→ June 24, 2013
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Last Man in Tower and The Member of the Wedding.

Aravind Adiga’s first novel, The White Tiger, won the Man Booker Prize and was a late cut from my last book ranking, earning a very positive review from me when I read it during spring training in 2010. His second true novel, Last Man in Tower, replaces some of the bitterness and irony with a more open-ended approach to characterization, without losing the scathing social criticism of the new India that made The White Tiger so powerful.

The man of Last Man in Tower‘s title is the retired teacher known affectionately as “Masterji,” who lives in a dilapidated coop apartment building in the Santa Cruz neighborhood of Mumbai, near the city’s massive international airport. Redevelopment is advancing quickly into this district, and when their coop society receives enormous offers to sell out so a developer can tear the buildings down and put up luxury condos, one by one all of the society’s residents accept, until Masterji is the only holdout, insisting that he wants “nothing.” His refusal to sign is not about price or money, but, in his view, about principle, holding back the wave of corruption and gentrification that is destroying the old India and widening the gap between the country’s wealthy and poor.

Adiga strikes a better balance here between satire and storytelling than he did in White Tiger, but in the process lost much of the dark humor that made the first book so memorable. Masterji deserves a more thoughtful treatment than Balram Halwai, and he gets it, with explanations of how the deaths of his wife and daughter and his distant relationship with his son affect his view on the developer’s offer and the threat of massive change spawned by a forced move to another community. Masterji’s apparent obstinacy – his refusal to sign the offer means no one in the building can sell – has its justifications, and while in the end I found myself siding with his neighbors on the matter of the offer, Adiga creates enough ambiguity to prevent the reader from coming down wholly on either side of the matter.

Adiga’s other key decision was to try to personalize the developer as an independent character, rather than leaving him as an unseen, amoral force in the shadows; while he wasn’t entirely successful, it did help to round the book out more fully. Shah is not sympathetic, but he is also real, and is shown as motivated not just by greed, but by ambition, shame, and an unsatiable desire to overcome his humble beginnings. Yet any sympathy his history might engender is rather quickly wiped out by the horrible treatment he dishes out to his assistant and to his mistress, details that I assume indicate that Adiga’s distaste for hypercapitalism on to the page twon out over his desire to craft a fully developed antagonistic force to pull on the reader’s emotions.

Last Man in Tower‘s other characters are all very well-developed, giving Masterji a few friends and many foils just within the coop society, several of whom get their own backstories, often just enough to make you want more; for me, Mary, the building’s maid, who herself lives in a nearby shantytown with her son and whose livelihood is threatened by the potential redevelopment, deserved further screen time. I could see Adiga building up to a longer, even more complex novel from here, one with multiple interwoven storylines involving a multitude of well-developed characters, perhaps rewriting the wrongs done to India by E.M. Forster and Rudyard Kipling. I enjoyed White Tiger more, in part because I enjoy funny, incisive satire like that, but Last Man in Tower is just as strong a novel, less witty yet more ambitious, indicating Adiga’s maturation as a novelist.

–

I picked up Carson McCullers’ The Member of the Wedding at Changing Hands bookstore in Tempe – I’m going to miss that store quite a bit – because it was on sale and because McCullers’ best-known novel, The Heart is a Lonely Hunter, is among my favorite novels ever written (#15 on my last ranking, in fact). McCullers’ signature work includes a cast of flawed, mostly sympathetic characters, inhabiting the same world despite narrow and wide gulfs between them, a sphere filled with grief, alienation, and sadness. Member of the Wedding doesn’t reach the same emotional depths, but does turn the conventions of the coming-of-age novel upside down with its story of a motherless girl who fills her life with fantasies to replace what she’s lost.

Frances “Frankie” Addams is a 12-year-old girl living with her mostly absent father, with help from a live-in African-American woman named Berenice, and the frequent presence of Frankie’s young cousin John Henry. Frankie’s brother Jarvis returns from a stint in the Army in Alaska with a fiancee and an announcement that they’ll be getting married in a few days in the nearby town of Winter Hill. Frankie decides that she’s going to run away with her brother and sister-in-law after the wedding, building up a vague, exotic fantasy about a life other than the one she has now.

The central conflict in the book lies between that fantasy, of escape or just change from a destiny that seems predetermined, and the reality of life in their small, slightly backwards town, where blacks and whites intermingle but exist on separate planes, and the army is one of the only ways to leave the track into which you’re born. (Death comes up on the story’s margins as one of the other ways, and probably the most commonly utilized.) Frankie’s narrative touches on themes of oppression, racism, and gender identity, but the one that kept coming back to me was that she’s a girl who needed her mother, and is trying to fill that void, as well as the one left by a father who’s barely present in her life, with anything she can find, real or imagined. That also leads to a disturbing interlude with a soldier on leave in the town, perpetually drunk or in search of it, who seems to mistake Frankie’s age by a hard-to-imagine distance.

The overriding sadness that permates The Member of the Wedding isn’t well balanced the way that a similar vapor in The Heart is a Lonely Hunter is, where McCullers pairs the gloom with a deeper understanding of its origins and dimensions. Here, Frankie is a little more pathetic than sympathetic, especially when her vision of escape with her brother doesn’t quite come off as planned, leaving me with the sense of having read something superficial, not the immersive emotional experience imparted by McCullers’ masterpiece.

