→ October 18, 2010
→ By

Tar Baby.

I’ve filed two pieces from the AFL so far, one on Sunday and one on Thursday. Jason Grey also wrote a piece on Friday; we saw Brothers pitch again on Saturday and his stuff was down about 2 miles an hour.

—

You can’t spoil a child. Love and good food never spoiled nobody.

In his New York Times review of Toni Morrison’s 1981 novel Tar Baby, John Irving referred to it as “her most ambitious book” to that point. If true, I think Morrison missed the mark for which she was aiming, but I also think Irving’s comment sells short her previous novel, Song of Solomon, which put her on the literary map after her first two novels found little commercial success.

Morrison’s two best novels – Song of Solomon and 1987’s masterwork Beloved – deal with enormous themes of African-American history and culture, replete with symbolism that took compelling stories with magical realism and elevated them to magnum opi that explored the black experience in the United States, from the present day all the way back to our shameful history of slavery. Compared to those two novels, Tar Baby is an inchoate exposition with less structure and a jumbled storyline that crystallizes around its two central characters in the final third, only to end with one of the most ambigious conclusions I’ve ever seen.

Jadine, the closest thing Tar Baby has to a central character, is a light-skinned African-American woman who was raised by her aunt and uncle on the Caribbean island of Dominique (Dominica) on the estate of the wealthy, eccentric white man Valerian Street and his beautiful but aloof wife Margaret. Jadine, now a successful model who spends much of her time in Paris and New York, finds her world turned upside down when a fugitive deckhand, a black man named Son, is found hiding in Margaret Street’s closet, an arrival that creates battle lines not between white and black but between wealth and poverty, and between old black and new black. These battle lines, more than the characters or the torrid romance that forms between Jadine and Son, define the novel.

The most interesting division forms between Son and the various black characters in the book – Jadine, her aunt Ondine and uncle Sydney, and locals on Dominique who are almost invisible not just to the Streets but even to Sydney and Ondine. (One regular helper from outside the house is often fired, but continues to come under a new name because the Streets don’t know the difference.) Son represents something atavistic to Jadine and her aunt and uncle, a throwback to the time of overt social and economic repression; Sydney and Ondine refer to him as a “swamp n—–r,” ostensibly a comment on his initial appearance in Margaret’s closet, but more likely a reflection of their own discomfort at seeing their own racial past incarnate before their eyes. Jadine finds herself attracted to Son and drawn into an affair with him that spans from Dominique to New York, where Son finds himself alienated and disgusted by the way African-Americans live with and yet unequal to whites, to Son’s poor hometown of Eloe, a Florida backwater where Jadine is appalled and terrified by the ambition-less, self-satisfied poverty:

You stay in that medieval slave basket if you want to. You will stay there by yourself. Don’t ask me to do it with you. I won’t. There is nothing any of us can do about the past but make our own lives better, that’s all I’ve been trying to help you do. That is the only revenge, for us to get over. Way over. But no, you want to talk about white babies; you don’t know how to forget the past and do better.

Jadine and Son’s affair begins as the marriage between Valerian and Margaret frays under the revelation of a three-decades-old secret, one shocking and yet inconsequential in the book’s larger plot, as the two white characters are mostly absent from the remainder of the book. Morrison’s characterization is normally first-rate, but the Streets are rendered in two or two and a half dimensions and stand more as props for her various black characters than as fully-realized individuals of their own.

Margaret is waiting for her son, Michael, to bring salvation or exoneration when he comes for Christmas, but he never arrives and the plot strand frays and disappears, which stands in for the main problem with Tar Baby as a novel: Nothing is resolved at the end of the book, and what conclusion Morrison does offer us is ambiguous at best.

By and large, Morrison doesn’t take sides in the Jadine/Son conflict; if anything she seems to offer criticisms of both the complete rejection of the past and of the willingness to repeat it. That said, Jadine’s love of a sealskin coat read to me like a condemnation of her embrace of materialism. She’s rejecting her own skin and replacing it with something natural yet artificial and inhuman, and the manufacture of such a coat through violence against nature ties into the conflict between modernity and nature, another of the themes Morrison explores in the book.

If you haven’t read any Toni Morrison, Tar Baby, isn’t the place to start; I’d send you to Beloved (one of the ten best novels I’ve ever read), then Song of Solomon, and then either Tar Baby or Jazz. Those first two novels are must reads for anyone interested in American literature, but Tar Baby doesn’t measure up to them in scope or story.

Next up: Robert Olen Butler’s short story collection A Good Scent from a Strange Mountain.

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→ October 9, 2010
→ By

If You Follow Me.

Before I get to the book, I wanted to suggest again that you check out “Where I’m Going,” the new single from Cut Copy, available for free on their website. I may have sold it short by calling it “straight-up early Britpop;” after listening it a few more times, including once with the volume turned up (inadvertently) too high, I realized that there are layers of sound beyond that surface candy, even beyond the Who-like keyboard bridge in the middle of the track. At a cost of zero, it’s worth every penny.

–

I received a review copy of Malena Watrous’ debut novel If You Follow Me in the spring, and I think it speaks to how deep my book queue is that I just got around to it last week after finally abandoning the leaden Night Train to Lisbon after about 130 pages. Watrous’ novel takes the standard fish-out-of-water plot and layers a story of personal drama and growth on top of it while achieving the unusual feat of tying up the minor plot threads while leaving the macro issues open.

The narrator, Marina, has come to Japan as an English teacher with her girlfriend, Carolyn, whom she met in a bereavement group about a year and a half before the novel starts when her father took his own life. (Carolyn’s mother died of cancer about eight years before that.) Marina isn’t so much following Carolyn as running from her unresolved grief and anger, but Watrous never allows that darkness to choke the life out of the novel, allowing other characters to come to the fore and even slipping in some light humor.

