May 122021
 

Today is the birthday (1925) of Lawrence Peter “Yogi” Berra, a legendary baseball catcher, who later took on the roles of manager and coach. He got his nickname when a friend, Jack Maguire, supposedly noticed a resemblance between him and some “yogi,” that is, a person who practiced yoga onscreen. Seems a bit farfetched to me, but that is the story that circulates.  It is also said that he contemplated suing Hanna-Barbera when they came out with the Yogi Bear character in 1958, but dropped the idea after the company claimed the similarity was simply a coincidence. Seems like a stretch to me. It should also be noted that when Berra died in 2015 the original AP obituary copy said that Yogi Bear had died, and AP did not correct the error before a few outlets had printed the mistaken copy.

Berra played 19 seasons in Major League Baseball (MLB) (1946–1963, 1965), all but the last for the New York Yankees. He was an 18-time All-Star and won 10 World Series championships as a player—more than any other player in MLB history. Berra had a career batting average of .285, while hitting 358 home runs and 1,430 runs batted in. He is one of only six players to win the American League Most Valuable Player Award three times. He is widely regarded as one of the greatest catchers in baseball history and was elected to the Baseball Hall of Fame in 1972.

Berra was a native of the Hill, an Italian immigrant neighborhood in St. Louis, and signed with the Yankees in 1943 before serving in the United States Navy as a gunner’s mate in the Normandy landings during World War II, where he earned a Purple Heart. He made his major-league debut at age 21 in 1946 and was a mainstay in the Yankees’ lineup during the team’s championship years beginning in 1949 and continuing through 1962. Despite his short stature (5 feet 7 inches [1.70 m]), Berra was a power hitter and strong defensive catcher. Berra played 18 seasons with the Yankees before retiring after the 1963 season. He spent the next year as their manager, then joined the New York Mets in 1965 as coach (and briefly a player again). Berra remained with the Mets for the next decade, serving the last four years as their manager. He returned to the Yankees in 1976, coaching them for eight seasons and managing for two, before coaching the Houston Astros. He was one of seven managers to lead both American and National League teams to the World Series. Berra appeared as a player, coach or manager in every one of the 13 World Series that New York baseball teams won from 1947 through 1981. Overall, he played or coached in 21 World Series, 13 on the winning side. Berra caught Don Larsen’s perfect game in Game 5 of the 1956 World Series (leading to the iconic photo below). He also holds the all-time record for shutouts caught, with 173.

The Yankees retired his uniform number 8 in 1972; Bill Dickey had previously worn number 8, and both catchers had that number retired by the Yankees. The club honored him with a plaque in Monument Park in 1988. Berra was named to the MLB All-Century Team in a vote by fans in 1999. For the remainder of his life, he was closely involved with the Yogi Berra Museum and Learning Center, which he opened on the campus of Montclair State University in 1998.

Berra quit school after the eighth grade, and has always been known for his malapropisms as well as pithy and paradoxical statements, such as “It ain’t over ’til it’s over.” At the time he said this, in July 1973, Berra’s Mets trailed the Chicago Cubs by 9½ games in the National League East. The Mets rallied to clinch the division title in their second-to-last game of the regular season, and eventually reached the World Series. In this context the saying is actually less apt than in an actual game of baseball where the losing side can theoretically make up a deficit in runs, even if it seems impossible, before the game ends.  This is because baseball is measured in outs not by a clock, so that, until the last out is recorded anything can happen.  For example, on June 8, 1989 the Phillies pulled off a memorable comeback win against the Pirates. The Pirates jumped out to a 10-0 lead in the top of the first, prompting announcer Jim Rooker to tell his audience that if the club didn’t win, he would walk back to Pittsburgh. Unfortunately for Rooker, the Phillies, who were having a terrible season, chipped away, pulled to within 11-10 in the sixth, then scored five in the bottom of the eighth to pull off a 15-11 win. Rooker didn’t actually do his cross-state walk that night, but he did make the trip after the season, raising money for charity.

Berra said on several occasions, “I really didn’t say everything I said” which we can all understand as meaning, “not all statements attributed to me are things I actually said” – and which is certainly true.  But . . . as far as I can tell, the following Yogi-isms were things he actually said:

“If you see the fork in the road, take it” Yogi’s explanation was, “It doesn’t matter whether you go left or right at that point because you will wind up at my house either way.” He was giving directions to Joe Garagiola Sr. to his New Jersey home, and it was accessible by two routes.

“It’s déjà vu all over again.” Berra explained that this quote originated when he witnessed Mickey Mantle and Roger Maris repeatedly hitting back-to-back home runs in the Yankees’ seasons in the early 1960s.

“You can observe a lot by watching.”

On why he no longer went to Rigazzi’s, a St. Louis restaurant: “Nobody goes there anymore. It’s too crowded.” This one makes sense to me when paraphrased: “No one that I know goes there . . .”

“Always go to other people’s funerals; otherwise they won’t go to yours.”

“A nickel ain’t worth a dime anymore.”

“If you can’t imitate him, don’t copy him.”

“Ninety percent of the game is half mental.” This one almost makes sense to me.  Does that mean Yogi’s logic is rubbing off on me?????

Berra’s parents were from Lombardy which means that it is little surprise that he liked tripe, and claimed that tripe salad was his favorite dish. Well, there’s bit of Yogi mixed in here – as well as my justification for this post as a certified tripe afficionado.  Lombardy is not noted for cold tripe dishes, but it does have some famous ones including trippa alla milanese or busecca, and trippa alla lombarda.  You have to head farther south for tripe salad, the most noted being the Sicilian trippa all’insalata (in standard Italian) or trippa a’nzalata (in Sicilian dialect). This recipe assumes that you are starting with the bleached, parboiled tripe you typically get in US and UK stores.

Trippa a’nzalata

Ingredients

2 lb. tripe

For cooking

1 bay leaf
1 whole clove
½ onion
2 whole garlic cloves, peeled
1 stalk of celery, cut in 3 pieces
1 carrot, cut in big pieces
skin of ½ lemon
springs of fresh parsley

For serving

juice of 2 medium lemons
1 red onion finely sliced
1 celery heart cut into small pieces
2 small baby carrots finely sliced
5 tablespoons of olive oil
salt and pepper to taste
chopped parsley

Instructions

Cut the tripe in strips, about 1 ½ by ½ inch and place in a pot with an abundant amount of lightly salted water with the bay leaf, clove, whole onion, garlic cloves, celery, carrot, few springs of fresh parsley, the lemon skin and bring to a boil. Simmer for about 25 minutes. Check to see if it is cooked to your liking.  This is a crucial step. The tripe needs to be al dente and this stage cannot be achieved with even a rough estimate of cooking time.  It all depends on the quality of the tripe, cooking temperature, humidity, and a host of other variables.  Taste, taste, taste is the only option.