Next up: Jussi Adler-Olsen’s The Keeper of Lost Causes, a Danish detective novel and first in the “Department Q” series.

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→ June 15, 2013
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Agricola iOS app.

Agricola is among the top-rated board games on Boardgamegeek’s rankings, and one of the best-reviewed board games ever released, a complex strategy game with very little luck or randomness involved that requires players to make a ton of difficult decisions. I like the game, but I’ve never rated it as highly on my own rankings because of its extreme complexity: The decisions and tradeoffs are so tight, the game straddles the line between play and work. A successful game brings as much relief (that you didn’t screw it up) as pleasure (which is the point of games, no?), and it can take two hours to play a four-person game, more if you don’t really know what you’re doing. The design of the game is brilliant – it is so balanced, and the idea of forcing players to choose among a host of imperfect options, accepting that they can never check all the boxes, is pretty unusual even with all of the games on the market. But good grief is it frustrating to play, even when you’re doing it right.

Playdek just released its long-promised Agricola iOS app earlier this week, and as adaptations go, it’s just about perfect. The app runs smoothly, without a single crash through a half-dozen games so far. Rules and requirements are easy to access within the game. The graphics are superb, very clear and very bright, easy to stare at for the 10-15 minutes it takes to play a solo game against AI players. And the AI players are solid competition, even the “easy” opponents, at least for a novice player like me.

I’d only played the physical game twice, so I came to this app as a near-rookie, only understanding the basic concept of the game and the part of the mechanics that resurfaced in the later game Le Havre. In Agricola, each player is trying to build a farmstead, beginning the game with a husband and wife, each of whom can handle a work assignment every round. Tasks on the farm include collecting resources, plowing fields, sowing plants, rearing animals, and building additions. The point is to maximize your scoring opportunities while ensuring that you can feed your family at the game’s five Harvests, which occur more frequently as the game progresses. The catch is that you can lose points in any area where you don’t accomplish something – leaving any farm area undeveloped, failing to rear any of the three animal types, etc. And getting enough food each harvest is no easy task; it would be ideal to get a steady food supply going, but that’s hard to do early in the game, and by the time the game is nearly over, the harvests are happening faster and you’re also trying to max out your scoring.

One way the game reduces the potential for frustration is by giving players a slew of choices for work assignments, adding another choice in each of the fourteen rounds of the game, so that players can vary strategies and won’t often find themselves blocked from all of the moves they need. (Most work assignments appear on only two spaces on the board, and some appear on only one.) Another is with Minor Improvements, which appear in the full game but not the shorter “family game,” a quicker, simpler version that only includes Major Improvements. Improvements offer players ways to gain extra resources or convert resources to more food. Players can also choose Occupations, which function much like Minor Improvements and can also provide point bonuses or spend less on future construction. (Hardcore players of the physical game may be interested to know that the app only includes the E deck so far, but other decks will be available as future in-app purchases.) Understanding what Improvements and Occupations can do for you allows you to tailor slightly more focused strategies – fun, but also again skating dangerously close to ‘work.’


The town.

Playdek’s biggest challenge beyond crafting the AI players had to be the interface itself, as Agricola takes up a lot of space when played on a table. There’s a central board with the ‘town,’ containing all of the work assignments, which gets larger as you include more players. Each player has his own farmstead, with up to a dozen or so squares, as well as his own resource piles and room for Improvements and Occupations. And there should be central piles of those cards as well. The app does a solid job of including all of those views without sacrificing too much information. The player can switch from town to farm view with one click. A bar at the bottom of the screen shows his/her current resource levels, including a food counter that shows how much he’ll need to feed his family this round. The player can find out what an assignment space or a card does by double-clicking on it, and there’s an option to include the labels on all assignment spaces if you want. When you drag one of your workers to a space, it’s grey if you can’t place your worker on it (because you don’t meet the resource or space requirements), and beige if it’s available. After two games, I was familiar enough with the town to know where everything was without having to keep all of the labels visible.


A player farm.

I’ve only found tiny flaws in the app version so far, nothing that seriously interfered with gameplay but, when the big stuff is all done right, these are the little things that stand out. The AI players seem to hang on basic decisions for five to ten seconds at times, and sometimes it becomes unclear what the app is waiting for (as in, is it my turn?). The tutorial is a little sparse and seems to be written for players who’ve tried the physical game at least once. The default animation and gameplay speeds were too slow for me, but turning them up in the options panel solved that problem. It might be easier if a greyed-out assignment space also explained why you can’t place a worker there. It also took me a few games to figure out that if you acquire more animals than you can house in fenced-in pastures or with stables, you can cook the extra beasts immediately if you have a fireplace or oven. They’re all minor issues – considering how many boardgame apps have crashed on me, the fact that one this complex played six games without such a hitch puts it in the best-of-breed category.

The two most comparable games in app form are Caylus, not as complex but with a similarly long view; and Le Havre, which takes many of the best features of Caylus and Agricola in what might be the most complex game I’ve ever seen. Caylus and Agricola both have bright, sharp graphics, while Le Havre’s are dimmer and less attractive. Le Havre gets everything on to one screen, while the other two force you to jump around or scroll more for the sake of larger images and clearer text. Caylus has the easiest AIs for me to beat, which means Agricola will probably have far more staying power for me – if it doesn’t turn out to be too frustrating when I’m playing the stronger computer opponents. It’s absolutely worth the $6.99 price tag, especially for a game that usually retails in physical form around $50, but with the caveat that the learning curve for this game is steeper than what fans of games like Settlers of Catan or Carcassonne might expect.