While Watrous works the fish-out-of-water angle for humor, particularly with Marina’s struggles to understand their small town’s rules for disposing of garbage (gomi), she uses it more to introduce a cast of unusual characters, some eccentric, but most with very real problems. Marina’s supervisor, Hiro, has a strange love of karaoke, communicates with Marina primarily through letters, and is thoroughly depressed by his job. Keiko is ignored by her useless husband and struggles to manage her two sons, one suicidal and another socially maladjusted. Haruki, the only boy in the school’s “secretarial” track, has just returned to school after bullying led him to shut himself in his room for three years, and the boys who bully him have, of course, their own reasons for their behavior. The array of well-drawn characters gives the book a richness that wouldn’t normally be present in this type of story, which usually has the protagonist/narrator as the only normal person and the major focus of the book, with the locals serving as comic relief or simply foils for the main character. Marina also serves as her own sort of comic relief, from her trouble with the gomi rules to her misadventures in driving (in a car with doors that don’t open) to her use of some rather risque materials to get the tough-kids class to pay attention to her English lessons, and the self-effacing voice Watrous gave her alter ego works extremely well through those episodes.

Beyond the mature characterization, I loved Watrous’ infusion of grief and loneliness into the novel without turning it into a bleak, depressing, or hopeless work. Marina keeps her grief at arm’s length – she can’t dispose of it any more than she can dispose of her intermittently-operating refrigerator – and learns something about her grief and herself from watching her charges and neighbors in the small town of Shika … but not everything, as Watrous doesn’t tie it all up in a neat package at the book’s end. Marina makes headway, opens herself up to new adventures, and finds some closure with her father, but at the end it’s clear that she’s still a work in progress. That realistic touch elevated the book to something more than a trivial read for me.

Three disorganized thoughts on If You Follow Me:

  • The cover isn’t doing the book any favors – celery green with a healthy dose of pink. It’s not chick lit, but it sure seems like they’re marketing it that way. I don’t view a book about a female main character as de facto chick lit, and the themes Watrous explores are universal across gender and sexual orientation.
  • If you’re thinking a book starring a lesbian is going to have some hot girl-on-girl action, you’ll probably be disappointed. That said, I thought the few brief mentions of sex seemed a little extraneous to the plot – more placeholders to get from one scene to the next (start sex scene, drop curtain) than actual plot drivers. I do give Watrous credit for a delicate hand, since I think 90% of the sex scenes I come across are painful to read.
  • Watrous studied at the Iowa Writers’ Workshop under, among others, Marilynne Robinson, author of three novels, including the Pulitzer Prize-winner Gilead and her debut novel Housekeeping, #58 on the last iteration of Klaw 100. And Watrous’ prose did remind me in many ways of Robinson’s – not quite as beautiful, as Robinson appears to have invented the English language and merely tolerates the rest of us playing with it, but gentle and sensitive in ways that Robinson’s is as well.

Next up: Toni Morrison’s Tar Baby.

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→ October 6, 2010
→ By

Music update for October.

As always, these are just songs I’ve been listening to lately, or recently heard for the first time, and may not actually be new songs.

“Boy” – Ra Ra Riot (video)

Unusual to see a pop band combining synths, heavy bass, and actual string instruments, and the approach is a little hit or miss, but works well on “Boy,” which combines an unconventional structure, an active bass line, and a vocal that sounds like Morrissey trying to go up an octave for a whole that exceeds the sum of its parts. Their second single, “Too Dramatic,” veers a little too far into Erasure territory for me, but “Boy” has just enough muscle from that bass line to avoid that fate. (Speaking of Erasure, Yeasayer’s “O.N.E.” does have a lot of Vince Clarke in it, fun for a few nostalgic listens but without great staying power.)

“Standing Next To Me” – Last Shadow Puppets (video)

There’s a pretty strong ’60s vibe to this song, from the chamber-pop arrangement in the background to the paired male vocals. I guess I really like Alex Turner’s work; I heard the song without realizing that it was the side project of the Arctic Monkeys’ lead singer. It’s impressive to hear something so clean and melodic from Turner, better known for the more aggressive (but still hook-laden) music from the Monkeys’ first two albums.

“Blue Blood Blues” – Dead Weather (video)

Speaking of side projects, here’s Jack White’s heavy, grungy blues-rock act Dead Weather, now on their second album. It’s reminiscent of early Zeppelin, or some of the album tracks from later in their career, the kind of music I think Jimmy Page always wanted to play but that was subjugated to more commercial considerations. (I mean, “Fool in the Rain” is an all-time classic, but doesn’t sound much like Led Zeppelin.) Anyway, “Blue Blood Blues” has the sort of huge guitar riffs I expect from White’s heavier work, except that I’m pretty sure he plays drums on the track. Go figure.

I feel like side projects and similar collaborations have finally come back in vogue after twenty-plus years where they were absent from the music scene, presumably for legal reasons. (If something sucks in the entertainment world, blame the lawyers. It’s probably their fault.) I’m hearing more groups like these last two and more covers of contemporary songs, both things that were fairly common in the late ’60s and early ’70s and led to a fairly fertile period in American and British rock music. I hope it doesn’t fall out of fashion again, and that the barristers don’t catch on to what’s happening.

“Islands” – the xx (video)

So I got this album right after the xx won the Mercury Prize, and even if I can get past the extremely muted production, I just don’t see this music as worthy of such a high honor. It’s minimalist, but that’s been done before, and done better. It’s despairing and even lonely, but that’s been done before, and done better. It’s not bad music, certainly better than 90% of what’s out there, but I don’t hear anything wildly new or inventive here. “Islands” is the standout track to me, the one I’d choose to listen to again, with more texture than most of the songs on the album, and it has one of the most inventive videos I’ve seen in ages.

“The Mighty Sparrow” – Ted Leo & the Pharmacists (video)

Grabs you right from the opening line – “When the cafe doors exploded” – and … well, it does sort of let go in the middle, but the song is short and punchy with a driving drum-and-bass line that keeps the energy level up. You can hear some influence from early punk stalwarts Fugazi and Minor Threat. It wouldn’t hurt ol’ Teddy to try some new clothing stores, though.