Drain the pot using a colander and discard the bay leaves, cloves, lemon skin, onion, garlic, celery, carrot and parsley springs. Let the tripe cook to room temperature.

Blend the lemon juice, olive oil, and salt and pepper to taste.

In a large bowl mix together the cooled tripe, the finely sliced red onion, celery and carrots, and the vinaigrette. Garnish with some freshly chopped parsley and serve with fresh crusty bread.

Yogi said that he drank cold water with the salad.

May 092021
 

Today is the birthday (1800) of John H. Brown, well known abolitionist activist and martyr. Brown felt that violence was necessary to end slavery, given that years of speeches, sermons, petitions, and moral persuasion had failed. Although he died in the cause, he was proven correct in that it took a civil war to end slavery in the US. Brown was a deeply religious man more than anything else, believing he was raised up by God to strike the death blow to slavery.  He said on many occasions:  “I am an instrument of God.”

Brown first gained national attention when he led anti-slavery volunteers and his own sons during the Bleeding Kansas crisis of the late 1850s, a state-level civil war over whether Kansas would enter the Union as a slave state or a free state. He was dissatisfied with abolitionist pacifism: “These men are all talk. What we need is action—action!” On May 24th, 1856, Brown and his sons killed five supporters of slavery in the Pottawatomie massacre, a response to the sacking of Lawrence by pro-slavery forces (May 21), and possibly also to the caning of the Free Kansas supporter, Massachusetts senator Charles Sumner (May 22). Brown then commanded anti-slavery forces at the Battle of Black Jack (June 2) and the Battle of Osawatomie (August 30th , 1856).

In October 1859, Brown led a raid on the federal armory at Harpers Ferry, Virginia (today West Virginia), intending to start a slave liberation movement that would spread south through the mountainous regions of Virginia and North Carolina, and he had prepared a Provisional Constitution for the revised, slavery-free United States he hoped to bring about. He seized the armory, but seven people were killed, and ten or more were injured. Brown intended to arm slaves with weapons from the armory, but very few slaves joined his revolt. Within 36 hours, those of Brown’s men who had not fled were killed or captured by local militia and U.S. Marines, the latter led by Robert E. Lee. Brown was hastily tried for treason against the Commonwealth of Virginia, the murder of five men, and inciting a slave insurrection. He was found guilty of all counts and was hanged on December 2nd, 1859, the first person executed for treason in the history of the United States. Brown said repeatedly that all of his anti-slavery activities, both in Kansas and Harpers Ferry, were in accordance with the Golden Rule. He declared that the most famous sentence in the Declaration of Independence—all men are created equal—”meant the same thing.”

Historians agree that the Harpers Ferry raid and Brown’s trial (Virginia v. John Brown), both covered extensively by the national press, escalated tensions that led a year later to the South’s long-threatened secession and the United States’ Civil War. Southerners feared that others would soon follow in Brown’s footsteps, encouraging and arming slave rebellions. In the North Brown was a hero and an icon.  From 1859 until Lincoln’s assassination in 1865, he was the most famous North American. Union soldiers marched to the new song “John Brown’s Body”, that portrayed him as a heroic martyr whose “truth is marching on,” which evolved into the “Battle Hymn of the Republic”. Newly-freed African-Americans walked to the same song, and they lowered their voices speaking of Brown, as if he were a saint. As Brown’s son, John Brown, Jr., told a visitor just before the raid on Harpers Ferry, “as only force and fire-arms kept slavery outta Kansas, so nothing else will overthrow it in the Southern states.” The visitor added that this was a belief that was “daily gaining adherents.” The violence Brown used makes him a controversial figure even today. He is both memorialized as a heroic martyr and visionary, compared sometimes with Moses or Christ, and vilified as a madman and a terrorist.

Brown was born and raised in Connecticut, although he spent most of his life after the age of 16 in various parts of the U.S.  He was a 4th generation descendant of the Mayflower Pilgrim Peter Brown, making him a New Englander with deep roots. In the 19th century, it was common to bake a special cake on elections days, and also for soldiers in militias when they were assembling for muster.  There is a famous election cake from Hartford, Connecticut in the late 19th century (see photo) whose list of ingredients and recipe looks like something out of Mrs Beeton’s Household Management – enough to feed an army. Suitably scaled down it would work for a celebratory dessert.

Apr 262021
 

Today is Visakh Bochea (វិសាខបូជា), a major Buddhist holy day and a public holiday in Cambodia. The day celebrates three events in the life of the Buddha (Siddhattha Gotama): birth, enlightenment, and death.  These events are commemorated in Buddhist countries, and other nations in Asia, on a variety of days, such as, https://www.bookofdaystales.com/buddhas-birthday/ but in Cambodia, and elsewhere (Sri Lanka, Laos, Myanmar, Malaysia), they are all collapsed into one day – the full moon of the lunar month of vesākha. The generic name Vesak, from the Sanskrit Vaiśākha, is used to designate the festival worldwide, and it falls on different days in April or May depending on local custom. This year (2021) the vast majority of Asian countries will celebrate Vesak on May 26th, but, for reasons that are not clear to me, Cambodia is the odd one out. May is more usual: https://www.bookofdaystales.com/may-full-moon/

The actual dates of any events in the Buddha’s life are, of course, completely unknown.  Best guess by modern scholars is that he was active in the 5th century BCE, but pinning down the years, let alone the dates, of his birth and death are impossible at this point. Conflating them together with his day of enlightenment is merely a convenience of observance, and many Buddhist cultures separate out the events for individual celebration.

On Vesak Bochea, devout Buddhists and monks assemble in local temples before dawn with candles for the ceremonial hoisting of the Buddhist flag and the singing of hymns in praise of the holy triple gem: The Buddha, The Dharma (his teachings), and The Sangha (his disciples). Devotees may bring simple offerings of flowers and incense. They are reminders that all things decay or burn out just as life is subject to decay and destruction. Devotees are also encouraged to partake only of vegetarian food for the day and to avoid alcohol. Here in Phnom Penh, stores owned by the devout do not sell alcohol for several days prior to Vesak.  Also, birds, insects, and animals are released by individuals on this day in a symbolic act of liberation – giving freedom to those who are in captivity, imprisoned, or tortured against their will. While I understand the symbolism, I have always been troubled by the sight of scores of people lining the Mekong river front, and outside pagodas, selling caged wild birds to be set free.  It’s not so much the caged birds themselves, but the paradoxical karma involved in trapping them in order to liberate them.  Doesn’t it just balance out? (“Here little birdie – I am going to trap you so that I can set you free.”)

Celebrating Vesak also involves making a special effort to bring happiness to the unfortunate such as the aged, the handicapped, and the sick. The devout distribute gifts in the form of cash and food, or volunteering in various charitable homes throughout the country. Vesak is a time of joy and happiness expressed in simple pleasures, and not the great blowout feasts common at other festivals, such as New Year. Vegetarian cooking is the norm. Here is a video giving a recipe for Khmer សម្លម្ជូរ គ្រឿង (samlar machu kreung), a sour lemongrass soup.

