Franzen and “The Great American Novel”

I’ve been watching the hooplah surrounding the publication of Jonathan Franzen’s Freedom with something of a jaundiced eye — it’s the Big Book of the fall, and Franzen’s getting similar reviews to the ones he got for The Corrections, that this is the book that explains what it’s like to live in the present moment, the book that expresses what it means to be an American, the one book that sums up everything important about our age. Those kinds of statements always get my hackles up. Really? The Great American Novel?

I’d been sort of rolling my eyes at the whole thing, but it was bugging me. I couldn’t put my finger on just what it was that was bugging me. Jodi Picoult and Jennifer Wiener had taken on the white-male-hero aspect of the story, and while the double standard is perennially annoying (when a woman writes about family it’s “domestic” or “chick-lit,” when a man writes about family it’s “the great American novel”), that wasn’t really what was bugging me. Like I said, I couldn’t figure it out. It wasn’t even the book — I haven’t read the whole thing yet (I’m waiting for the library to get a copy) but I really enjoyed the first couple of chapters when they ran in the New Yorker earlier this year. Patty was a character I remembered, and found myself thinking about from time to time. Which considering how boring and forgettable I find most literary fiction these days, that was an accomplishment.

And then yesterday, while goofing off and avoiding the work project I’ve been trying to finish up all weekend, I found this piece in the Guardian by Pakaj Mishra. Here’s the paragraph that got to me:

Still, it’s very rare for the reception of a literary novel to become a sociological phenomenon. Such encomiums as “great American novel” and “the greatest novel of the century” exalt Freedom to an oddly solitary splendour; and they make us wonder if the criteria for greatness and Americanness have a built-in bias against other kinds of novels, writers and literary genres (not to mention other media: The Wire has fair claim to be the most ambitious and successful American fiction of the new century). Certainly, the three garish and overlapping signifiers in Time magazine’s phrase “great American novelist” obscure rather than illuminate the range and depth of contemporary American writing. One reason is that populist evaluations of literature lean heavily toward the family saga. Most readers, Don DeLillo once complained, “would rather read about their own marriages and separations and trips to Tanglewood” since “it adds a certain lustre, a certain significance to their own lives”. This sounds a bit too caustic. But fictions about dysfunctional families, from The Sound and the Fury to American Pastoral, tend to be prominent in the official literary narrative of America; so do stories of ethnic minorities assimilating into American society.

The canonization of Freedom as “the Great American Novel” stakes a claim that what counts as the central American experience is the struggles of upper-middle-class white people seeking to move up in the world. Yes, Franzen is a satirist, but his claim that “I wanted to produce something that really connected with how it feels to be alive now,” assumes that his experience as a wealthy, well-educated, successful white guy is “the” experience of “how it feels to be alive now.” And I would argue, along with Delillo in the quote above, that this is, in some sense, the reason for the book’s crashing success with the critics. By claiming that the experience of wealthy, well-educated, literary white people is the central experience of our time, he’s not only flattering the powers that be and the critics and his entire circle, but he’s managing to do it in such a way as to render the specificity of that experience invisible. It’s like when I was in the Hamptons a couple of weeks ago. They all think that their way of life out there is normal, that it’s just the way “nice people” live. They’re in a bubble, where they’re always looking at one another and those around them and milestoning — who is moving up the ladder? down? But there’s no sense at all that the very baseline is skewed, that simply by being in “the Hamptons” at all they’re already in a tiny little subset of American life.

That’s what the hooplah over Freedom feels like to me. Like a great big self-congratulatory party in which everyone present reflects off one another a certain smugness, a certain sense of being in the center of things, and by reflecting this off of one another they are all blinded to the varied and interesting lives outside the bubble. And none of these smart well-educated people are asking why it is that they think Freedom is the Great American Novel instead of a book like Junot Diaz’s The Brief Wondrous Life of Oscar Wao Franzen and The Great American Novel, for example, a book I’d argue is also “of our time” and certainly describes what it feels like to “live now” if you’re a smart oddball Puerto Rican kid growing up in New Jersey. Why is that experience considered something other than “American”? something other than “universal”?