“Barricade” – Interpol (video)

A real disappointment; I liked a lot of Interpol’s earlier singles, especially “Slow Hands,” which drove them as deep into Joy Division territory as any band has gone, but “Barricade” feels choppy and discordant where their best singles have all been surprisingly melodic under the histrionic vocal style.

“Chelsea Dagger” – Fratellis (video)

Released in 2006, the year that was something of a black hole for my music awareness, this is the sort of snotty uptempo British rock song of which I can’t seem to get enough, and reminds me strongly of Harvey Danger’s “Flagpole Sitta.” Apparently “Chelsea Dagger” has become a popular song at football (i.e., soccer) matches across Europe, which makes sense since it has the feel of a modern drinking song. I’m not sure why the lead singer is trying to look like Jack White in the video, though.

“Where I’m Going” – Cut Copy

This is straight-up early Britpop, done over by a popular Australian group who must have been raised on Blur, James, and Belle & Sebastian. I didn’t stand a chance against this one. You can get the track for free if you click on the link in the song title, or just click here.

“A More Perfect Union” – Titus Andronicus (video)

The video edit runs just 3:35, but at seven minutes the album version eventually devolves into a bloated mess. The beginning has some brilliant lyrics combining references to baseball, New England geography, and popular music, mentioning the Fung Wah bus and including lines like “And when I stand tonight, ‘neath the lights of the Fenway/Will I not yell like hell for the glory of the Newark Bears?” and “And I never let the Merritt Parkway magnetize me no more.” The song leads off their newest album, The Monitor, which I found absolutely wearing for its unrelenting cynicism. Yes, I said that.

“Old Fangs” – Black Mountain (video)

I joked on Twitter that this song reminded me of when I was at Woodstock, and at least two followers asked me if I was indeed there. (The answer is no, for what I presume is an obvious reason.) It’s psychedelic rock but in the context of heavy stoner rock; any song with a Hammond organ is going to bring late ’60s/early ’70s psychedlia to mind. It also pulls the trick of sounding much longer than it is, perhaps the result of my mind being trained to think of songs in this vein lasting a good 12 to 15 minutes.

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→ October 4, 2010
→ By

San Diego eats + ESPN linkage.

My hypothetical awards ballots are up, and some of the comments are priceless – mostly whining about bias or calling me an idiot. You can also see my briefer-than-normal scouting reports on the eight playoff teams:

Minnesota Twins
New York Yankees
Tampa Bay Rays
Texas Rangers

Atlanta Braves
Cincinnati Reds
Philadelphia Phillies
San Francisco Giants

I hope to resume regular dish blogging now that those playoff previews are done. Thanks for bearing with me.

–

We didn’t make it to my old favorite, Cafe 222 (waffle heaven), but did get to The Mission, recommended by readers and by a scout as well. It pushes a hipster vibe but on Sunday morning the place was full of families with young kids, so all the talk about “revolution” seems a little silly. All of the food was fresh with bright colors, and the egg dishes come with two slices of light, airy rosemary bread that I’d probably buy by the loaf if I lived in San Diego. The blueberry-cornmeal pancakes were a disappointment, as they’re not cornmeal pancakes but regular pancakes with some coarsely-ground cornmeal thrown on the griddle – dry – with pancake batter poured over them, resulting in an unpleasant, pebble-like texture that ruined what was otherwise a soft, fluffy pancake. The meats, both bacon and chicken apple sausage, were better, while the rosemary potatoes were hit or miss, with some pieces perfect but others overcooked. I’d like to try them again while ordering differently.

Our other breakfast spot was Brian’s 24 on 6th, offering huge portions of solid-average food (eggs, pancakes, french toast) but nothing spectacular. It had the advantages of being fairly quick and walkable from our hotel, but I’d rate it behind the Mission and Cafe 222.

Ortega’s Mexican Bistro in Hillcrest was the huge dinner find, authentic homestyle Mexican cooking in a more upscale setting. The restaurant is in what looks like a converted two-story house with funky internal architectural features and lots of distressed wood, but really, who cares about that when you have someone in the back making fresh flour tortillas by hand? I might fly to San Diego once a week to grab a bag of those things – the texture and fullness was amazing, and if you told me they used lard in there I’d believe you. The roasted-tomato salsa that came with the chips before the meal was also outstanding, thick but not unwieldy and not in the least watery, and they make a very solid jamaica agua fresca. The sopecitos appetizer was rich, a little too dense for me (that’s a comment on my tastes, though, as “dense” may be authentic for all I know), and didn’t need the sour crema laced over the tops. Their carnitas were superbly done, no hint of dryness with lots of crispy edges, and with the sides of rice and charro beans it was more than either of us could finish. That whole Hillcrest neighborhood looks like the kind of place I’d love to live.

We had one dinner in the Gaslamp district – I got a lot of suggestions from readers, but many weren’t appropriate for dinner with a four-year-old – so we called an audible and went to Trattoria la Bocca, offering well-made if overpriced Italian food. My wife’s mushroom risotto was perfectly cooked, just al dente with a creamy (texture, not flavor) sauce that didn’t overwhelm the rice or mushrooms; I had a sauteed veal dish with artichokes, sun-dried tomatoes, and zucchini where every element was cooked properly but the dish as a whole had too many competing flavors. For what it’s worth, of those reader recommendations, the most intriguing one was a bar-restaurant called Neighborhood, which will be at the top of my list of places to hit the next time I’m in San Diego by myself.

Right near Petco is a small boutique shop called Cupcake Heaven that sells … well, you know. We tried several kinds over the 48-odd hours we were there, with the chocolate-chocolate and peanut butter ones my favorites; the peanut butter frosting had a texture somewhere between mousse and buttercream, and there were peanuts in the cupcake itself, resulting in something like the lightest peanut butter cookie you’ve ever had. The pumpkin cupcake’s frosting was very gingery, fine for me but lost on my ginger-hating wife. And the cupcakes were still fairly moist the second day.

I only tried one concession stand at Petco, Randy Jones’ BBQ, which was nothing more than standard, boring ballpark Q drowned in a sticky-sweet sauce. I hope there’s something better there for Padre fans.