 

Mar 072021
 

Today is the birthday (1792) of John Herschel, the son of Mary Baldwin and astronomer William Herschel https://www.bookofdaystales.com/william-herschel/  and nephew of astronomer Caroline Herschel. He studied briefly at Eton College (down the road from Slough where he was born), and at St John’s College, Cambridge where he graduated as Senior Wrangler (top mathematics undergraduate) in 1813. It was during his time as an undergraduate that he became friends with the mathematicians Charles Babbage and George Peacock. He left Cambridge in 1816 and started working with his father, building a reflecting telescope with a mirror 18 inches (460 mm) in diameter, and with a 20-foot (6.1 m) focal length. Between 1821 and 1823 he re-examined, with James South, the double stars catalogued by his father. He was one of the founders of the Royal Astronomical Society in 1820. For his work with his father, he was presented with the Gold Medal of the Royal Astronomical Society in 1826 (which he won again in 1836), and with the Lalande Medal of the French Academy of Sciences in 1825, while in 1821 the Royal Society bestowed upon him the Copley Medal for his mathematical contributions to their Transactions. Herschel was made a Knight of the Royal Guelphic Order in 1831.

Herschel’s A preliminary discourse on the study of natural philosophy, published early in 1831 as part of Dionysius Lardner’s Cabinet cyclopædia, set out methods of scientific investigation with an orderly relationship between observation and theorizing. He described nature as being governed by laws which were difficult to discern or to state mathematically, and the highest aim of natural philosophy was understanding these laws through inductive reasoning, finding a single unifying explanation for a phenomenon. This became an authoritative statement with wide influence on science, particularly at the University of Cambridge where it inspired the student Charles Darwin with “a burning zeal” to contribute to this work.

Herschel published a catalogue of his astronomical observations in 1864, as the General Catalogue of Nebulae and Clusters, a compilation of his own work and that of his father’s, expanding on the senior Herschel’s Catalogue of Nebulae. A further complementary volume was published posthumously, as the General Catalogue of 10,300 Multiple and Double Stars.

Herschel and his wife traveled to South Africa in 1833 to catalogue the stars, nebulae, and other objects of the southern skies. This was to be a completion as well as extension of the survey of the northern heavens undertaken initially by his father William Herschel. He arrived in Cape Town on 15 January 1834 and set up a private 21 ft (6.4 m) telescope at Feldhausen at Claremont, a suburb of Cape Town. Amongst his other observations during this time was the return of Comet Halley. Herschel collaborated with Thomas Maclear, the Astronomer Royal at the Cape of Good Hope and the members of the two families became close friends. During this time, he also witnessed the Great Eruption of Eta Carinae (December 1837).

In addition to his astronomical work, however, this voyage also gave Herschel an escape from the pressures under which he found himself in London, where he was one of the most sought-after of all scientists. While in southern Africa, he engaged in a broad variety of scientific pursuits free from a sense of strong obligations to a larger scientific community. It was, he later recalled, probably the happiest time in his life.

In an extraordinary departure from astronomy, Herschel combined his talents with those of his wife, Margaret, and between 1834 and 1838 they produced 131 botanical illustrations of fine quality, showing the Cape flora. Herschel used a camera lucida to obtain accurate outlines of the specimens and gave over the artistic details to his wife. Even though their portfolio had been intended as a personal record, and despite the lack of floral dissections in the paintings, their accurate rendition makes them more valuable than many contemporary collections.

Herschel, at the same time, read widely. Intrigued by the ideas of gradual formation of landscapes set out in Charles Lyell’s Principles of Geology, he wrote to Lyell on 20 February 1836 praising the book as a work that would bring “a complete revolution in [its] subject, by altering entirely the point of view in which it must thenceforward be contemplated” and opening a way for bold speculation on “that mystery of mysteries, the replacement of extinct species by others.” Herschel himself thought catastrophic extinction and renewal “an inadequate conception of the Creator” and by analogy with other intermediate causes, “the origination of fresh species, could it ever come under our cognizance, would be found to be a natural in contradistinction to a miraculous process.

Taking a gradualist view of development and referring to evolutionary descent from a proto-language, Herschel commented:

Words are to the Anthropologist what rolled pebbles are to the Geologist – battered relics of past ages often containing within them indelible records capable of intelligent interpretation – and when we see what amount of change 2000 years has been able to produce in the languages of Greece & Italy or 1000 in those of Germany France & Spain we naturally begin to ask how long a period must have lapsed since the Chinese, the Hebrew, the Delaware & the Malesass [Malagasy] had a point in common with the German & Italian & each other – Time! Time! Time! – we must not impugn the Scripture Chronology, but we must interpret it in accordance with whatever shall appear on fair enquiry to be the truth for there cannot be two truths. And really there is scope enough: for the lives of the Patriarchs may as reasonably be extended to 5000 or 50000 years apiece as the days of Creation to as many thousand millions of years.

The document was circulated, and Charles Babbage incorporated extracts in his ninth and unofficial Bridgewater Treatise, which postulated laws set up by a divine programmer. When HMS Beagle called at Cape Town, Captain Robert FitzRoy and the budding naturalist Charles Darwin visited Herschel on 3 June 1836. Later on, Darwin would be influenced by Herschel’s writings in developing his theory advanced in The Origin of Species. In the opening lines of that work, Darwin writes that his intent is “to throw some light on the origin of species – that mystery of mysteries, as it has been called by one of our greatest philosophers,” referring to Herschel. However, Herschel ultimately rejected the theory of natural selection.

Herschel returned to England in 1838, was created a baronet, of Slough in the County of Buckingham, and published Results of Astronomical Observations made at the Cape of Good Hope in 1847. In this publication he proposed the names still used today for the seven then-known satellites of Saturn: Mimas, Enceladus, Tethys, Dione, Rhea, Titan, and Iapetus. In the same year, Herschel received his second Copley Medal from the Royal Society for this work. A few years later, in 1852, he proposed the names still used today for the four then-known satellites of Uranus: Ariel, Umbriel, Titania, and Oberon https://www.bookofdaystales.com/titania-and-oberon/ . A stone obelisk, erected in 1842 and now in the grounds of The Grove Primary School, marks the site where his 20-ft reflector once stood.