The ignorance those in power, not just in publishing, but in our government and media, to the lived experience of all the American lives outside the bubble of privilege drives me crazy. And that, I think, is what’s been bugging me about the Jonathan Franzen book. That once again, the insiders have not only taken this opportunity to soundly congratulate themselves, but that in this day and age, they’re still so blind they can’t even see that they’re doing it.

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Another Season, Another Redesign

Here’s to a cleaner design, and to more regular posting. There’s probably going to be less cooking and gardening around here in the future (if only because after eight seasons in this house, I sort of feel like I’ve written just about everything one can about my garden, and about what I’m eating for dinner) and more writing about books, and politics and economics.

One of the things I can’t seem to get out of my head is Shannon Hayes book, Radical Homemakers: Reclaiming Domesticity from a Consumer Culture Another Season, Another Redesign. I wrote about it for BookSlut in last month’s column The Revolution Starts Here, and then the Bookslut herself, Jessa, wrote about it in her Smart Set column this month: The Home Front. One of the things I found fascinating about Jessa’s column is how different Hayes’ ideas look to someone a decade and a half younger than I am. I’m old enough to remember the hippies of the 1970s, the back to the land movement, and to have seen both of those not as a joke, but as a possible way of life. In college I hung out with oddball types who were leading canoe trips and trying to figure out how to support themselves without ever having to come in from the woods. In other words, I’m old enough to have come of age before Ronald Reagan, when the world still held out some hope that making money and buying stuff wasn’t the ultimate project to which one could devote one’s life (although I also haven’t forgiven Bill Clinton for repealing Glass-Steagall and allowing the banks and Wall Street to gamble our economy in to ruin).  I liked Hayes’ book a lot, and I loved the portraits of so many people trying to figure out how to live richly without buying into the fear-based money economy, the one that wants to keep us on the hamster wheel forever, always chasing that thing that is just out of reach.

But I have to say, a lot of it didn’t seem that radical to me. Anyone my age who wanted to be an artist or who never wanted to come in from the woods knew that they were never going to make much money. I like to say that I moved to Livingston because of Gary Snyder Another Season, Another Redesign, who showed us all in grad school, by his example, that if you bought a place to live that you could afford to pay off, then you had a huge amount of personal and artistic freedom. One of the things I find the most touching in Hayes’ account, is how torn she felt between the path that academic success opened up for her, and the lived experience of that life. She’s smart and got herself scholarships and, like I did, went all the way to the PhD. — only to discover that the life that opened up for her was going to require sacrifices in her personal life that she wasn’t able to make. I know that feeling.

It’s unsettling to feel out of the mainstream. I’ve gotten more comfortable with it as I’ve gotten older, partly because I’m old enough now that I sort of know what my life is, I’m past that point where you’re always worried about what you’re going to be when you grow up. And I don’t know that I’d be as sanguine about it if I lived someplace more “normal” — if I was surrounded by subdivisions and shopping malls and all the stuff that I fled when I left California (where I was very lonely, in part because I didn’t care about any of that stuff).  I do know that it’s folks like Shannon Hayes (and Jessa and everyone else out here blogging about how to live closer to the ground) who are asking the right questions, who are finally starting to crack the buy-buy-buy ethos that have caused us, over the past several decades, to run ourselves into the ground.