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→ September 22, 2010
→ By

Boardwalk Empire and The Constant Gardener.

Two topics in one post, just because. You probably saw my post on why the pitcher win stat must die. Klawchat on Thursday.

—

Finally got around to the first episode of HBO’s Boardwalk Empire last night , and I think my expectations were so high that I was bound to be a little disappointed, even though there’s a lot to like. The Prohibition Era/Roaring Twenties is my favorite period in U.S. history, in literature, film, or even non-fiction, so this series is tailor-made for me. Everything looks spectacular (outside of a couple of weak special effects), both the sets and the costumes, and Steve Buscemi really grew into the role as Atlantic City boss Nucky Thompson over the course of that one episode after a weak beginning with his speech to the Temperance League. Jimmy Darmody, (played by Michael Pitt), Nucky’s driver, has a chance to be an even more compelling character as a bright, young, ambitious kid whose moral compass has been warped or smashed by his experiences in Germany in World War I. Eddie, Nucky’s butler, was excellent as a sort of anti-Jeeves, although the role doesn’t offer much substance. And Paz de la Huerta … well, her character (Lucy) is mostly just comic relief, but if she’s naked a lot I won’t complain.

That first episode had plenty of cliches, though, starting with de la Huerta’s dim-witted showgirl/gangster moll. The other major female character, the abused, immigrant wife Margaret Schroder, comes with a back story we’ve seen a million times – beaten and subjugated by a jealous, alcoholic husband, who eventually gets his compuppance at Nucky’s hands, satisfying the viewer’s desire for vengeance but avoiding the harsh reality that domestic violence wasn’t seen the way we view it today. I can’t speak to the historical accuracy of the portrayals, but did notice that they made the Italian guy (Luciano) the loose cannon with the bad temper and the Jewish guy (Rothstein) the money-obsessed guy who cheats in his business dealings, both of which felt like unfortunate stereotyping. The editing style, particularly the montage sequence at the end, involved so many jump cuts that I had a hard time following the multiple strands, and the final murder in the episode lacked any context whatsoever. The main antagonist to Johnson, other than Rothstein, is Agent Van Alden, rocking a Dick Tracy jaw line but lacking any kind of back story to explain his zeal for stamping out alcohol (there are hints at a religious objection, but religious faith alone isn’t much of an explanation for Van Alden’s determination or steely expressions).

Buscemi and Pitt alone are reasons enough to continue watching, and the series is one of the only ones I’ve ever seen where the visual appeal would make me tune in anyway, but I am hopeful that this episode is the one where they worked out the kinks, setting up some stronger storylines and better characterizations for the rest of the season.

–

If you’ve set your mind on hiding the truth, then the first thing you’ve got to do is give people a different truth to keep them quiet.

I’ve been slacking on my reading during the moving/unpacking process but did knock out John Le Carré’s The Constant Gardener last week. A suspense novel involving spies that is less a spy novel than an angry novel of social criticism, it elevates a straightforward story of a widower’s quest to identify his wife’s murderers into a morally important work that is seldom preachy or strident without cause.

The superficial plot is that of the murder of Tessa Quayle and her research/activist partner Arnold Bluhm; their bodies are discovered in the first chapter, and the next hundred pages or so deal with the mundane nature of the death of the wife of a foreign service official – from the funeral to the investigation to the “handling” of the widower. It’s a slow beginning, but gradually builds enough of the case to set Justin off on the track that leads to the ultimate plot, the role in those murders of the multinational pharmaceutical corporations behind a supposed miracle TB drug called Dypraxa, whose side effects have apparently been ignored as it’s being given to poor Kenyans dying of the disease.

Le Carré still plays to his strengths as a spy novelist by sending Justin off on a run around the world, three continents and at least five countries, fleeing both his former employers and whoever killed his wife. Justin’s titular interest in gardening only plays a small role in defining his character, but le Carré does add some complexity through hints that Justin’s mind may be either going or playing tricks on him, a point of view pushed hard by the British foreign service, who appear to be operating in the pay of those same pharmaceutical companies who may have killed Kenyans through their drug trials and hushed it up. Through Justin’s investigation, which brings him into contact with all of the remaining major players in the drug’s development and early trials, le Carré offers the pharmaceutical companies’ points of view – particularly that they gave the drug to people who were likely to die of the disease anyway – but clearly has little sympathy for it; there’s a righteous anger bubbling just under the surface of The Constant Gardener that wouldn’t work if he was advocating a more controversial point of view, but given the existence of a similar incident that may have inspired this book, it’s hard to take the contrary position. The novel doesn’t have the same tension or psychological emphasis as Tinker, Tailor, Soldier, Spy or The Spy Who Came in from the Cold, but the author’s obvious rage at what he views as abuses of supra-national corporations takes their place to drive the book forward towards its inevitable, tragic conclusion.

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→ September 21, 2010
→ By

Top Chef, season 7.

Sorry for the long delay between posts, but the move, which went reasonably smoothly*, has still been a colossal ass-kicking. Not only are we unpacking, but we have all our stuff in one place for the first time in … well, maybe ever, since we had a fairly full basement back in Massachusetts and a storage space with some boxes that had been there for five years. Since we started the unpacking process, we’ve donated at least six bankers’ boxes full of books, a lot of clothes and fabric, and an old laser printer to Savers, and we’re not done yet – so clearly, we had way too much stuff.

*I define “smoothly” as “the pizza stone, espresso machine, and rum collection all made it intact.” My wife may view it differently. Anyway having DirecTV come the day of the move to get us set up turned out great, since by that night we had the HD-DVR already recording shows.

I did catch the Top Chef finale last week as well as the first episode of Top Chef: Desserts. I’ve seen a fair amount of hand-wringing over Kevin’s upset win in Top Chef, and on some level I can sympathize – in effect, the team with the third-best record (of the three finalists) won the World Series. But as I argued loudly in 2006, the best team doesn’t always win the World Series, and winning the World Series does not make that team the best. Kevin may or may not have been the best chef of the final three, but he clearly finished ahead of Ed and had a good case to finish ahead of Angelo, and under the rules of the competition, that makes him Top Chef.