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→ June 13, 2013
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Yes, Chef.

Marcus Samuelsson stands out in the world of celebrity chefs for several reasons – he’s a star here in the United States, but was raised in Sweden, and his cuisine is global in many ways … but he’s black, and that fact alone would make him close to unique in the clique of American celebrity chefs. Samuelsson was born in Ethiopia, but his birth mother died of tuberculosis when Marcus was only about four, after which he and his sister were adopted by a couple in Goteborg, Sweden, where his soccer career stalled out because he was too slight to keep up with his competitors, only to lead to a career in the kitchen that forms the basis for his memoir, Yes, Chef.

Samuelsson came to national prominence during a lengthy run as the executive chef at New York’s Aquavit, a Swedish restaurant that included a casual menu serving traditional Swedish fare and a fine-dining menu where Samuelsson could stretch out and use Swedish cuisine as the basis for a more progressive and comprehensive approach to food. I tried Aquavit shortly before Samuelsson departed and was highly impressed, especially by the fish, both its quality and preparation, including a hot-smoked salmon plate that forever hooked me on smoked fish. He’s also responsible for the best food item Starbucks has ever sold, a chocolate cinnamon “bread” (in the sense that banana bread or Northern corn bread are “breads,” when really they’re just cakes) that was both delicious and paired quite well with coffee, even the stuff they call coffee at Starbucks. The recipe was included in a cookbook only sold at Starbucks locations, although I believe many of that book’s recipes ended up in his The Soul of a New Cuisine: A Discovery of the Foods and Flavors of Africa. His new venture, Red Rooster, has been a huge success despite a slightly off-the-radar location in Harlem, where Samuelsson lives, borrowing the name of a classic restaurant of the area while integrating old and new culinary traditions.

Samuelsson’s life and career follow a somewhat unexpected narrative path: After his very difficult beginning, he finds himself in a comfortable setting, raised by loving adoptive parents in a country where racism existed but not to the extent we face it here. Instead, Samuelsson’s challenges increased after he reached adulthood, facing institutional racism in the kitchen and his own naivete on the business side of cooking, while also watching several friends and colleagues die far too young and eventually finding himself in a little trouble of his own making. He clearly has tremendous drive, as well as a deep passion for food (for flavors, in his words, and in finding new ways to combine them), but there are hints of regret sprinkled throughout the book for what that singlemindedness may have cost him when he was younger, some of which can’t be regained now that his success has given him the flexibility to have a personal life.

The book is written in the first person, in a style evocative enough to put the reader in the kitchens alongside Samuelsson, even though the prose likely came from his friend and co-author Veronica Chambers, who first received widespread plaudits for her own memoir, Mama’s Girl. I was never conscious of the story coming through the second filter of a co-author, even though it’s hard to imagine Samuelsson writing so clearly in what is at best his third language (he seems to speak at least four). First-person narratives can suffer from excessively florid prose, but here Chambers stays out of the way and lets Samuelsson’s story, which is compelling enough to require no embellishment, take center stage.

If Yes, Chef has a flaw, it’s that the treatment of the highs and lows of Samuelsson’s life often feels a little cursory; friends and colleagues die, and we get a page or less of grief, and Marcus has moved on. He’s up for the James Beard Award against some amazing competitors, and then, boom, he’s won it, and we’re on to the next subject. His victory on Top Chef Masters, coming right as he was preparing to cook the first state dinner of Barack Obama’s presidency, receives very little discussion, even though his win that season had its own interesting narrative – he wasn’t near the top in any challenges until the final sprint, like his friend and season three winner Floyd Cardoz. Samuelsson appears to open himself up to the reader at many points of the book, like discussing his daughter (the result of a one-night stand when he was still just 19) or the experience of reconnecting with his extended family in Ethiopia when he was in his 30s, that it’s jarring to see other significant life events receive superficial treatment in a book that could easily have added another 20 pages without feeling long.

The obvious comparison here is to Gabrielle Hamilton’s Blood, Bones, and Butter, another memoir by a successful chef, but one written by a chef with more training in creative writing than in the culinary arts. Hamilton’s prose shines, elevating her story from good to great; Samuelsson’s story is stronger, and might have suffered from Hamilton’s literary flourishes, but could have benefited from the level of introspection she showed in her book. Nothing in Yes, Chef goes as deep as Hamilton’s examination of her marriage to an aloof Italian doctor and, by extension, into his family in Italy, yet a similar treatment of Samuelsson’s visit to Ethiopia would have made the book even more compelling.

Next up: Last Man in Tower by Aravind Adiga, author of the Man Booker Prize-winning The White Tiger, which I read and reviewed in 2010.

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→ June 9, 2013
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pop. 1280

My draft reviews are all up now – full recaps for every NL team and every AL team, plus my chat from early on day two, my day one recap, and Friday’s Behind the Dish podcast where I talked a bit about day one.

—

When I reviewed Jim Thompson’s The Grifters a few weeks ago, a reader said I should read his Pop. 1280 next, as it was his best work. It’s much tighter, definitely funnier and yet in ways far more fitting of the “noir” label, setting up the reader again and again for twists that turn a situation that seemed almost silly into a vision of paranoia and sociopathy.