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New CookBookSlut

New CookBook Slut article is up. I get a little ranty this month about food politics. “The Revolution Is Here”

One of the questions that has come up over and over both on my blog, on other food blogs, and when talking to people who aren’t into cooking or food is, why even bother? Why do we cook in the first place, when there are whole supermarkets devoted to replacing home-cooked meals with meals-in-a-box, or in-a-frozen-bag, or even precooked pot roasts direct from the bowels of Swift and Armour right to your supermarket meat case? Why bother when clearly all these big corporations are ready to step in and save us the time and mess and even claim to save us money? Who are we, mere home cooks, to rival the experts like Emeril and Wolfgang and now even Mario, whose happy faces beam out at us from all those packages that they lovingly prepared in their very own factories? read more here

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Change of Direction

due north Due Nrth 281x300 Change of Direction

As you might have noticed, blogging has slowed to a trickle here at LivingSmall. For the next few months, I’m going to be prioritizing some other projects, including the new novel I’m working on. It’s been a long time since I’ve felt like I had a viable writing project, and now that I seem to have the employment/paying the bills thing sorted out, I need to put my writing energies into that project.

Blogging won’t stop altogether, but it’ll be sporadic. Thanks for being patient everyone …

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Walt Whitman for Memorial Day

IMG 0323 225x300 Walt Whitman for Memorial Day
In honor of Memorial Day, and because the lilacs just bloomed, a little Walt Whitman.

When Lilacs Last in the Dooryard Bloomed

1
WHEN lilacs last in the door-yard bloom’d,
And the great star early droop’d in the western sky in the night,
I mourn’d—and yet shall mourn with ever-returning spring.

O ever-returning spring! trinity sure to me you bring;
Lilac blooming perennial, and drooping star in the west,
And thought of him I love.

2
O powerful, western, fallen star!
O shades of night! O moody, tearful night!
O great star disappear’d! O the black murk that hides the star!
O cruel hands that hold me powerless! O helpless soul of me!
O harsh surrounding cloud, that will not free my soul!

3
In the door-yard fronting an old farm-house, near the white-wash’d palings,
Stands the lilac bush, tall-growing, with heart-shaped leaves of rich green,
With many a pointed blossom, rising, delicate, with the perfume strong I love,
With every leaf a miracle……and from this bush in the door-yard,
With delicate-color’d blossoms, and heart-shaped leaves of rich green,
A sprig, with its flower, I break.

4
In the swamp, in secluded recesses,
A shy and hidden bird is warbling a song.

Solitary, the thrush,
The hermit, withdrawn to himself, avoiding the settlements,
Sings by himself a song.

Song of the bleeding throat!
Death’s outlet song of life—(for well, dear brother, I know
If thou wast not gifted to sing, thou would’st surely die.)

5
Over the breast of the spring, the land, amid cities,
Amid lanes, and through old woods, (where lately the violets peep’d from the ground, spotting the gray debris;)
Amid the grass in the fields each side of the lanes—passing the endless grass;
Passing the yellow-spear’d wheat, every grain from its shroud in the dark-brown fields uprising;
Passing the apple-tree blows of white and pink in the orchards; 30
Carrying a corpse to where it shall rest in the grave,
Night and day journeys a coffin.

6
Coffin that passes through lanes and streets,
Through day and night, with the great cloud darkening the land,
With the pomp of the inloop’d flags, with the cities draped in black, 35
With the show of the States themselves, as of crape-veil’d women, standing,
With processions long and winding, and the flambeaus of the night,
With the countless torches lit—with the silent sea of faces, and the unbared heads,
With the waiting depot, the arriving coffin, and the sombre faces,
With dirges through the night, with the thousand voices rising strong and solemn;
With all the mournful voices of the dirges, pour’d around the coffin,
The dim-lit churches and the shuddering organs—Where amid these you journey,
With the tolling, tolling bells’ perpetual clang;
Here! coffin that slowly passes,
I give you my sprig of lilac.

7
(Nor for you, for one, alone;
Blossoms and branches green to coffins all I bring:
For fresh as the morning—thus would I carol a song for you, O sane and sacred death.

All over bouquets of roses,
O death! I cover you over with roses and early lilies;
But mostly and now the lilac that blooms the first,
Copious, I break, I break the sprigs from the bushes;
With loaded arms I come, pouring for you,
For you, and the coffins all of you, O death.)