Ed’s final offerings were extremely disappointing. I’m unclear whether he completely farmed out dessert or had some input into what his sous (Ilan) was making, but that was as complete a whiff as you should ever see in a final challenge – he served sticky toffee pudding, an outstanding dessert that (for me) transcends ordinary cake, but there’s a recipe for the thing in the back of Baking Illustrated, and most Whole Foods sell a very solid microwavable version from the Sticky Toffee Pudding Company. I know he used fleur de sel, but salt and caramel isn’t exactly an inventive combination. I didn’t really see a chilled corn soup as the sort of cutting-edge cooking I’d want to see in a Top Chef finale, and I just have to take the judges’ word for it that his fish dish was too complicated and that he overcooked his duck. I will say that duck can move from perfectly cooked to inedible in a short period of time.

Angelo getting sick provided the drama the producers seemed desperate to inject into this season (coughpeapureecough), but also raised a question for me of whether he completed enough of the work to win the title. It was a lose/lose situation – if he’d won, there would be legitimate complaints that he skipped a day of work the other chefs put in, and if he lost, there’s the question of whether he lost because he got sick. The tart cherry “palate cleanser” was incredibly bizarre – palate cleansers usually aren’t sweet, and certainly not sweet and acidic – but the way he flubbed the first dish shocked me, since a pork belly char siu bao should be right in his wheelhouse. The meringue was also just weird; it was as if Angelo couldn’t taste how sweet some of these items were, so he wasn’t bothered by the high sugar content.

From episode one, Angelo came off poorly on camera between the steady arrogance (doesn’t bother me if the man can really cook) and the increasingly emotional, even erratic, behavior, but he was the closest thing this season had to a high-quality chef who pushed the envelope with many of his dishes. He’s no Voltaggio brother, but in a thinner pool, he stood out to me all season.

Whatever the reason for Angelo’s mediocre performance in the finale, it does seem like Kevin out-cooked him, and his quartet of dishes had its weakest link up front (the vegetable terrine … seriously? A terrine? What’s next, Kevin – a fondue pot? You can take that terrine and shove it up your aspic) and finished very strongly, with a dessert that the judges treated as revolutionary but looked to me like it was slightly clever but just well-executed. He didn’t botch anything major and left the judges with strong impressions of the dishes they had most recently from him, which doesn’t match our general impressions of what should make a Top Chef … but it’s not like we tasted the food, either, so I’m really hesitant to call them out the way I’m going to call the voters out when Felix Hernandez finishes 4th in the AL Cy Young voting.

Overall, a disappointing season, one where I felt like I didn’t learn as much about food as I did the previous year. Great cooking shows should either teach you fundamentals or get you to think about ingredients differently, and both Voltaggio brothers did that, while no one this season did. Kenny was our best hope, as he went for crazy flavor combinations, but when the judges told him repeatedly to edit his dishes and he didn’t do it, he was destined for an early exit.* I thought the judges had really fallen for Tiffany’s cooking, and she seemed to execute at a very high level until her last episode, but did she ever push the envelope with anything she produced? In hindsight, I think the answer is “no.”

*Also worth noting: The stronger teams on paper in this year’s Top Chef Restaurant Wars episode and the two-team episode of the current season of Project Runway both got smoked by the underdogs.

As for Top Chef: Desserts, as someone who likes cooking desserts even more than I like cooking savory foods, I’m glad to see the sequestering of desserts into their own show, and we already have seen some Voltaggio-like offerings from Seth, who works with a complex, full flavor palate and is pretty clearly unafraid to use it.

Gail Simmons gets her chance to look more beautiful without Padma Laskhmi next to her, and so far they haven’t sabotaged her with ridiculous clothing. Her delivery as a host didn’t work for me in the first episode, though; when she walked in to announce the twist to the quickfire, her “did you really think it would be that easy” came off as obnoxious, even taunting, when they were throwing a pretty nasty wrench into the works for the chefs. Picture Tom Colicchio delivering the same line as a throwaway – “Come on, did you think it would that easy?” – making it seem like a joke that the chefs are in on, a sort of, “Yeah, you know, it’s Top Chef, we like screwing with you” way. I don’t think Gail was trying to taunt anyone, but her delivery was that of a host who’s focused on seeming host-like instead of being charismatic.

I commented on Twitter that the preview of the rest of the season made it look like the show would be a cross between Top Chef and Project Runway, which wasn’t meant as a comment on how, er, fabulous the cast is but on how much more inter-chef drama they showed in the previews. Not to steal a line from Alton, but I’m just here for the food, and I hope they don’t edit in too much of the personality stuff at a cost of showing and talking about the dishes and the techniques at work.

Obligatory ESPN note: I’ll resume regular writing this week, with one piece scheduled for Tuesday and blog items probably five of the next six days, after which I’ll start some instructional league coverage. I will be doing playoff preview pieces for the eight teams that qualify, but they’ll be a little shorter this year so I don’t have to miss instructs while I’m living in the area. I’m also scheduled for a chat on Thursday.

As for the dish, I finished John Le Carre’s The Constant Gardener last week – short review to come in a day or two, I hope – and just started Night Train to Lisbon by Pascal Mercier.

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→ August 31, 2010
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Puerto Rico (game).

Hat tip to Matthew Leach, who covers the Cardinals for mlb.com, for pointing out that The Roots’ new album, How I Got Over, is just $5 as an mp3 download on amazon.com (through that link). No idea how long it will last – the Arcade Fire sale was supposed to last one day but amazon extended it at least through the end of that week.

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I’ve been promising a writeup of the game Puerto Rico for about six months now, but up until a few days ago didn’t feel like I’d played it enough to offer an informed take. The significance of the last few days is that I discovered the site Tropic Euro (two points to anyone who gets the reason for that name), a very slick Java-based application that allows you to play Puerto Rico against bots or live opponents. With a three-person game involving two bots running about 11-12 minutes for me, it’s been a nice way to take a quick break from packing as well as a way to get more familiar with why BoardGameGeek users rate Puerto Rico as the #1 board game of all time.