Nick Corey is the narrator and protagonist of pop. 1280, the apparently hapless sheriff of the sparsely populated county of Pottsville in an unnamed state (probably Texas). Corey finds himself disrespected by the local criminals, including the two pimps at the town’s whorehouse, and verbally abused by the haughty sheriff of the more populous neighboring county. His manipulative, domineering wife Myra rules the roost at home, where they live with her simple-minded peeping-Tom brother. Nick presents himself as the amiable dunce, but the reader learns quickly that he is anything but friendly or a fool, and is either coldly rational and without empathy or is delusional and psychotic.

Thompson’s portrayal of the character is skilled and precise, crafting boundaries and expectations for the reader and then knocking them down as the character develops before the reader’s eyes. I don’t know if Nick is actually a sociopath – he might have a personality disorder, like narcissistic p.d., although that’s a better question for a psychiatrist who likes to diagnose fictional characters with mental illnesses – but he commands your attention. I found myself hanging on his words; I was eager to read what happened next, because he was unpredictable and his schemes were clever, but also because I wanted to hear what he said next because his words were less predictable than his actions. One by one, Nick identifies his problems and “solves” them, without significant regard for the consequences because he seems to believe that the rightness of his actions will protect him from any negative results.

One question the book didn’t and likely couldn’t answer was whether Nick’s standing in the town was a function of the public’s fear of him – did they recognize how dangerous he was, and leave him in office out of fear? I couldn’t view Nick as a reliable narrator, but at the same time we receive no other information beyond what he tells us, leaving us with no choice but to accept his version of events. Myra manipulates Nick, and cheats on him, and yet there are times when her demeanor towards him changes from condescension to fear, as if she’s witnessed a change in his personality from Dr. Jekyll to Mr. Hyde. He’s one of the most interesting antiheroes I’ve come across in any genre.

Next up: Marcus Samuelsson’s memoir Yes, Chef.

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→ May 31, 2013
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Persecution.

I posted a new projected first round for next week’s MLB Rule 4 draft yesterday, with a new name up top, and did a brief Klawchat as well. I’ve already heard some fresh things since that mock went up, including that the Astros aren’t entirely off Bryant after all.

–

I enjoyed Alessandro Piperno’s debut novel, The Worst Intentions, even though it often turned crude, because it was funny and featured so many cleverly crafted characters. His second novel, Persecution, shows far more polish and greater empathy with its flawed protagonist, with Piperno’s dry wit now applied to a tragic story, the fall from grace of a pediatric oncologist whose aloofness leads to his undoing.

Dr. Leo Pontecorvo had what he thought was a perfect life – a loving wife, two sons, a lucrative job with meaning as well as social importance, a freelance gig writing about health issues for a major Italian newspaper – until it is shattered by two accusations of wrongdoing, presented to us in reverse order. The novel opens with the Pontecorvos sitting down to a family dinner with the TV news on in the background, only to have the broadcaster announce that Leo stands accused of a sexual relationship with his 13-year-old son’s girlfriend, Camilla. Through flashbacks, Piperno’s unnamed yet omnipresent narrator leads the reader through Leo’s rise and fall, including allegations of financial impropriety and the disastrous consequences of his mishandling of Camilla’s crush on him, as well as the less-than-perfect truth below the surface of his marriage and family life, so that he is by turns sympathetic and deserving of his fate.

Pontecorvo’s emotional immaturity mirrors that of the lead character in The Worst Intentions, but without the earlier book’s emphasis on sexual immaturity (although Leo has his moments). He’s never quite cut the cord with his domineering Jewish mother, and has floated through so many difficult situations through either the force of his intellect or the power of his personality that he’s unable to cope with actual crises, often leaving the management to his doting wife. He’s hopeless when faced with people who have competing agendas because he assumes others will be rational and thoughtful, and can’t imagine them pursuing actions that might do him harm. That gullibility leads him to lend money to a wayward student who tricks him into appearing to commit usury, which also points to the scientific, rational-minded Leo’s inability to responsibly handle anything to do with money. It also means that when Camilla’s crush on him first takes form, he has no concept of how others might perceive his responses, and walks right into what might have been a trap – although the reliability of the narration is an open question even as the book ends.

At heart, Leo believes himself to be a good man, but his actions speak to a superficial and pretentious inner character. He loves to take photographs, but refuses to take family pictures, even on vacations, because they’re not artistic:

Her husband only photographed dead things. And, even worse, he lavished all the care in the world on doing it. But ask him to take a “normal” photograph, who knows, the boys learning to ride a bicycyle, his wife in evening dress or posing in front of the Eiffel Tower, the Louvre, or wherever the hell he wanted? Certainly not, not a chance. When you asked him, the artist felt outraged.

He’s not an artist in any sense of the word, of course, but the aspirational nature of his behavior in every one of his endeavors, even in parenting (which leads to acts of emotional cruelty toward his sons), reveals his own insecurity – which becomes fully apparent when his reaction to the public nature of the scandal is to hide, literally and figuratively, in the basement, abandoning his wife and children while believing they’ve actually abandoned him. He’s an overgrown child, incapable of handling true adversity in an adult fashion, of proclaiming his innocence to his wife, or working to regain the trust of either of his sons, or doing much of anything to fight the charges against him. He goes underground – ironic for a man whose surname begins with the Italian word for “bridge” – and never emerges.