8
O western orb, sailing the heaven!
Now I know what you must have meant, as a month since we walk’d,
As we walk’d up and down in the dark blue so mystic,
As we walk’d in silence the transparent shadowy night,
As I saw you had something to tell, as you bent to me night after night,
As you droop’d from the sky low down, as if to my side, (while the other stars all look’d on;)
As we wander’d together the solemn night, (for something, I know not what, kept me from sleep;)
As the night advanced, and I saw on the rim of the west, ere you went, how full you were of woe;
As I stood on the rising ground in the breeze, in the cold transparent night,
As I watch’d where you pass’d and was lost in the netherward black of the night,
As my soul, in its trouble, dissatisfied, sank, as where you, sad orb,
Concluded, dropt in the night, and was gone.

9
Sing on, there in the swamp!
O singer bashful and tender! I hear your notes—I hear your call;
I hear—I come presently—I understand you;
But a moment I linger—for the lustrous star has detain’d me;
The star, my departing comrade, holds and detains me.

10
O how shall I warble myself for the dead one there I loved?
And how shall I deck my song for the large sweet soul that has gone?
And what shall my perfume be, for the grave of him I love?

Sea-winds, blown from east and west,
Blown from the eastern sea, and blown from the western sea, till there on the prairies meeting:
These, and with these, and the breath of my chant,
I perfume the grave of him I love.

11
O what shall I hang on the chamber walls?
And what shall the pictures be that I hang on the walls,
To adorn the burial-house of him I love?

Pictures of growing spring, and farms, and homes,
With the Fourth-month eve at sundown, and the gray smoke lucid and bright,
With floods of the yellow gold of the gorgeous, indolent, sinking sun, burning, expanding the air;
With the fresh sweet herbage under foot, and the pale green leaves of the trees prolific;
In the distance the flowing glaze, the breast of the river, with a wind-dapple here and there;
With ranging hills on the banks, with many a line against the sky, and shadows;
And the city at hand, with dwellings so dense, and stacks of chimneys,
And all the scenes of life, and the workshops, and the workmen homeward returning.

12
Lo! body and soul! this land!
Mighty Manhattan, with spires, and the sparkling and hurrying tides, and the ships;
The varied and ample land—the South and the North in the light—Ohio’s shores, and flashing Missouri,
And ever the far-spreading prairies, cover’d with grass and corn.

Lo! the most excellent sun, so calm and haughty;
The violet and purple morn, with just-felt breezes;
The gentle, soft-born, measureless light;
The miracle, spreading, bathing all—the fulfill’d noon;
The coming eve, delicious—the welcome night, and the stars,
Over my cities shining all, enveloping man and land.

13
Sing on! sing on, you gray-brown bird!
Sing from the swamps, the recesses—pour your chant from the bushes;
Limitless out of the dusk, out of the cedars and pines.

Sing on, dearest brother—warble your reedy song;
Loud human song, with voice of uttermost woe.

O liquid, and free, and tender!
O wild and loose to my soul! O wondrous singer!
You only I hear……yet the star holds me, (but will soon depart;)
Yet the lilac, with mastering odor, holds me.

14
Now while I sat in the day, and look’d forth,
In the close of the day, with its light, and the fields of spring, and the farmer preparing his crops,
In the large unconscious scenery of my land, with its lakes and forests,
In the heavenly aerial beauty, (after the perturb’d winds, and the storms;)
Under the arching heavens of the afternoon swift passing, and the voices of children and women,
The many-moving sea-tides,—and I saw the ships how they sail’d,
And the summer approaching with richness, and the fields all busy with labor,
And the infinite separate houses, how they all went on, each with its meals and minutia of daily usages;
And the streets, how their throbbings throbb’d, and the cities pent—lo! then and there,
Falling upon them all, and among them all, enveloping me with the rest,
Appear’d the cloud, appear’d the long black trail;
And I knew Death, its thought, and the sacred knowledge of death.

