave my daughter for a year or more with barely any contact beyond an occasional letter. When you’re a parent, your child comes first. Even if the marriage is unhappy, you don’t have to flee the continent and forget your children to pursue a separate romance.

Borthwick’s murder by a Barbadian servant who never explained his “motives” (although, given the nature of the crime, he must have had some sort of psychotic break) provides Horan with a comfortable out for her story as well – it almost feels like the visitation of a divine judgment on Mamah for her abandonment of her family, and if it hadn’t actually happened, I’d be criticizing this as a needless and small-minded morality play. Instead, it’s just one false note after another, characters built around real people who were probably nothing like what Horan wanted them to be. It’s bad enough that Mamah and her children died such a horrible death; don’t spit on their graves by using them to project your own personal fantasies as well.

Next up: I’ve finished Kathleen Flinn’s The Sharper Your Knife, the Less You Cry and have just begun Gabrielle Hamilton’s Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef.

Filed Under: Uncategorized Tagged With: , ,
→ March 5, 2013
→ By

They Shoot Horses, Don’t They?

I had a post this morning on Taijuan Walker, Nolan Arenado, and some other M’s and Rockies. No game for me today, but thanks to all of you for your well wishes after hearing that my daughter’s stomach virus sent us to the ER last night. She’s fine now, but everyone’s exhausted, of course.

Horace McCoy’s novella They Shoot Horses, Don’t They? reads like an extended film treatment, a la Graham Greene’s The Third Man, which is what it actually was, although in McCoy’s case the film wasn’t made until long after his book was published and he had already died. The film earned nine Academy Award nominations, a record for a film that didn’t get a Best Picture nod, with Gig Young* winning the award for Best Supporting Actor. While it deviates somewhat from the book’s plot, both revolve around a dance marathan that exploits desperate would-be actors and hangers-on in Hollywood in the 1930s, all run by a sleazy promoter who takes advantage of the contestants to line his own pockets. (Disclaimer: I haven’t seen the film.)

*Young eventually killed himself and his wife of one month in 1978; his final film, Game of Death, was also Bruce Lee’s final film, compiled from unfinished footage shot before Lee’s death from a cerebral edema in 1973.

The sparse 120-page book is more a showcase for McCoy’s bleak, hard-boiled writing style and worldview than for any depth of plot, although there’s enough story here to sustain you through its 30,000 or so words. The book opens with Robert confessing to the murder of Gloria, essentially pleading no contest, after which we get the full story of how they met and how he came to kill her. The two are in Hollywood trying to land bit parts as extras – Gloria wants to be an actor, assuming she wants to be anything at all, while Robert wants to be a director, although it’s not clear he knows what that entails – and meet on the street after failing to earn parts that morning in their auditions. She mentions that she’s heard of a dance marathon being held with a small cash prize and the chance to be noticed by some Hollywood big shots, so he reluctantly agrees, mostly because he has nothing better to do.

The marathon is a rough, demeaning endurance contest, with dancers pushed to the limit by the unscrupulous organizers, including a bizarre nightly racing “derby” in which the losing couple is eliminated from the marathon, and a staged marriage designed to court positive and negative attention from the local press. Gloria is quickly revealed to be depressed and hopeless, picking pointless fights with other dancers and wishing aloud that she were dead. Robert is more interesting in going along to get along, but he’s just as aimless as Gloria, without the rage or hopelessness. When the contest ends in tragedy and the dancers are all sent off with a pittance for weeks of effort, Gloria pulls out a gun and tells Robert that she wants to kill herself but doesn’t have the guts, an ending foretold from the beginning of the story.

The book’s introduction says it was well-received in existentialist circles in France while it was derided or ignored in the United States until decades after its publication, and the connection to Sartre and Camus is apparent – but McCoy writes with a fire that the classic literary existentialists, so bent on telling us that everything is pointless, always lack. They Shoot Horses has an angle of suspense even though you know it ends in Gloria’s death, which to me reads as a rejoinder to existentialism: That life ends in death does not mean it lacks all meaning. We can know the ending of the story and still find interest in the journey. McCoy’s message isn’t uplifting – after all, his main characters are all devoid of purpose – but it’s not inherently nihilistic, since Gloria, the most hopeless character of all, is shown in the most unflattering light.

Next review: Nancy Horan’s Loving Frank.

Filed Under: Uncategorized Tagged With: , , ,