Piperno’s strongest resemblance to Philip Roth and other Jewish-American writers – Piperno’s father is Jewish, and both of Piperno’s protagonists are Italian Jews – lies in that strong sense of irony evident in Leo’s name. (His actions don’t reflect the courage of the astrological lion of his first name, either.) The pediatric oncologist undone by the accusations of a child, the

The main weakness of Persecution is the depiction of Leo’s wife, Rachel, although she may get a fuller treatment in the sequel, The Inseparables, still unpublished in English but intended from the start as the second half of this diptych. Rachel Pontecorvo has much in common with her Biblical namesake – married to a doofus who is so naïve that he’s tricked by his brother and then father-in-law, she bears him two sons, and ends up suffering for her choices – but she’s a shadow in the book, nearly always the voice of reason when Leo is acting like a child. She’s never given the chance to reject him outright after the allegations, and we don’t see any curiosity about whether they’re true. Giving her character a third dimension would have improved the book beyond the study of Leo’s character, although I’ll reserve judgment until I read part two, which won the Italian equivalent of the Pulitzer Prize last year.

If you appreciate Roth, or Joseph Heller, or the more mundane elements of Kurt Vonnegut’s works (as opposed to the sci-fi trappings around them), you must give Persecution a shot. Even during the moments when you’d like to give Leo a hard slap across the face, this portrait of a man whose superficially perfect life has lost its veneer to reveal an empty interior is searing, bitter, and funny.

Next up: As I mentioned on Twitter, I’m reading, but not enjoying, A Game of Thrones.

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→ May 30, 2013
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Underbelly and 800 Degrees.

My updated ranking of the top 25 prospects in baseball went up Tuesday for Insiders. This week’s Behind the Dish podcast features my chat with Aaron Hill about what it was like to be evaluated and drafted back in 2003.

On the recommendation of two scouts, I went to Underbelly in Houston with a friend last week, getting there a little on the late side but still having a tremendous meal. Everything they serve is sourced within 150 miles of the restaurant, a trick that works when you’re located near a large body of water.

They were out of the sourdough bread appetizer – I almost called it a “starter” but that would be a very different dish – so instead we went with the carrot cooked three ways, coffee-roasted, pureed, and pickled, an interesting way of showcasing the vegetable’s flavor and texture, although the plate was sparse and the roasted carrots would have been better served hot and with some sort of fat, even a drizzle of olive oil. The “gyro” style meatballs were stronger, lamb meatballs barely cooked through with just a hint of pink – one reason I don’t usually order lamb is that it’s best eaten when it’s still bleating – served with a thin layer of tzatziki (herbed yogurt sauce) and tomato relish that’s mostly just halved sweet grape tomatoes.

The star dish was the roasted pork belly with tomato-bacon jam and bruleed peaches, which was a special that night but is apparently sometimes a regular menu item. The plate came with two large chunks of pork belly that pulled apart like a boneless short rib, but still had plenty of tooth like a well-roasted pork shoulder. The pork itself was just lightly seasoned, with a little bark on the top of each chunk, but the smoky-sweet peaches and the saltiness of the jam complemented it well – if you worked a little to get all components in each bite.

The one dish I didn’t like was one of their signature items, the Korean braised goat and dumplings. The goat is braised until very tender, shredded (or perhaps just allowed to fall apart), and then doused in a very spicy, sticky-sweet sauce that I found unpalatable, more for its sweetness than its heat – it was like a chile pepper candy, and the meat could have come from any animal given how pungent the sauce was. The dumplings weren’t much better, very tough, chewy gnocchi-shaped pellets that didn’t absorb the sauce or have any browning or other flavor of their own. The server noticed we’d barely touched it and offered to remove the charge from the bill even over our protests, which I thought was impressive. At a restaurant of this caliber, I wouldn’t send a dish back unless it was completely inedible – raw, or burned, or somehow ruined. This plate just wasn’t to my tastes, and since I ordered it, I expected to pay for it no matter what.

Dessert was tremendous – a warm chocolate cake, almost the texture of a brownie, served with a giant quenelle of spicy chocolate ice cream that was warm enough to develop the consistency of a gelato or even a perfectly smooth mousse. The spice in the ice cream was more of a suggestion than the in-your-face heat of the goat dish, and balanced out the dark, rich cocoa flavor of the cake. The portion was very generous, plenty for two adults to share.

Underbelly has a huge wine list but no license for hard liquor, and they even permit you to bring your own wine for a $15 fee as long as it’s not something already on their list and you limit your importation to three bottles per table. Prices for the small plates we ordered were reasonable, given the high cost and quality of the inputs; after the server removed the charge for the goat, but including two glasses of wine, the bill was under $100 for two people.

* I also managed to get to 800 Degrees, the pizzeria opened by the folks behind Umami Burger and Umamicatessan, in west LA in mid-May. It’s not table-service; you order at the counter, and they assemble the pizza as you walk down the glass, where you can see most of the possible toppings and can either order a set combo or create your own. The ingredient quality is high, but the crust was the standout – cooked at, well, 800 degrees, it gets a little char on the exterior and remains soft in the center, almost Neapolitan style (which would have something akin to soup in the middle), with enough structure to hold together when lifted. The salad offerings are a little meager, however, with the “greens” lacking the “mixed” portion and too light on the olive oil for me. This is the fifth of the pizzerias on Food and Wine‘s list of the best pizzerias in the United States that I’ve visited, better than Stella Rosa (Santa Monica) or Punch (Minneapolis), not as good as Bianco (Phoenix) or Lola (Minneapolis), definitely good enough to hit any time you’re near the UCLA campus.