15
Then with the knowledge of death as walking one side of me,
And the thought of death close-walking the other side of me,
And I in the middle, as with companions, and as holding the hands of companions,
I fled forth to the hiding receiving night, that talks not,
Down to the shores of the water, the path by the swamp in the dimness,
To the solemn shadowy cedars, and ghostly pines so still.

And the singer so shy to the rest receiv’d me;
The gray-brown bird I know, receiv’d us comrades three;
And he sang what seem’d the carol of death, and a verse for him I love.

From deep secluded recesses,
From the fragrant cedars, and the ghostly pines so still,
Came the carol of the bird.

And the charm of the carol rapt me,
As I held, as if by their hands, my comrades in the night;
And the voice of my spirit tallied the song of the bird.

DEATH CAROL.
16
Come, lovely and soothing Death,
Undulate round the world, serenely arriving, arriving,
In the day, in the night, to all, to each,
Sooner or later, delicate Death.

Prais’d be the fathomless universe,
For life and joy, and for objects and knowledge curious;
And for love, sweet love—But praise! praise! praise!
For the sure-enwinding arms of cool-enfolding Death.

Dark Mother, always gliding near, with soft feet,
Have none chanted for thee a chant of fullest welcome?

Then I chant it for thee—I glorify thee above all;
I bring thee a song that when thou must indeed come, come unfalteringly.

Approach, strong Deliveress!
When it is so—when thou hast taken them, I joyously sing the dead,
Lost in the loving, floating ocean of thee,
Laved in the flood of thy bliss, O Death.

From me to thee glad serenades,
Dances for thee I propose, saluting thee—adornments and feastings for thee;
And the sights of the open landscape, and the high-spread sky, are fitting,
And life and the fields, and the huge and thoughtful night.

The night, in silence, under many a star;
The ocean shore, and the husky whispering wave, whose voice I know;
And the soul turning to thee, O vast and well-veil’d Death,
And the body gratefully nestling close to thee.

Over the tree-tops I float thee a song!
Over the rising and sinking waves—over the myriad fields, and the prairies wide;
Over the dense-pack’d cities all, and the teeming wharves and ways,
I float this carol with joy, with joy to thee, O Death!

17
To the tally of my soul,
Loud and strong kept up the gray-brown bird,
With pure, deliberate notes, spreading, filling the night.

Loud in the pines and cedars dim,
Clear in the freshness moist, and the swamp-perfume;
And I with my comrades there in the night.

While my sight that was bound in my eyes unclosed,
As to long panoramas of visions.

18
I saw askant the armies;
And I saw, as in noiseless dreams, hundreds of battle-flags;
Borne through the smoke of the battles, and pierc’d with missiles, I saw them,
And carried hither and yon through the smoke, and torn and bloody;
And at last but a few shreds left on the staffs, (and all in silence,)
And the staffs all splinter’d and broken.

I saw battle-corpses, myriads of them,
And the white skeletons of young men—I saw them;
I saw the debris and debris of all the dead soldiers of the war;
But I saw they were not as was thought;
They themselves were fully at rest—they suffer’d not;
The living remain’d and suffer’d—the mother suffer’d,
And the wife and the child, and the musing comrade suffer’d,
And the armies that remain’d suffer’d.

19
Passing the visions, passing the night;
Passing, unloosing the hold of my comrades’ hands;
Passing the song of the hermit bird, and the tallying song of my soul,
(Victorious song, death’s outlet song, yet varying, ever-altering song,
As low and wailing, yet clear the notes, rising and falling, flooding the night,
Sadly sinking and fainting, as warning and warning, and yet again bursting with joy,
Covering the earth, and filling the spread of the heaven,
As that powerful psalm in the night I heard from recesses,)
Passing, I leave thee, lilac with heart-shaped leaves;
I leave thee there in the door-yard, blooming, returning with spring,
I cease from my song for thee;
From my gaze on thee in the west, fronting the west, communing with thee,
O comrade lustrous, with silver face in the night.