Herschel made numerous important contributions to photography. He made improvements in photographic processes, particularly in inventing the cyanotype process, which became known as blueprints, and variations, such as the chrysotype. In 1839, he made a photograph on glass, which still exists, and experimented with some color reproduction, noting that rays of different parts of the spectrum tended to impart their own color to a photographic paper. Herschel made experiments using photosensitive emulsions of vegetable juices, called phytotypes, also known as anthotypes, and published his discoveries in the Philosophical Transactions of the Royal Society of London in 1842. He collaborated in the early 1840s with Henry Collen, portrait painter to Queen Victoria. Herschel originally discovered the platinum process on the basis of the light sensitivity of platinum salts, later developed by William Willis. Herschel coined the term photography in 1839. Herschel was also the first to apply the terms negative and positive to photography. Herschel discovered sodium thiosulfate to be a solvent of silver halides in 1819, and informed Talbot and Daguerre of his discovery that this “hyposulphite of soda” (“hypo”) could be used as a photographic fixer, to “fix” pictures and make them permanent, after experimentally applying it in this way in early 1839.

In 1835, the New York Sun newspaper wrote a series of satiric articles that came to be known as the Great Moon Hoax, with statements falsely attributed to Herschel about his supposed discoveries of animals living on the Moon, including batlike winged humanoids.

Slough, home of William Herschel’s observatory and John’s birthplace, is not, nor ever has been, the epicenter of English cuisine.  But . . . the Horlicks factory used to be a well-known landmark as seen from the railway passing through Slough, although I am given to understand that it is under demolition at this point.  Shame.  Horlicks was my bedtime hot drink through much of my boyhood.  If you can still get it, a cup of Horlicks might make a Slough-themed recipe for today.  Or . . . you might try one of the recipes found on their website:

https://www.horlicks.co.uk/recipes/categories/baking/

Mar 062021
 

Today is Independence Day in Ghana. Independence was achieved through the Ghana Independence Act 1957, an Act of the Parliament of the United Kingdom that granted what was then known as the Gold Coast (and allied territories) fully responsible government within the British Commonwealth of Nations under the name Ghana. The Act received the Royal Assent on 7 February 1957 and Ghana came into being on 6 March 1957. At that time, independence within the British Commonwealth could not be attained by a dependent territory like Gold Coast without legislation passed in Westminster. The main provisions of the Act closely follow the Statute of Westminster and the Ceylon Independence Act 1947. The grant of independence to the Gold Coast was achieved by two separate legislative operations, namely, the passing of the Act and the making of the Ghana (Constitution) Order in Council 1957.

A matter that complicated the legislation was that what was to become Ghana was not a single, constitutional unit but rather four distinct areas: The Gold Coast Colony which was a Crown Colony and therefore part of Her Majesty’s dominions; the Ashanti Colony which was likewise a Crown Colony and part of Her Majesty’s dominions; the Northern Territories of the Gold Coast which was a British Protectorate and not part of Her Majesty’s dominions; and British Togoland which was a United Nations trust territory and not part of Her Majesty’s dominions. With respect to the Northern Territories, the legislation terminated the agreements with the local Chiefs on which the protectorate status was based. With respect to British Togoland, a referendum was held to determine the consent of its people to being united with the rest of what would become Ghana. With effect from when the Act entered into force all of what became Ghana became part of Her Majesty’s dominions as a single, unified dominion. The independence legislation began to take shape following the return of the Convention People’s Party to power at the Gold Coast general election of 1954. The party won 79 out of 104 seats. The Gold Coast government expressed its hope of achieving independence within the lifetime of the new assembly.

A dispute within the Gold Coast about the form of Constitution after independence was still unresolved as late as 1956. The same year the United Kingdom government publicly stated that provided it had the support of a “reasonable majority”, the United Kingdom was prepared to legislate for the Gold Coast to have independence within the British Commonwealth. The Secretary of State for the Colonies added that “full membership of the Commonwealth is, of course, a different question and is a matter for consultation between all existing members of the Commonwealth.” This distinction reflected the view that full Commonwealth membership required the consent of all Commonwealth members. Ultimately, the attainment by Ghana of full Commonwealth membership was consented to unanimously by all of the Commonwealth’s members, announced by the United Kingdom prime minister on 21 February 1956. Letters patent constituting the office of the Governor-General of Ghana and royal instructions to the Governor General were issued on 23 February 1956 and became effective on 6 March 1956. An Order in Council provided Ghana with its first constitution.

The 6 March independence date was chosen for its historical significance: On 6 March 1844, a group of chiefs in Ghana had signed a treaty with the then British governor. That treaty, which became known as the Bond, came to symbolize the sovereignty of the local government of indigenous authorities.

The national dish of Ghana is fufu, a paste made of cassava that is used as a staple accompaniment to meat and vegetable dishes throughout West Africa.  This video shows several ways to prepare fufu in a Ghanaian style:

 Posted by at 3:26 am  Tagged with:
Mar 052021
 

Today is Saint Piran’s Day (Cornish: Gool Peran), or the Feast of Saint Piran, the national day of Cornwall. The day is named after one of the patron saints of Cornwall, Saint Piran, who is also the patron saint of tin miners. St Piran’s Day started as one of the many tinners’ holidays observed by the tin miners of Cornwall. The miners of Breage and Germoe observed St Piran’s feast day as that of their patron saint until at least 1764.

Piran’s identity is not entirely clear. He is said to have been an abbot, possibly in Perranzabuloe, in the 5th century – originally from Ireland.  Legends associated with Piran include:

  • The heathen Irish tied him to a mill-stone, rolled it over the edge of a cliff into a stormy sea, which immediately became calm, and the saint floated safely over the water to land upon the sandy beach of Perranzabuloe in Cornwall. His first disciples are said to have been a badger, a fox, and a bear.
  • He was joined at Perranzabuloe by many of his Christian converts and together they founded the Abbey of Lanpiran, with Piran as abbot.
  • St Piran ‘rediscovered’ tin-smelting (tin had been smelted in Cornwall since before the Romans’ arrival, but the methods had since been lost) when his black hearthstone, which was evidently a slab of tin-bearing ore, had the tin smelt out of it and rise to the top in the form of a white cross — hence the image of a white cross on a black background on the Cornish flag.

“St. Piran’s Day was said to be a favourite with the tinners who having a tradition that some secrets regarding the manufacture of tin were communicated to their ancestors by that saint, they leave the manufacture to shift for itself for that day, and keep it as a holiday.” There is little description of specific traditions associated with this day apart from the consumption of large amounts of alcohol and food during Perrantide, the week leading up to the 5th of March. The day following St Piran’s Day was known by many as ‘Mazey Day’, a term which has now been adopted by the revived Golowan festival in Penzance. The phrase ‘drunk as a perraner’ was used in 19th century Cornwall.

The modern observance of St Piran’s day as a national symbol of the people of Cornwall started in the late 19th and early 20th century when Celtic Revivalists sought to provide the people of Cornwall with a national day similar to those observed in other nations. Since the 1950s, the celebration has become increasingly observed and since the start of the 21st century almost every Cornish community holds some sort of celebration to mark the event. Saint Piran’s Flag is also seen flying throughout Cornwall on this day.