The goal in Puerto Rico is to amass Victory Points* by producing and shipping goods from your “island” back the mother country and/or by constructing buildings, especially one of the five large buildings that provide bonus points at the end of the game based on what else you’ve accomplished. Your island is a board with spaces for twelve plantations and twelve buildings; the plantations, which are free, can grow one of five crop or house a quarry that reduces the cost of any building by one doubloon. Corn is the least valuable crop, with a trade value of zero, but doesn’t require a processing building; coffee is the most valuable crop for trading but you can’t produce more than two units per turn.

*One thing you have to get used to when playing German-Style board games is that even a fairly concrete game concept, the goal is nearly always the abstract victory points. Completing certain tasks, building specific buildings, or shipping goods earns you points, but the assignment of points to deeds can feel a little arbitrary. I’ve just learned to accept it for each game and move on.

Buildings come in three types: Production buildings, for processing any of the four crops beyond corn; small buildings, each of which grants you a few victory points and some special privilege on every turn; and large buildings, which offer no in-game benefits but can provide significant bonuses after the game ends. Every building and plantation must be manned by a colonist, but their supply is limited, especially early in the game.

In each round, each player chooses a role, with options including the mayor (obtaining colonists), the settler (choosing plantations), the builder (obvious), the craftsman (producing goods), the trader (each player can put one good on the trading ship, as long as another good of that type isn’t already there), the captain (shipping goods for points), and, in larger games, the prospector (take a doubloon). Every player gets to utilize the roles chosen by other players, but the player who chooses a specific role gets an extra privilege, such as producing one additional good of his choice. Roles that go unselected are worth an extra doubloon in the next round.

The complex and slightly crazy part of Puerto Rico is that shipping round. There are five goods that players can produce, but there are only three ships available to take goods to the mainland, and a ship can only hold goods of one type. When a player chooses the shipper, all players must ship all of their goods; if there’s no room, most of their goods spoil and are lost with no compensation. (There are large and small warehouses that a player can buy and man to protect some of his goods.) The ships empty at the end of a round and only when they’re full.

Every good shipped is worth a victory point, and in the later rounds a player could easily ship five goods or more in a single shipping phase, especially if he’s the shipper and can place his goods first. Since points from shipping can easily be around 40% of a winning score, possibly more, there are a host of considerations behind the set of decisions of what goods to produce, how much to produce, and when to ship them, and those decisions also include considering what your opponents plan to produce and what they have on hand. A well-timed decision to choose the shipper role can grab you six points while spoiling goods for several of your opponents.

That’s what makes Puerto Rico a great game, and I’m going to assume it’s why the geeks over at BoardGameGeek have it at the top of their rankings: The decisions each player has to make are rich and complex and depend on potential future moves from both the player and his opponents. Just choosing a role means weighing four or five variables – money, colonist supply, the shipping situation, production potential, and what your opponents will do with this role if you choose it … or what someone else will do with the role if you don’t. Given the game’s complexity, it’s surprising that it works as smoothly as it does, and I think the only truly difficult part of Puerto Rico is setting the game up and putting it away.

It is, however, the most complex game I’ve reviewed on the dish so far, so I can’t just tell you that, say, if you love Settlers of Catan or Stone Age, you should try Puerto Rico. It would be more fair to say that if you’re looking for a more involved game than those two – both among our favorites – you should try Puerto Rico, not just because I recommend it but because the consensus of the boardgaming world is that it’s the best game out there.

Back to Tropic Euro, I’ve found that the software works very well; I’ve had occasional trouble logging on, where the main window was blacked out, but closing and restarting the app solved it. It offers PR expansions, swaps the prices of the Factory and University buildings (per the original boardgame’s designer’s suggestion), and the AI moves quickly and pretty logically, enough to punish me for making rookie mistakes. The app’s author, Chris Gibbs, says on the site that there will be a “hard” AI option available in the next week or so.

I’ve previously reviewed San Juan, the card game variant of Puerto Rico; while it’s consistent with the theme, it is a massively simplified game. I enjoy San Juan in its own right, but it’s just a different experience.

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Posting here will be sporadic over at least the next seven days as we pack and await the moving vans. I should have at least one ESPN chat either this week or next, and both ESPN and dish blogging will become more frequent by the week of September 20th. If you’ve emailed me or asked me a question in any forum without receiving a response, I apologize, and I hope you understand.

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→ August 26, 2010
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Charity & relocation.

I wrote last month about running a single sponsored tweet on my Twitter feed, asking for your feedback, which came back overwhelmingly in favor. The $244.53 payment arrived earlier this week, and I rounded up to $250 and donated it to Childrens Hospital Boston with my gratitude for the great care they’ve given my daughter over the last three years.

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Speaking of charitable donations, Amiel Sawdaye, the scouting director for the Red Sox, is participating in the New England Parkinson’s Ride this year, with proceeds going to the Michael J. Fox Foundation for Parkinson’s research. I know many of you are Red Sox fans and I offered to pass along the link where you can make a donation to help Amiel reach his goal of $10,000. He’s already halfway there and I gave $100 myself just before writing this.

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So I mentioned in passing today that my family and I are leaving Massachusetts next month after eleven years year, nine in the same house, to relocate to Arizona. I’ll probably have more to say about it later on, but for now, I wanted to answer the two main questions that came up in the chat.

The only change you’ll see in my work at ESPN is more coverage. I’ll get more games while cutting my travel, which has been a major goal of mine for the last year and a half or so. I’ll get to more Fall League games and more spring training games, as well as seeing instructional league action for the first time and having better access to the Pac 10 and to all the great high school prospects in southern California.