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→ May 17, 2013
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Banana: The Fate of the Fruit That Changed the World

I’ve got my first projection of the first round of this year’s MLB Rule 4 draft up, and chatted on Thursday.

The banana on your table or in your bag right now is a specific variety called the Cavendish, and is genetically identical to every other Cavendish banana in the world, a peculiar trait among comestibles that means that one of our most essential foodstuffs is at risk of being wiped off the commercial market by a fungal disease it can’t fight. Because most banana plants are parthenocarpic (in lay terms, sterile), producing no seeds, humans cultivate bananas by transplanting part of the plant’s underground stem, known as the corm, which means each new plant is a carbon copy of the last one – and therefore the plants have never developed immunity to common fungal diseases that ravage entire plantations. With no help from evolution, the first widely commercialized banana, the Gros Michel, became nonviable as a cash crop, and the same disease is now threatening Cavendish plantations as well.

Dan Koeppel’s Banana: The Fate of the Fruit That Changed the World discusses how we reached this point, going back through the history of the fruit and discussing its importance to subsistence farmers in Africa as well as its economic importance in Asia and Latin America. Now, with Panama disease, a fungal disease that is resistant to fungicide and causes banana plants to wilt by attacking their roots, marching across the globe, there’s a race on to try to genetically engineer a replacement for the Cavendish, one that suits the market’s demands for a portable, sweet fruit that is also resistant to Panama disease, black Sigatoka, and other fungal maladies that can devastate a plantation.

The rise of the banana as a trade good to become the West’s favorite fruit (mangoes are more popular in the rest of the world) has had tragic consequences, from which Koeppel doesn’t shy. The company you know know as Chiquita has a lengthy history of labor abuses in Latin America, including exposing plantation workers to highly toxic pesticides and fungicides; corrupt land deals with autocratic governments that were often put in place by the United States in part to aid Chiquita; and circumventing land-ownership restrictions in former “banana republics” (not just a clothing store!) to maintain strict cartel-like control over the banana trade. The autocratic governments were responsible for oppression, torture, and even genocide of native populations, often while the U.S. stood idly by, content that our economic interests were protected. Chiquita’s sins, and those of its billionaire owner Carl Lindner – also part-owner of the Reds at the time – were documented in a massive expose’ in the Cincinnati Enquirer in 1998, only to have the paper issue an apology and pay the company $10 million for illegally obtaining voice mails. Chiquita never disproved any of the paper’s claims, and only had to threaten a lawsuit for theft and invasion of privacy before the publisher folded his tent.

Banana farming in other parts of the world, such as Malaysia and Brazil, “only” led to substantial deforestation, while the blight now affecting the Cavendish and that nearly drove its predecessor, the Gros Michel, into extinction is threatening subsistence farmers in developing countries who depend on banana plants as a food source. Koeppel uses that latter point to launch into descriptions of those genetic engineering efforts, with brief thoughts on the anti-GM movement and the rather clear conundrum that our choice is to accept GM bananas or likely live with no bananas at all unless they grow in your backyard.

Koeppel does well to largely keep himself out of the narrative, only appearing to introduce certain characters or to describe his experiences tasting other varieties of bananas, most of which aren’t cultivated for export. (He has special praise for the Lacatan banana, found in the Philippines.) It’s compelling on several levels – as a chronicle of corporate greed and corruption, as the story of how a largely tropical fruit became a global commodity, and of course in the unfinished story of whether scientists can use traditional and modern methods together to craft a disease-resistant replacement for the Cavendish. I loved it because I love popular science books and also love to cook, but this book should be required reading for anyone who likes to eat.

Next up: Alessandro Piperno’s second novel, Persecution.

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→ May 1, 2013
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Nashville and New Orleans eats.

My Insider column on Tuesday covered why teams should bat their best hitters second, with a particular focus on the Reds doing it wrong. This week’s Behind the Dish podcast features a conversation between me and ESPN Insider Chris Sprow, comparing the NFL and MLB drafts and engaging in a serious discussion of one piece of technical jargon employed by scouts in both sports.

My last scouting trip gave me a day/evening in Nashville and the same in Louisiana, so I had to go into the trip with some food targets. I returned to Fido in Nashville for lunch, looking for something a little lighter or more healthful than what I knew I’d be eating in New Orleans (viz.: pig) and had their Eden salad, with mache lettuce, granny smith apples, sun dried figs, berries, parmesan crisp, candied walnuts, feta, and a caramel-champagne vinaigrette. Everything was very high-quality, although I could have used more figs (I just really like figs), and I got a side of their smoked salmon to make it more like a full meal. Unfortunately, as good as it all was, it didn’t hold me very long, and I swung by Mike’s Ice Cream in downtown Nashville, but found their product very disappointing – the texture was fine but the flavors were very flat.