Cornish pasties would be ideal to celebrate this day.  You can find my recipe here — https://www.bookofdaystales.com/tin-miners-and-cornish-pasties/   You can also make Cornish clotted cream.  It is possible to buy clotted cream in some markets in the UK but it is not the same as homemade.  I used to make it all the time.  This video gives the basics, which are to place a shallow tray of heavy cream in an oven set at 80°C/175°F for about 10 to 12 hours.  The cream reduces to a buttery, creamy concoction which is perfect for topping scones and jam at tea time.

 

Feb 282021
 

Today is the second Sunday of Lent, known as Reminiscere Sunday from the introit, Reminiscere miserationum tuarum Domine, which in English can be rendered:

Remember, O Lord, Thy compassions and Thy mercies, which are from the beginning, lest at any time our enemies rule over us: deliver us O God of Israel, from all our tribulations.

I did actually pay lip service to the second Sunday in Lent some years ago, but it happened to coincide with Purim in the Jewish tradition, so it was second fiddle back then – https://www.bookofdaystales.com/purim/   This year I will pay more attention to Lent (Purim was February 25/26 this year).

The readings for Reminiscere Sunday are the promises to Abraham in Genesis 17, and a restatement of them in Romans 4. The bottom line is that success comes from having faith, trusting God, and being patient.  The curious part of the Genesis narrative is that Abram is promised a son, when he was 99 and his wife Sarai was 90.  Supposedly she laughed at the idea and, in consequence, her son was called Isaac, which can be read as “laughs” in Hebrew” (יִצְחָק). The point is that you will get what you have been promised if you just wait patiently.  God changes Abram’s name to Abraham and Sarai’s to Sarah after giving them the good news that their offspring will be more numerous than the stars in the sky, and a name change is always important in the Hebrew text.  In this case, the name changes have baffled scholars for centuries.  Sarai and Sarah are just dialectal variants of the same name, and Abram and Abraham are obscure etymologically, except they contain the roots “av” (אב) “father” and “ram” (רם) “high” – with the “ha” (ה) supposedly added in mark of the new covenant with God. That last bit has no justification in linguistics.

For a day that is all about remembering, you can think of recipes in two ways.  First, you can remember your favorite dish – perhaps from childhood.  Second, you can cook a favorite dish – from memory.  The latter is not too demanding.  Most of us cook from memory most of the time. For some mysterious reason, all my favorite dishes from childhood are from Argentina – milanesa, tuco, ravioli with brains, egg tortilla, dulce de leche, etc.  I have given recipes for all of them already. Instead here is a wonderful memory of my home – Doña Petrona’s cooking show. Doña Petrona was the chief celebrity cook in Argentina in the 1950s and ’60s, and her cookbook was beside the copy of Mrs Beeton in my house growing up.

Feb 252021
 

Today is the birthday (1873) of Enrico Caruso, an Italian operatic tenor who sang to great acclaim at the major opera houses of Europe and the Americas, appearing in a wide variety of roles from the Italian and French repertoires that ranged from the lyric to the dramatic. Caruso made 247 commercially released recordings from 1902 to 1920, which made him an internationally popular celebrity (well before celebrity culture was a thing).

Caruso came from a poor but not destitute background. He was born in Naples in the via Santi Giovanni e Paolo n° 7 and baptized the next day in the adjacent church of San Giovanni e Paolo. His parents originally came from Piedimonte d’Alife (now called Piedimonte Matese), in the Province of Caserta in Campania, in Southern Italy. Caruso was encouraged in his early musical ambitions by his mother, who died in 1888. To raise cash for his family, he found work as a street singer in Naples and performed at cafes and soirées.

On 15 March 1895 at the age of 22, Caruso made his professional stage debut at the Teatro Nuovo in Naples in the now-forgotten opera, L’Amico Francesco, by the amateur composer Mario Morelli. A string of further engagements in provincial opera houses followed, and he received instruction from the conductor and voice teacher Vincenzo Lombardi that improved his high notes and polished his style. During the final few years of the 19th century, Caruso performed at a succession of theaters throughout Italy until 1900, when he received a contract to sing at La Scala. His La Scala debut occurred on 26th December of that year in the part of Rodolfo in Giacomo Puccini’s La bohème with Arturo Toscanini conducting. During this pivotal phase in his career, Caruso sang in Monte Carlo, Warsaw and Buenos Aires, and, in 1899–1900, he appeared before the Tsar and the Russian aristocracy at the Mariinsky Theatre in Saint Petersburg and the Bolshoi Theatre in Moscow as part of a touring company of  Italian singers.

The first major operatic role that Caruso created was Federico in Francesco Cilea’s L’arlesiana (1897). Then he was Loris in Umberto Giordano’s Fedora (1898) at the Teatro Lirico, Milan. He also created the role of Maurizio in Francesco Cilea’s Adriana Lecouvreur (1902). Puccini considered casting the young Caruso in the role of Cavaradossi in Tosca at its premiere in January 1900, but ultimately chose the older, more established Emilio De Marchi instead. Caruso appeared in the role later that year and Puccini stated that Caruso sang the part better.

Caruso took part in a grand concert at La Scala in February 1901 that Toscanini organized to mark the recent death of Giuseppe Verdi. Among those appearing with him at the concert were two other leading Italian tenors of the day, Francesco Tamagno (the creator of the protagonist’s role in Verdi’s Otello) and Giuseppe Borgatti (the creator of the protagonist’s role in Giordano’s Andrea Chénier). In December 1901, Caruso made his debut at the San Carlo Opera House in Naples in L’Elisir d’Amore to a lukewarm reception. Two weeks later he appeared as Des Grieux in Massenet’s Manon which was even more coolly received. The indifference of the audiences and harsh critical reviews in his native city upset him deeply and he vowed never to sing there again. He later said: “I will never again come to Naples to sing; it will only be to eat a plate of spaghetti”. Caruso embarked on his last series of La Scala performances in March 1902, creating the principal tenor part of Federico Loewe in Germania by Alberto Franchetti.

A month later, on 11th April, he was engaged by the Gramophone Company to make his first group of acoustic recordings in a Milan hotel room. These ten discs swiftly became best-sellers. Among other things, they helped spread Caruso’s fame throughout the English-speaking world.

The management of London’s Royal Opera House, Covent Garden, signed him for a season of appearances in eight different operas ranging from Verdi’s Aida to Mozart’s Don Giovanni. His successful debut at Covent Garden occurred on 14th May 1902, as the Duke of Mantua in Verdi’s Rigoletto. Covent Garden’s highest-paid diva, the Australian soprano Nellie Melba, partnered him as Gilda. Subsequently, they sang together often during the early 1900s.

In 1903, Caruso made his debut with the Metropolitan Opera in New York City. The gap between his London and New York engagements had been filled by a series of performances in Italy, Portugal, and South America. Caruso’s debut was in a new production of Rigoletto on 23rd November 1903. This time, Marcella Sembrich sang opposite him as Gilda. A few months later, he began his lifelong association with the Victor Talking Machine Company. He made his first US records on 1st February 1904, having signed a lucrative financial deal with Victor. Thereafter, his recording career ran in tandem with his Met career, each bolstering the other, until his death in 1921.