The second question I was asked today was why the move, and the simple answer is that everything pointed the same way. We’ve spent the month of March in Arizona the last three years and have grown to like the area. Neither my wife nor I is actually from Boston – although the frequency with which I’m “accused” of being a Bostonian/Masshole/Red Sox fan is absolutely hilarious – and we are here largely because of a career I abandoned nine years ago. I have never liked winter or the cold one bit, even as a kid in New York, and the climate here hasn’t been great for my daughter, who has inherited my seasonal allergies and is prone to croup and even a little asthma. We’ll get more house for our money in Arizona, of course, and it’s one of the few places in the country where there’s a major league club, minor league activity, and access to good college and high school baseball. Most importantly, though, you never have to shovel sunshine.

Of course, it’s an enormous change for us, and we’re leaving our comfort zone here in Boston, as none of our friends or shops or routines will fit in the moving van. If you live in the East Valley and have a shop, a restaurant, a farmstand, a local product or service, anything you want to recommend, please send it my way.

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→ August 24, 2010
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Unaccustomed Earth.

Jhumpa Lahiri was born in London, and her writing revolves around Bengali families in the United States who retain at least some of their non-American identity, but her writing is more American than most fiction by contemporary authors born in this country. Lahiri’s stories are richly textured, written in intelligent yet easy prose, showcasing her incredible skill at encapsulating human emotions through plot events large and small, and her overarching theme of Bengalis feeling adrift in a foreign country and culture seems central to the American experience regardless of the characters’ nation of origin. Her first published work, the short story collection Interpreter of Maladies, won the Pulitzer Prize for Fiction, and if anything, her second story collection, 2008’s Unaccustomed Earth is even better, more assured with stronger characterization.

The title story, which leads off the collection, is one of the most subtle stories in the book, dealing with Ruma, an Indian mother married to a non-Indian man, whose widowed father comes to visit her in her new home in Seattle. She is still grieving from the sudden loss of her mother, and now must deal with the question of whether to invite her father to stay with her, per Indian (or perhaps Bengali) custom, even though she has never had a close relationship with him and believes her husband is less than thrilled with the idea of having his father-in-law living in their spacious house. Ruma’s father, meanwhile, has begun a quiet affair – so quiet it barely merits the term – with another Bengali woman, also widowed, and does not wish to reveal it to his daughter or to give up his peripatetic new lifestyle. Lahiri allows both characters to narrate the story, creating two distinct voices, moving the story along by magnifying tiny events in their lives during the father’s visit and establishment of a new relationship with his grandson, surpassing anything he ever developed with Ruma. The story’s conclusion is extremely un-Hollywood, yet more effective for its realism.

Unaccustomed Earth closes with a three-part novella titled “Hema and Kaushik,” which returns to the twin perspectives of the collection’s title story by tracking two young Bengalis through three stages of their lives – a brief period in their teen years when Hema’s family housed Kaushik’s on the latter’s return from India to Massachusetts; Kaushik’s difficulty in adjusting to a major change in his family situation while he’s in college; and an unlikely reunion between the two in Rome with the two in their late 30s. The novella is more about Kaushik (the boy) than Hema, with the latter serving more as a lens to examine Kaushik’s character, and how a few major events in his life shape his choices in adulthood, including his inability to grieve and his difficulties in forming lasting relationships with women.

As much as I may praise “Hema and Kaushik,” it wasn’t the star of this particular show. I don’t read many short stories because I often find it hard to get emotionally invested in a character or a plot in ten or twenty thousand words, but “Only Goodness” was easily the most affecting short story I’ve ever read, for personal reasons. The story opens by telling us that “It was Sudha who’d introduced Rahul to alcohol,” a clue to the guilt the sister would later carry for her brother’s alcoholism, even though the addiction and downward spiral was almost certainly inevitable. An uncle with whom I always felt close was a lifelong alcoholic, something I didn’t know until late in my teens, and his periods of recovery never lasted and were punctuated by disappointment and frustration on the part of the rest of his immediate family. I remember too well the phone calls I’d get from him at odd hours in the late 1990s, about some get-rich-quick scheme he’d found or a penny stock on which he wanted my opinion, and the fact that I was not equipped to handle him in those states, or even fully aware of what the calls truly signified. Eventually, I drifted out of contact with him, talking maybe once or twice a year, hearing of him through my parents, until the day in spring training of 2005 when I got another call that he had taken his own life the night before. Rahul lives to see the end of “Only Goodness,” but Lahiri paints an accurate portrait of the devastation a grown child’s alcohol problem can cause and the false hopes and crushing disappointments it can cause, while still giving the reader enough insight into Rahul to feel some empathy, until the climactic event that caps the story.

“A Choice of Accommodation” chronicles the gradual decline of a “mixed” marriage (between an Indian man and a non-Indian woman) by watching the couple over the course of a single day and night at someone else’s wedding; I’ve criticized many writers here for badly-written sex scenes that feel like they were written by teenaged boys, but Lahiri wrote one of the few I’ve ever read that didn’t make me cringe – perhaps it simply needed a woman’s pen – although as the conclusion to this story the device felt a little hackneyed. “Nobody’s Business” is actually told from the perspective of the shy American roommate of an Indian woman on whom he probably has a small crush; he finds out her mysterious boyfriend is having an affair and is left trying to decide whether and how to tell her about it. The story itself works, with a technologically quaint solution, but the constant parade of suitors that the girl, Sang, faces – all men seeking an arranged marriage through her parents – provided a level of exasperating comic relief. The weakest story for me – still above-average if you’re looking for grades – was “Heaven-Hell,” told by an Indian girl about her mother who, trapped in a loveless arranged marriage, develops a crush on a Bengali graduate student who rooms with the family for several months, and even thatt story features a classic Lahiri oh-by-the-way twist at its end.

Interpreter of Maladies was brilliant and worthy of the recognition it received, but I can’t say I was as moved or involved in its stories as I was in those of Unaccustomed Earth, and her ability to create tension in short stories that revolve around emotions rather than action is astounding, reminiscent of the short stories of F. Scott Fitzgerald and the novels of Marilynne Robinson, two of the best American writers of the last hundred years. And I think it’s fitting that someone of a non-traditional background should emerge as one of the brightest voices in 21st century American literature, one who speaks to the experiences of an entirely new wave of immigrants who spend much of their lives living in one country while trying to maintain the cultures and traditions of others.