Dinner, on the other hand, was outstanding. I first read about Rolf & Daughters in a recent issue of Bon Appetit that highlighted artisan bread offerings at high-end restaurants around the country, mentioning Rolf’s sourdough bread appetizer with seaweed butter and flaked sea salt for $5. I ordered that as well as their North Carolina brook trout with savoy cabbage, crème fraiche, and dill entree, which was a little different from what I expected – the crème fraiche was blended into a thin broth, so the sourness wasn’t overpowering, and the cabbage had just started to wilt in the broth but retained its crunch. The beauty of the combo was that I could use the bread to soak up the broth, which had a rich flavor and texture but didn’t feel heavy because the base was water rather than fat. The bread itself was good, not as good as the best sourdough app I’ve ever had (that would be at Mas Tapas in Charlottesville), but the seaweed butter was like a spread of pure umami. You can make it at home, either from scratch or using the prepared seaweed paste called momoya. Their cocktail menu is also strong; I had a Bimshire, a daiquiri (the real kind, not the fruity thing from the blender) that also included the Italian amaro called Meletti and grapefruit juice along with aged Barbados rum and lime juice.

It must have been his night off.

Moving on to Louisiana, my destination was Baton Rouge but I detoured into New Orleans to have lunch at Cochon, recently named by Bon Appetit as one of the country’s twenty most important restaurants – it was an odd conceit and an odder list – and very widely regarded for the things they do with pig. I was early enough to snag a seat at the chef’s bar, a half-dozen stools at a counter that looks into the kitchen, and which came with a bonus dish – their house-made head cheese, served traditionally with whole-grain mustard and lightly pickled onions. Before I realized that was coming, I also ordered their fried boudin (a Cajun sausage that includes pork, pork livers, and rice, in this case rolled into balls and fried), the pork cheek terrine (served warm, with blistered tomatoes and a very mild vinaigrette on top), and the lima beans side dish that included, of course, more pork. The terrine was the best dish, with the meat very tender and a little more loosely formed than a typical cold terrine made with ground pork, and the acidity perfectly balanced against the soft, rich texture of the pork; the boudin was my least favorite, mostly because frying something that already contains so much fat makes it incredibly heavy, and the liver ended up just slightly grainy, not something I’m used to from pork liver. The dish I didn’t order, but wish I’d had room for, was the rabbit and dumplings, which I saw go into the wood-fired oven in front of me several times over the course of a half-hour or so.

Baton Rouge was a bit of a disappointment, mostly because of timing. I tried the beignets at Coffee Call, which were good (it’s hard to make a bad beignet) but not as good as Rue Beignet’s were, while the late end of the LSU-South Carolina game limited my dinner options, so I ended up having a fringe-average meal at Chimes, duck/andouille gumbo and an absurdly oversized shrimp po’boy, both fine but neither anything to write home about. I had hoped to try Magpie Cafe, an espresso bar and cafe with an emphasis on local ingredients, for breakfast, but they’re closed on Sundays.

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→ April 13, 2013
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The Imperfectionists.

I’m still slogging my way through David Foster Wallace’s leviathanic novel Infinite Jest, but before I cracked this one open (figuratively, as I acceded to the ease of tackling this three-pound tome on an e-reader), I read Tom Richman’s marvelous 2011 debut novel, The Imperfectionists. Reminiscent in form of Jennifer Egan’s A Visit from the Goon Squad, which won the Pulitzer Prize for Fiction in 2011, Rachman’s book is exponentially better in every aspect, from execution to prose to characterization, and should have won the prize over Egan’s book in a rout.

The Imperfectionists revolves around the staff of an English-language newspaper published in Rome, a paper that is dying the slow death of print as the Internet erodes its business model underneath its presses. (This paper hasn’t even established a Web presence, so backwards are its operations.) The staff of Americans comprises the motley crew you’d expect to find in such an ensemble novel, as in Then We Came to the End, with Rachman giving each character his or her own short story within the novel, while connecting everyone across the stories, jumping around slightly in time or place, so that the result is a richly textured work that provides insight into everyone – and into people in general – by looking at each character through several lenses and at varying distances.

Rachman’s style won me over through its incisive internal monologues, often the most cliched writing in any book. His dialogue is spectacular as well, but when he moves the voice into a character’s head, he might make you uncomfortable with how accurate and honest the writing feels, rarely if ever lapsing into the kind of overwrought nonsense that might make you want to pull a Pat Solitano and put a book through a window. His characters are mostly compelling, all sympathetic to enough of an extent that you want to hear what happens, yet all flawed in believable ways, especially around fidelity, which is the book’s dominant (but not sole) theme. Rachman adds interstitial passages on the history of the newspaper, from its founding to its demise, and crafts a subtle parallel between that rise and fall and the cycles of human relationships.

The strongest of those parallels develops around the subject of betrayal, as Rachman depicts relationships that unravel due to affairs, that survive in spite of them, or that struggle to stay true. The sense of loyalty that held the newspaper together while its wealthy founder/patron and, later, his son, keep the publication afloat morphs into a sense of betrayal as ownership declines to further subsidize the mounting losses, leading to staff cutbacks and eventually the paper’s closure. He crafts other stories around the death of a staffer’s child (for me, by far the hardest to read) or the inner emotional turmoil of the least-liked member of the staff, the subject of derisive comments in previous stories who becomes simultaneously an object of sympathy and pity as you understand why she is who she is.