Caruso’s timbre darkened as he aged and, from 1916 onwards, he began adding heroic parts such as Samson, John of Leyden, and Eléazar to his repertoire. He toured Argentina, Uruguay, and Brazil in 1917, and two years later performed in Mexico City.

Dorothy Caruso noted that her husband’s health began a distinct downward spiral in late 1920 after he returned from a lengthy North American concert tour. In his biography, his son, Enrico Caruso Jr. points to an on-stage injury suffered by Caruso as the possible trigger of his fatal illness. A falling pillar in Samson and Delilah on 3rd December had hit him on the back, over the left kidney (and not on the chest as popularly reported). A few days before a performance of Pagliacci at the Met he suffered a chill and developed a cough and a “dull pain in his side.” During a performance of L’elisir d’amore by Donizetti at the Brooklyn Academy of Music on December 11th 1920, he suffered a throat hemorrhage and the performance was canceled at the end of Act 1. Following this incident, a clearly unwell Caruso gave only three more performances at the Met, the final one being as Eléazar in Halévy’s La Juive, on 24th December 1920. By Christmas Day, the pain in his side was so excruciating that he was screaming. Dorothy summoned the hotel physician, who gave Caruso some morphine and codeine and called in another doctor, Evan M. Evans. Evans brought in three other doctors and Caruso finally received a correct diagnosis: purulent pleurisy and empyema. Caruso’s health deteriorated further during the new year, lapsing into a coma and nearly dying of heart failure at one point. He experienced episodes of intense pain because of the infection and underwent seven surgical procedures to drain fluid from his chest and lungs. Caruso died on 2nd August 1921 while on his way to Rome for further surgery. He was 48.

Caruso sauce is a pasta sauce created in the 1950s in Uruguay, by Raymundo Monti of the restaurant Mario y Alberto, located at the intersection of Constituyente and Tacuarembó Streets in Montevideo. Italian-style dishes created in Montevideo and Buenos Aires continue to be extremely popular in restaurants, with Caruso sauce being an especial favorite.  It is commonly used as a sauce for cappelletti, tortellini, or ravioli, but it can also be used for spaghetti or linguine.  Basically it is a cream sauce flavored with mushrooms and ham.

Caruso Sauce

Ingredients

3 tbsp unsalted butter
1 cup button mushrooms thinly sliced
3 tbsp all purpose flour
1 cup milk
1 cup heavy cream
1 tbsp beef bouillon
3 ½ oz freshly grated Parmesan cheese
¾ cup diced smoked ham
Salt, black pepper, and freshly grated nutmeg to taste

Instructions

Melt the butter in a deep skillet over medium heat. Add the mushrooms and cook, stirring occasionally, until softened and most of the water has evaporated.

Stir in the flour until incorporated and it begins to turn golden. Slowly whisk in the milk, then the cream and beef bouillon. Continue to whisk until the sauce begins to thicken.

Remove from heat and stir in the Parmesan cheese and ham. Season to taste with salt, pepper, and nutmeg.

Meanwhile, cook your pasta until al dente. Drain well and mix with the hot sauce.

Feb 242021
 

Today is the birthday (1836) of Winslow Homer, Yankee maritime and landscape artist.  Homer grew up in then-rural Cambridge, Massachusetts. He was an average student, but his artistic ability was evident in his early years – nurtured by his mother who was a watercolorist.  After high school graduation, Homer pursued an apprenticeship with a Boston commercial lithographer, and his career as an illustrator lasted nearly twenty years. He contributed illustrations of Boston life and rural New England life to magazines such as Ballou’s Pictorial and Harper’s Weekly. His early works, mostly commercial wood engravings of urban and country social scenes, are characterized by clean outlines, simplified forms, dramatic contrast of light and dark, and lively figure groupings.

In 1859, Homer opened a studio in the Tenth Street Studio Building in New York City, and until 1863 he attended classes at the National Academy of Design, studying briefly with Frédéric Rondel, who taught him the basics of painting. In only about a year of self-training, Homer was producing excellent professional level work. His mother tried to raise family funds to send him to Europe for further study but instead Harper’s sent Homer to the front lines of the American Civil War (1861–1865), where he sketched battle scenes and camp life, the quiet moments as well as the chaotic ones. His initial sketches were of the camp, commanders, and army of the famous Union officer, major general George B. McClellan, at the banks of the Potomac River in October 1861.

Although the drawings did not get much attention at the time, they mark Homer’s expanding skills from illustrator to painter. Like with his urban scenes, Homer also illustrated women during wartime, and showed the effects of the war on the home front. The war work was dangerous and exhausting. Back at his studio, Homer would regain his strength and re-focus his artistic vision. He set to work on a series of war-related paintings based on his sketches, among them Sharpshooter on Picket Duty (1862), Home, Sweet Home (1863), and Prisoners from the Front (1866). He exhibited paintings of these subjects every year at the National Academy of Design from 1863 to 1866. Home, Sweet Home was shown at the National Academy to critical acclaim and quickly sold. Homer was consequently elected an Associate Academician, then a full Academician in 1865. During this time, he also continued to sell his illustrations to periodicals such as Our Young Folks and Frank Leslie’s Chimney Corner.

After the war, Homer turned his attention primarily to scenes of childhood and young women, reflecting nostalgia for simpler times, both his own and the nation as a whole. Homer was also interested in postwar subject matter that conveyed the silent tension between two communities seeking to understand their future. His oil painting A Visit from the Old Mistress (1876) shows an encounter between a group of four freed slaves and their former mistress. The formal equivalence between the standing figures suggests the balance that the nation hoped to find in the difficult years of Reconstruction. Homer composed this painting from sketches he had made while traveling through Virginia.

Before exhibiting at the National Academy of Design, Homer finally traveled to Paris in 1867 where he remained for a year. His most praised early painting, Prisoners from the Front, was on exhibit at the Exposition Universelle in Paris at the same time. He did not study formally but he practiced landscape painting while continuing to work for Harper’s, depicting scenes of Parisian life. Homer painted about a dozen small paintings during the stay. Although he arrived in France at a time of new fashions in art, Homer’s main subject for his paintings was peasant life, showing more of an alignment with the established French Barbizon school and the artist Millet than with newer artists Manet and Courbet. Though his interest in depicting natural light parallels that of the early impressionists, there is no evidence of direct influence as he was already a plein-air painter in the US.