20
Yet each I keep, and all, retrievements out of the night;
The song, the wondrous chant of the gray-brown bird,
And the tallying chant, the echo arous’d in my soul,
With the lustrous and drooping star, with the countenance full of woe,
With the lilac tall, and its blossoms of mastering odor;
With the holders holding my hand, nearing the call of the bird,
Comrades mine, and I in the midst, and their memory ever I keep—for the dead I loved so well;
For the sweetest, wisest soul of all my days and lands…and this for his dear sake;
Lilac and star and bird, twined with the chant of my soul,
There in the fragrant pines, and the cedars dusk and dim.

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Practice of the Wild, Video


practice Practice of the Wild, Video

I’m lucky enough to have gotten to know both Gary Snyder and Jim Harrison over the years — I studied with Gary at UC Davis where we were also both involved in the Art of the Wild workshops at Squaw Valley, and Harrison, well, we have a bunch of friends in common, and he’s a neighbor here in Livingston. I actually first met Harrison when he came to Davis to do a reading and to visit Gary. Snyder was teaching a course in Zen and Chinese, Japanese and American poetry — it was one of those courses where several professors sat in, including Alan Williamson who used to gently chide us when we turned the Romantic poets into straw men for our arguments. Harrison came to visit, and then years later, when we ran into one another again here in Livingston, it’s that class that still stands out. That one course was worth all those years in grad school, all the hassle and pain and even the thousands of dollars I’m still paying off.

One reason Harrison came to Davis that spring was that he and Gary have been corresponding since 1965, about Zen, and poetry, and all the rest of it. Will Hearst had them down to his spectacular chunk of the California coastline and filmed them pretty much just walking around and talking to one another. The movie’s available on Amazon now, and it’s only $19 dollars, so I went ahead and bought a copy. And while I wish they’d gotten a little more of both writers’ humor in to the piece, it’s well worth investing in a copy if you’re interested in Zen, or the California school of poetry, or the challenges of representing nature in the written word, or Harrison or Snyder.

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Linky Roundup

link 300x225 Linky Roundup

I’m in a deadline zone, but here are some interesting links from around the intertubes that I thought you all might like:

Weeds, being what they are, have developed their own Roundup-Ready varietals. Guess that whole GMO thing was so well-thought-out, eh? I have to confess, I used to resort to a little casual Roundup use around the LivingSmall ranchero, but between the frogs, and the cancer cluster in which I grew up, and my amazing Bernzomatic Outdoor Torch, I now just burn weeds up instead of spraying them with the dreaded Atrazine.

Fellow Ethicurean, Steph Larsen, has incurred my ever-lasting jealousy by buying a 12-acre farm in Nebraska where she intends to grow fruits and vegetables and chickens.

The LA Weekly has a roundup of the weekly food sections from around the country.

Columbia Journalism Review has a terrific interview with Tom Philphott of Grist about class, local food, and the economics of revamping our food system.

If you haven’t been following ShutUpFoodies, you must go there right now and check it out. Both hilarious and prescient.

My dreams are coming true with the establishment of the FoodCorps, a volunteer organization along the lines of AmeriCorps who are working to improve the quality of America’s school food.

And last, but definitely not least, FiredogLake has had by far the best coverage I’ve seen of the Gulf Oil Disaster including the link to Halliburton, and the ways by which the Bush administration’s identification with and deregulation of the oil business contributed to this calamity.

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Bookslut Column: Mushroom Cookbooks

mushroombook Bookslut Column: Mushroom Cookbooks

My new Bookslut Column is up: The Magic of Mushrooms, in which I gush even more about mushroom hunting, and review the following books: The Complete Mushroom Book: Savory Recipes for Wild and Cultivated Varieties by Antonio Carluccio, MUSHROOM FEAST: A Celebration of all Edible Fungi, Cultivated, Wild and Dried, with Recipes by Jane Grigson, and The River Cottage Cookbook by Hugh Fearnley-Whittingstall.