The one thing The Imperfectionists lacks is a real conclusion, at least in the traditional sense of the structure of the novel: Each story is self-contained, with some kind of climax and resolution, but the novel as a whole does not have a single, linear plot, with just a brief epilogue attached to provide some kind of closure for readers invested in specific characters. I thought the novel would have stood alone without that appendage, as Rachman’s skill in crafting characters made further revelations unnecessary – I completed each story feeling as if I had learned what there was to learn about the character at its heart. It’s a remarkable book that deserves your attention.

Next up … well, let’s just say that the book I’m reading how is giving me the howling fantods.

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→ April 4, 2013
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Atlanta eats, 2013 edition.

I’ve got a new draft blog post up on likely top ten pick Austin Meadows of Grayson High School. Also, if you missed my review of dinner at The Spence, Top Chef All-Stars winner Richard Blais’ newest venture, you should head there first. I was still thinking about that meal two days later.

I did have another memorable dinner in Atlanta, at Decatur’s Cakes & Ale, which has twice made Bon Appetit‘s list of the ten best new restaurants in the country (they bent the rules and listed it again in 2012 when C&A opened a new location with a bakery attached). The name is accurate, as they sell both cakes and ales, but the standouts on their menu involve local produce, factoring heavily in every dish.

After a helpful chat with the server, I went with three smaller plates instead of a single entree, paying a few dollars more (maybe $3-5 more) but getting more variety and I think more food overall. The menu changes frequently, so these items may not be available a few weeks from this review. First up was the house-cured lardo on crostini with browned broccolini, mirin, and a side salad of tatsoi, a green leafy member of the Brassica family with a mustardy flavor. The lardo was indulgent, of course, infused into the bread by the heat of the latter, but balanced with the acidity of the mirin and slight sweetness of the caramelized, crispy bits of the baby broccoli. I could have done without the tatsoi salad, however, which was also very acidic and more than the plate required, but the crostini were unforgettable right down to the golden color where the lardo had melted into the bread.

Next up was a verdant spring salad of baby golden beets, sliced radishes, kohlrabi matchsticks, shaved celery, frisee, and sliced almonds, tossed with a rhubarb vinaigrette and served over creamy fromage blanc (a white farmer’s cheese). Hugh Acheson would have approved of this salad: it had texture, it had color, it had sweet and bitter elements, and it had a light tang from the dressing. I doubt I’ve ever eaten a salad faster and it certainly didn’t advertise itself as “health food,” even though it was an antioxidant bomb.

The third small plate was the polenta verde with roasted asparagus, a fried egg, and a small salad of frisee, roasted (I assume) shiitake mushrooms, and pancetta. The polenta was rich and creamy but still had some tooth to it, and could have stood as a side item on its own. The asparagus spears were cooked perfectly, tender but not mushy or stringy, and played well with the polenta and the salad. The one disappointment was the sunnyside-up egg, which was overcooked; the yolk was congealed underneath and didn’t run, which meant no sauce for the asparagus. It’s harder to poach eggs to order than fry them, but a poached egg would make this dish more cohesive. You can bury me in that polenta verde, though.

I mentioned to the server that “I was told there was cake,” which produced a dessert menu featuring an item called Coffee & cream: a layered torte of devil’s food cake, espresso-chocolate mousse, and praline crunch underneath, served with a smear of dark chocolate fudge sauce. This dessert could have been designed especially for me – rich, dark, slightly bitter underneath the sweetness, featuring two of my favorite flavors, chocolate and coffee, together. The hazelnut gelato on the side was nice but unnecessary as a potential obstacle between me and the chocolate.

I should also mention the solid cocktail menu, featuring the Welcome Wagon – Gosling’s Black Seal dark rum from Bermuda, Aperol (a low-alcohol amargo similar to Campari), aquavit, lemon bitters, and ginger ale. It sounds like a lot of alcohol, but the flavors worked well together for a warm, rounded punch. I also tried a local beer, a red rye ale that I believe was from Terrapin Brewery in Athens, although from their site I’m not sure if that was the Mosaic or another offering.

Moving away from fine dining to Q, I had the chance to meet a friend at Fox Brothers BBQ, not far from Cakes & Ale’s location in Decatur. Fox Brothers’ menu is straightforward Q, but to their credit there’s some attention paid to seasonal items – they won’t serve fried okra out of season, for example. The chicken fried ribs starter was a new thing for me – just what it sounds like, smoked ribs, cut up and deep fried. They were surprisingly un-greasy, probably fried very fast at a very high temperature, and of course, very, very delicious. At the server’s suggestion I got the sliced brisket plate with tater tots and collard greens. The meat was a little dry but had a powerful smoke flavor, as much as any brisket I’ve ever tried, even though the smoke ring itself was small. The point of smoked meat is to taste the smoke as well as the meat, so Fox Brothers hit on that. The sides were solid, and I mostly had to stop eating them because this was an absurd amount of food. It’s good Q for anywhere, but in Atlanta, which seems to be a Q desert, this was superb.

And if you find yourself in Sylvester, Georgia, down in Worth County south of Macon and west of I-75, I can recommend Fat Boy for some solid Q as well, with very good “chipped” (shredded) pork at really reasonable prices. I’d skip the fried okra there, though, as it clearly came from a freezer bag. Several sites suggested Pap’s in Sylvester for fried chicken, but it appears to be abandoned and the phone has been disconnected.

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