Throughout the 1870s, Homer continued painting mostly rural or idyllic scenes of farm life, children playing, and young adults courting, including Country School (1871) and The Morning Bell (1872). In 1875, Homer quit working as a commercial illustrator and vowed to survive on his paintings and watercolors alone. Despite his excellent critical reputation, his finances continued to remain precarious. His popular 1872 painting Snap-the-Whip was exhibited at the 1876 Centennial Exposition in Philadelphia, Pennsylvania, as was one of his finest and most famous paintings Breezing Up (1876).

Homer started painting with watercolors on a regular basis in 1873 during a summer stay in Gloucester, Massachusetts. From the beginning, his technique was natural, fluid and confident. The critics were negative at first, “A child with an ink bottle could not have done worse.” Another critic said that Homer “made a sudden and desperate plunge into water color painting”. But his watercolors proved popular and enduring, and sold more readily, improving his financial condition considerably. They varied from highly detailed (Blackboard – 1877) to broadly impressionistic (Schooner at Sunset – 1880). Some watercolors were made as preparatory sketches for oil paintings (as for Breezing Up) and some as finished works in themselves. Thereafter, he seldom traveled without paper, brushes, and water-based paints.

Homer spent two years (1881–1882) in the English coastal village of Cullercoats in Northumberland. Many of the paintings at Cullercoats took as their subjects working men and women and their daily heroism, imbued with a solidity and sobriety which was new to Homer’s art, presaging the direction of his future work. He wrote, “The women are the working bees. Stout hardy creatures.” His works from this period are almost exclusively watercolors. His palette became constrained and sober; his paintings larger, more ambitious, and more deliberately conceived and executed. His subjects more universal and less nationalistic, more heroic by virtue of his unsentimental rendering.

Back in the U.S. in November 1882, Homer showed his English watercolors in New York. Critics noticed the change in style at once, “He is a very different Homer from the one we knew in days gone by” [his pictures] “touch a far higher plane … They are works of High Art.” Homer’s women were no longer “dolls who flaunt their millinery” but “sturdy, fearless, fit wives and mothers of men” who are fully capable of enduring the forces and vagaries of nature alongside their men.

In 1883, Homer moved to Prouts Neck, Maine (in Scarborough), and lived at his family’s estate in the remodeled carriage house 75 feet from the ocean. During the rest of the mid-1880s, Homer painted his monumental sea scenes. In Undertow (1886), depicting the dramatic rescue of two female bathers by two male lifeguards, Homer’s figures “have the weight and authority of classical figures.” In Eight Bells (1886), two sailors carefully take their bearings on deck, calmly appraising their position and by extension, their relationship with the sea; they are confident in their seamanship but respectful of the forces before them. Other notable paintings among these dramatic struggle-with-nature images are Banks Fisherman, The Gulf Stream, Rum Cay, Mending the Nets, and Searchlight on Harbor Entrance, Santiago de Cuba. Some of these he repeated as etchings.

In the winters of 1884–5, Homer ventured to warmer locations in Florida, Cuba, and the Bahamas and did a series of watercolors as part of a commission for Century Magazine. He replaced the turbulent green storm-tossed sea of Prouts Neck with the sparkling blue skies of the Caribbean and the hardy New Englanders with Black natives, further expanding his watercolor technique, subject matter, and palette. During this trip he painted Children Under a Palm Tree for Lady Blake, the Governor’s wife. His tropical stays inspired and refreshed him in much the same way as Paul Gauguin’s trips to Tahiti. Homer frequently visited Key West, Florida between 1888 and 1903. Some of his best-known works, A Norther, Key West, The Gulf Stream, Taking on Wet Provisions, and Palms in the Storm, are said to have been produced there.

In 1893, Homer painted one of his most famous “Darwinian” works, The Fox Hunt, which depicts a flock of starving crows descending on a fox slowed by deep snow. This was Homer’s largest painting, and it was immediately purchased by the Pennsylvania Academy of the Fine Arts, his first painting in a major US museum collection. In Huntsman and Dogs (1891), a lone, impassive hunter, with his yelping dogs at his side, heads home after a hunt with deer skins slung over his right shoulder. Another late work, The Gulf Stream (1899), shows a black sailor adrift in a damaged boat, surrounded by sharks and an impending maelstrom.

By 1900, Homer finally reached financial stability, as his paintings fetched good prices from museums and he began to receive rents from real estate properties. He also became free of the responsibilities of caring for his father, who had died two years earlier. Homer continued producing excellent watercolors, mostly on trips to Canada and the Caribbean. Other late works include sporting scenes such as Right and Left, as well as seascapes absent of human figures, mostly of waves crashing against rocks in varying light. His late seascapes are especially valued for their dramatic and forceful expression of nature’s powers, and for their beauty and intensity.

In his last decade, he at times followed the advice he had given a student artist in 1907: “Leave rocks for your old age—they’re easy.”

Homer died in 1910 at the age of 74 in his Prouts Neck studio and was interred in the Mount Auburn Cemetery in Cambridge, Massachusetts. His painting, Shooting the Rapids, Saguenay River, remains unfinished.

I mostly think of Homer as associated with Maine, and when I think of Maine I think first of lobsters.  But there is a great deal more to Maine cuisine than lobsters, or even seafood.  Mainers are justifiably proud of their baking skills, and whoopie pies are a staple.  Here’s a video explaining why these pies are now the Maine state pie (over objections by Pennsylvania):

Jan 252021
 

Today is the birthday (1874) of William Somerset Maugham CH, English novelist, playwright, and short story writer. He was among the most popular writers of his era and reputedly the highest-paid author during the 1930s.

Maugham was the fourth of six sons born in his family. Their father, Robert Ormond Maugham, was a lawyer who handled the legal affairs of the British Embassy in Paris. Since French law declared that all children born on French soil could be conscripted for military service, his father arranged for Maugham to be born at the embassy, diplomatically considered British soil. His grandfather, another Robert, was a prominent lawyer and co-founder of the Law Society of England and Wales. His family assumed Maugham and his brothers would be lawyers. His elder brother, Viscount Maugham, did become a lawyer, enjoying a distinguished legal career and serving as Lord Chancellor from 1938 to 1939.

Maugham’s mother, Edith Mary (née Snell), contracted tuberculosis, a condition for which her physician prescribed childbirth. She had Maugham several years after the last of his three elder brothers was born. By the time Maugham was three, his older brothers were all away at boarding school. Edith’s sixth and final son died on 25 January 1882, one day after his birth. It was Maugham’s eighth birthday. Edith died of tuberculosis six days later on 31 January at the age of 41. The early death of his mother left Maugham traumatized. He kept his mother’s photograph at his bedside for the rest of his life. Two years after Edith’s death, Maugham’s father died in France of cancer.

Maugham was sent back to the UK to be cared for by his paternal uncle, Henry MacDonald Maugham, the Vicar of Whitstable, in Kent. The move was emotionally damaging, as Henry Maugham was cold and emotionally cruel. Maugham attended The King’s School, Canterbury, which was also difficult for him. He was teased for his bad English (French had been his first language) and his short stature. Maugham developed a stammer that stayed with him all his life. It was sporadic, being subject to his moods and circumstances. Miserable both at his uncle’s vicarage and at school, Maugham developed a talent for making wounding remarks to those who displeased him, which ability is sometimes reflected in Maugham’s literary characters.