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Before Unaccustomed Earth, I read John Dos Passos’ The 42nd Parallel, the first part of his U.S.A. trilogy. However, it’s not a complete, standalone novel; it weaves together the stories of five people in the U.S. in the late 1910s, but their paths just start to cross near the book’s end and nothing is resolved enough to merit a real review. I’ll write them up when I finish all three parts, which appear as a single entry on a few of the greatest-books lists I follow.

Next up: Dawn Powell’s final novel, The Golden Spur.

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→ August 16, 2010
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Prime Obsession.

I admit it: I am not afraid of math.

And if you’re not afraid of math either – in this case, some fairly heavy math – you might enjoy Prime Obsession: Bernhard Riemann and the Greatest Unsolved Problem in Mathematics as much as I did. It’s a book about an obscure question in the field of number theory, one that remains unsolved after 150 years and probably has little to no practical application, but John Derbyshire manages to give the subject some real personality while doing his best to make it accessible to readers who haven’t taken a lot of advanced math classes or who, like me, are a good 13 years removed from their last one.

The subject of Prime Obsession is the Riemann Hypothesis, which states that the non-trivial zeros of Riemann’s zeta function are half part real. “Non-trivial zeros,” in this case at least, are complex numbers (a + bi, where i is the imaginary number defined as the square root of negative 1 and b is nonzero) that give the result of 0 when plugged into the zeta function. “Half part real” means that a in that complex number is equal to ½.

The zeta function is the crux of the matter, the sum of the following infinite series:

That is:

Riemann posed his hypothesis when studying the Prime Number Theorem, which states that for any random number N, the probability of N being prime (and thus the frequency of primes around N) is roughly equal to the reciprocal of the natural logarithm of N, that is, 1/ln(N). In his one paper on the subject, he hypothesized that the frequency of primes and the differences between the actual frequency and the predicted frequency in the Prime Number Theorem was connected to the zeros of this zeta function. He couldn’t prove it at the time, and even though David Hilbert declared it one of the great mathematical problems of the 20th century in 1900, one of a list that has seen all but two of its number* solved, and in 2000 the Riemann Hypothesis was named one of the Millennium Prize Problems by the Clay Mathematics Institute, it remains unsolved. Prove or disprove it and you’ll get a cool million bucks for your trouble.

As you might imagine, solving the problem isn’t easy; indeed, it stands unsolved more than a decade after Sir Andrew Wiles’ solution of the equally perplexing problem of Fermat’s Last Theorem, one that required the development of an entire new field of mathematics (topology) unknown to Fermat at the time that he wrote that he had a “truly marvelous proof” to the problem. (Current thought is that whatever proof he had was incomplete.) The difficulty of proving or disproving the Riemann Hypothesis has led many of the major figures in mathematics, particularly in number theory, to attempt to tackle all or part of the problem or to work on further theorems and conjectures that build on the assumption that the “RH” is true. (And it has at least held true so far for very large numbers, which is not a proof but is weak evidence in its favor.)

Derbyshire’s main difficulty, beyond the lack of a clear resolution to the story, is making the solution of a potentially useless mathematical conundrum interesting; Wiles’ proof of Fermat’s Last Theorem was momentous and newsworthy, but the practical applications have been nil – it’s merely interesting to people who like numbers. Proving the Riemann Hypothesis would likely have a similar lack of real-world effects, and the hypothesis itself is a lot harder to grasp than Fermat’s Last Theorem was; the latter problem had an incredibly complex solution, but the question itself was easy for anyone who’d taken algebra to understand. Derbyshire does a masterful job of walking through the history of the Riemann Hypothesis, from earlier work on prime numbers, including the PNT, through Riemann’s brief life and career in mathematics to the major developments in the 151 years since his seminal paper appeared.

The book alternates between chapters walking through the math and chapters on the history and personalities involved in the hypothesis’ history. Carl Friedrich Gauss has a starring role early, while G.H. Hardy, Leonhard Euler, J.E. Littlewood, Jacques Hadamard, and Hilbert appear at some length later on. Derbyshire sprinkles stories of their peculiarities, senses of humor, and non-mathematical interests to keep the text lighter while also highlighting the chance occurrences that made some of the progress on the proof possible and regularly pointing out the remarkable longevity of most of the major mathematicians he mentions.

His math writing, while clearly geared to a lay audience, still got fuzzy for me when he got deeper into the zeta function as he tried to map it to the complex plane. Derbyshire relies on these “visual” interpretations that don’t correspond to any sort of plane or graphs that I’ve seen elsewhere, and I felt it was the one time he presupposed some familiarity with higher math on the part of the reader. But to his credit, he relies largely on algebra and gives a brief (re-)introduction to differentiation and integration for the short periods where calculus is necessary to move the math story forward. He also hits many major touchstones that will unlock memories for those of you who took and enjoyed lots of math classes, from the Sieve of Eratosthenes to the amazing Euler’s Identity, the latter of which states that

And if you look at that formula and are amused, fascinated, or just generally intrigued, Prime Obsession is a book for you.

I also recommend a book about one of the mathematicians who makes a cameo appearance in Derbyshire’s book, The Man Who Loved Only Numbers: The Story of Paul Erd?s and the Search for Mathematical Truth. Erd?s was a Hungarian-born savant who lived most of his life out of a suitcase, traveling the world, arriving at the doors of mathematicians he knew and announcing that “my brain is open,” after which he’d settle in for a few days or weeks and embark with his host on a streak of problem-solving and paper-writing. He had his own peculiar vocabulary, consumed large quantities of caffeine and later amphetamines, and combined brilliance and prolificacy (that’s peak and longevity for you Hall of Fame watchers) to the point where other mathematicians are referred to by their “Erd?s number,” where a person who co-authored a paper with Erd?s has an Erd?s number of one, while others are marked by how many papers you must go through to create the shortest possible chain back to Erd?s.

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