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The Snack Issue …

popcorn The Snack Issue ...
So I was browsing around this morning and came across A Year of Inconvenience, a blog written by a woman who manages a food co-op and yet, who after watching Julie & Julia, and reading The Omnivore’s Dilemma, decided to see if she could spend a year avoiding the central aisles of her own store, the place where the “convenience” foods reside.

Like a lot of these “project blogs” I would probably quibble with some of her definitions of “convenience foods.” As far as I’m concerned, canned tomatoes, canned beans, pasta, and reasonably plain crackers (I’m a big fan of the Stoned Wheat Thin) are staples. And I’m not really her target audience — I rarely shop the middle aisles, and when I do I’m in there for staples like flour or rice or pasta or beans, or Asian condiments. I don’t buy mixes, or “simmer sauces” — I don’t even like spaghetti sauce in a jar because it tastes too gloppy to me. I just don’t think about cooking that way, in part because I like my own food better than most prepared stuff, and I’m cheap — the pre-packaged stuff seems so expensive most of the time for what you get. But this is all ground we’ve been over time and time again.

What struck me reading A Year of Inconvenience is how ubiquitous “snacks” have become in our society. One of her concerns is replacing the snack foods — and to her credit, she goes ahead and makes hard pretzels!

I was raised by parents who were deeply opposed to snacks. We got three squares a day, and in Junior High and High School a very modest after-school nosh, but the concept of something like a “snack drawer” or “snack closet” in our house was unthinkable. Even after-school snacks were something like a toasted bagel with cheese, or homemade cookies (an ongoing source of war between Patrick and the not-yet-beloved Stepmother in junior high — she believed in rationing, he’d sneak them from the bottom of the tin). We never had chips, or store cookies, or packages of stuff in the house, just as we weren’t allowed to drink pop as kids. My parents were so pro-milk/anti-pop that even at the horse shows my mother ran when we were little, the catering guy, the legendary Mr. Pasquesi, kept those little cartons of milk in his ice chest for my brother and I, and wouldn’t sell us pop.

So the explosion of snack foods is something I’ve never really paid any attention to, and since I don’t have kids, I’ve been spared the tyranny of snack duty for school teams and activities. I still don’t fundamentally understand snacking. We eat dinner really late around here, so sometimes I’ll have some olives, or cheese and crackers around five (it’s a long time until our 9pm-ish dinner time), but the appeal/lure/siren song of snack products is something that’s thankfully lost on me.

The struggle with weight is one I’m not unfamiliar with, but it seems that this idea that we need to have food at our fingertips at every moment of the day (like the idea, pushed by the bottled water people that if we’re not clutching a beverage at all times, we’ll perish of thirst), is one of the reasons our population is growing larger and larger and larger. And perhaps, as we start weaning ourselves from packaged food in general — the frozen dinners, the “mixes” the sauces in jars, the horrible pre-cooked meals in the meat case (really? you want a pot roast cooked in a factory somewhere?), the snack issue will begin to recede as well. Once you start seeing food in boxes and bags as odd, and full of weird ingredients and too much salt, then “snacks” start to look weird too. I don’t know, if you need a “snack” make some popcorn — on the stove, in a pan, with a little oil. It’s really good.

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New Bookslut Column

theoryBeard New Bookslut Column
My new cookbook column is up at Bookslut. And weirdly enough, it’s on a similar topic as the Bourdain Techniques show I also wrote about this morning. Here’s a little excerpt:

There are a lot of cookbooks that wash up at my door these days, and while they’re all interesting, most of them are just full of recipes. Often, they’re interesting recipes, and many times they are recipes I’d like to eat if someone served them to me, but I’m probably not going to go out and source them just to cook one recipe. What I want are more cookbooks that teach me how to get away from recipes, and just to cook.

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