At age 16, Maugham refused to continue at The King’s School. His uncle allowed him to travel to Germany, where he studied literature, philosophy and German at Heidelberg University. After Maugham’s return to Britain, his uncle found him a position in an accountant’s office. After a month Maugham gave it up and returned to Whitstable. His uncle tried to find Maugham a new profession. Maugham’s father and three older brothers were distinguished lawyers, but Maugham was not interested in this profession. He rejected a career in the Church because of his stutter. His uncle rejected the Civil Service, believing that it was no longer a career for gentlemen after a new law requiring applicants to pass an entrance examination. The local physician suggested the medical profession and Maugham’s uncle agreed.

Maugham had been writing steadily since he was 15, and wanted to be an author, but he did not tell his guardian. For the next five years, he studied medicine at St Thomas’s Hospital Medical School in Lambeth. Maugham was living in London, meeting working-class people whom he would never have met otherwise, and seeing them at a time of heightened anxiety and meaning in their lives. In maturity, he recalled the value of his experience as a medical student: “I saw how men died. I saw how they bore pain. I saw what hope looked like, fear and relief …”

Maugham kept his own lodgings, took pleasure in furnishing them, filled many notebooks with literary ideas, and continued writing nightly while at the same time studying for his medical degree. In 1897, he published his first novel, Liza of Lambeth, a tale of working-class adultery and its consequences. It drew its details from Maugham’s experiences as a medical student doing midwifery work in Lambeth (which was a slum at the time). Maugham wrote near the opening of the novel: “… it is impossible always to give the exact unexpurgated words of Liza and the other personages of the story; the reader is therefore entreated with his thoughts to piece out the necessary imperfections of the dialogue.” Liza of Lambeth‘s first print run sold out in a matter of weeks. Maugham, who had qualified as a medic, dropped medicine and embarked on his 65-year career as a writer.

The writer’s life allowed Maugham to travel and to live in places such as Spain and Capri for the next decade, but his next ten works never came close to rivaling the success of Liza. This changed in 1907 with the success of his play Lady Frederick. By the next year, he had four plays running simultaneously in London, and Punch published a cartoon of Shakespeare biting his fingernails nervously as he looked at the billboards. Maugham’s supernatural thriller, The Magician (1908), based its principal character on the well-known and somewhat disreputable Aleister Crowley. Crowley took some offence at the treatment of the protagonist, Oliver Haddo. He wrote a critique of the novel, charging Maugham with plagiarism, in a review published in Vanity Fair. Maugham survived the criticism without much damage to his reputation.

By 1914, Maugham was famous, with 10 plays produced and 10 novels published. Too old to enlist when the First World War broke out, he served in France as a member of the British Red Cross’s so-called “Literary Ambulance Drivers”, a group of around 24 well-known writers, including John Dos Passos, E. E. Cummings, and Ernest Hemingway. The experience is a crucial component in the opening chapters of The Razor’s Edge, one of my favorites of his.

Of Human Bondage (1915) initially was criticized in both England and the United States; the New York World described the romantic obsession of the protagonist Philip Carey as “the sentimental servitude of a poor fool”. The influential US novelist and critic Theodore Dreiser rescued the novel, referring to it as a work of genius and comparing it to a Beethoven symphony. His review gave the book a lift, and it has never been out of print since.

Of Human Bondage is considered to have many autobiographical elements. Maugham gave Philip Carey a club foot (rather than his stammer); the vicar of Blackstable appears derived from the vicar of Whitstable; and Carey is a medic. Maugham insisted the book was more invention than fact. The close relationship between fictional and non-fictional became Maugham’s trademark. He wrote in 1938: “Fact and fiction are so intermingled in my work that now, looking back on it, I can hardly distinguish one from the other.”

Here are some typical quotes:

There are three rules for writing a novel. Unfortunately, no one knows what they are.

It’s a funny thing about life; if you refuse to accept anything but the best, you very often get it.

To acquire the habit of reading is to construct for yourself a refuge from almost all the miseries of life.

Money is like a sixth sense without which you cannot make a complete use of the other five.

Impropriety is the soul of wit.

Tradition is a guide and not a jailer.

The tragedy of love is indifference.

The important thing was to love rather than to be loved.

The love that lasts longest is the love that is never returned.

If a man hasn’t what’s necessary to make a woman love him, it’s his fault, not hers.

When you choose your friends, don’t be short-changed by choosing personality over character.

We are not the same persons this year as last; nor are those we love. It is a happy chance if we, changing, continue to love a changed person.”

The only important thing in a book is the meaning that it has for you.

I always find it more difficult to say the things I mean than the things I don’t.

This quote used to be more salient than it is nowadays, although the ignorescanti have the stupid habit of going on and on about how bad English food is, and this blog probably won’t change many minds.

If you want to eat well in England, eat three breakfasts.

I have given recipes for a “full English” and kedgeree already. Deviled kidneys were a beloved favorite at the Edwardian breakfast sideboard, and are one of my cherished dishes.  Lamb kidneys work best, but ox or pork will also serve.  Lamb kidneys need to be split in half and it is best to remove all the white tubules (although not absolutely necessary). Some cooks also soak the kidneys in milk to reduce the strong flavor, but I don’t.  Ox kidneys need to be cut into bite-sized pieces, and pig kidneys should be quartered.  You can use mushrooms in the dish or not as you please. If you do, I suggest porcini or crimini or the like (I use Asian mushrooms these days). Button mushrooms can serve if you find them to your taste.

Deviled Kidneys

Ingredients

½ lb fresh mushrooms, cut into large pieces (optional)
2 to 4 kidneys (preferably lamb)
¼ cup flour
1 tsp cayenne pepper
1 ½ tsp dry English mustard
1 tsp salt
1 tsp ground black pepper
6 tbsp unsalted butter, divided
Worcestershire sauce
3 tbsp beef stock
toast slices

Instructions

If you are using the mushrooms, sear them in a hot pan with 3 tablespoons of unsalted butter until nicely browned on their edges. Remove them and set aside.

Place the flour, cayenne, mustard, salt, and black pepper in a heavy brown paper bag. Add the kidneys and shake vigorously to coat thoroughly.

Heat a heavy skillet over high heat, then add 3 more tablespoons of butter. Brown the kidneys on all sides in the butter. Return the mushrooms to the pan and add a big splash of Worcestershire sauce and the stock, and shake the pan to combine all the ingredients.

Remove the kidneys and mushrooms and set them on top or beside a slice of toast. Reduce the sauce in the skillet and then pour it over the kidneys.

Serves 1 (if it is me) or 2