Wednesday Review: Claire Dederer's Poser

I realize that it may not be fair to begin a post about Claire Dederer's memoir Poser by talking about Elizabeth Gilbert, but so be it. That's what I'm going to do. And I'm not the first person to have done so. Janet Maslin, for one, talks about Eat, Pray, Love in her daily NY Times review of Poser, as do Judith Shulevitz and Emily Bazelon in their interesting conversation about Poser over at Slate. Poser has a prominent blurb by Elizabeth Gilbert on its back cover, and it is the only blurb on the home page of Dederer's website. (The short version--Gilbert loved the book.)

So, Gilbert. Last fall, I had a somewhat ridiculous conversation with friends in which one of them wondered aloud whether Eat, Pray, Love was the worst book ever written. I was incredulous. Because really, if you think Eat, Pray, Love is the worst book ever written, you haven't read nearly enough bad books. I am the first to admit, I liked Eat, Pray, Love, and I don't think it's a bad book at all. I read it soon after it was published; I bought it in hardcover, in fact. I was interested in the India section, of course, but I'd read Elizabeth Gilbert's work previously and knew she could write. Maybe I liked it because I read it before it became a cultural phenomenon, but mostly I liked it because Gilbert is a very good writer. I found her a witty and self-deprecating narrator, and what remains with me, four or five years later, are her meditations on what it means when you make choices that take you out of the mainstream. Gilbert may now be a married, world-famous gazillionaire, but she wasn't when she wrote this book. The crisis precipitating Gilbert's year-long journey was the breakup of her first marriage, in part because she didn't want children. Whatever you think of her pasta-eating in Italy, meditating in India and finding love in Bali, she remains a clear observer of her own life, and there are things to take from it. At least there were for me. Here is Gilbert thinking of the difference between her own life choices and her sister's.

Virginia Woolf wrote, ‘Across the broad continent of a woman’s life falls the shadow of a sword.’ On one side of that sword, she said, there lies convention and tradition and order, where ‘all is correct.’ But on the other side of that sword, if you’re crazy enough to cross it and choose a life that does not follow convention, ‘all is confusion. Nothing follows a regular course.’ Her argument was that the crossing of the shadow of that sword may bring a far more interesting existence to a woman, but you can bet it will also be more perilous.

In Dederer's book, the person who chooses to cross the shadow of the sword is not Dederer--who is married and the mother of a baby daughter when the book opens--but her mother, who, at the age of 32, when Dederer was 6 and her brother 8, took up with a hippie named Larry . . . while continuing to remain married to Dederer's father. Dederer's mother moved in with Larry, mostly taking the kids with her, while simultaneously trying to pretend that nothing had really changed, as evidenced by the fact that the parents were still married. When the book opens, Dederer's brother Dave, now a doting father and husband himself, wants nothing more than for his parents to divorce already. "He sent middle-of-the-night e-mail pleas to my parents, on which he CC'ed me. . . . 'It's time for a divorce,' he would write. Or, 'My birthday is coming. For my gift I would like a divorce.'"

Poser is structured, as the subtitle indicates, around Dederer's study of yoga, which begins when she throws her back out when her daughter is a baby. That each chapter is named for a yoga pose and uses that pose as a means to explore her life could have been a gimmick, but in this book, it's not. And honestly, I don't have a problem with finding a structure on which to hang your memoir. Writing a memoir is a hard enough task--figuring out a way to tell the stories you want to tell is a challenge, and if yoga poses work as your unifying structure, that's fine with me.

Poser follows Dederer from yoga class to yoga class, and backwards and forwards in her own life. In response to both her own childhood and to the expectations of the liberal Seattle circles in which she travels, she decides that the way that she will approach motherhood is by being perfect. And not only perfect but also good. As you might imagine, this doesn't work all that well or make her particularly happy. It frays her marriage and leaves her constantly anxious. As Poser moves along, we see Dederer have a second child, move to Boulder and back to Washington state and go through multiple forms of yoga. What Dederer has in common with Elizabeth Gilbert is her self-deprecating sense of humor and her willingness not to let herself off the hook. She is good company, and it's hard not to root for her--not just in her attempts to do handstands and complicated yoga sequences--but in her life as a writer, mother and wife.

I am of Dederer's demographic (born a year earlier) but not a parent or a yoga doer, despite all the time I've spent in the land of yoga. Still, Dederer's voice is one that is familiar to me, and it's one I enjoyed spending time with. Judith Warner may gripe in the New York Times magazine about Poser being part of the "burgeoning literature of postboomer-female midlife crisis," but I think she's just being churlish. Sure, I'd be glad to read Dederer on any number of subjects, but in Poser, she does a fine job of turning her critic's eye on herself, and for me, that made for a very good read.

(For a good interview with Dederer, see this blog post. I knew I liked Dederer when she mentions E.F. Benson's Lucia books in Poser. I liked her even more when she said that Laurie Colwin was her favorite writer.)

July Recipe Roundup

Today, I did something I don't usually do, which is make two different but related meals for lunch and for dinner. It was mostly because I was home with time to cook and because I spent about $30 on vegetables at the farmers' market on Saturday and was determined to use at least some of them before they'd been languishing in the fridge for too long.

I've written about both of these recipes before, but they are both so good and so perfect for the season, that I wanted to put them in the spotlight again.

The first dish--my lunch, as it were--is early summer orzo, a recipe I mostly made up. It's a mix of vegetables diced into tiny pieces, sauteed in olive oil and then combined with a minimal amount of orzo. I usually make it in the sweet spot of early summer, when both peas and corn are available. I combine these with summer squash, onions, garlic, basil and toasted pine nuts. The key is to have everything cut the same size (i.e., the size of a pea or corn kernel or pine nut or piece of orzo) so that each bite has a little bit of everything in it. The other key is to add the orzo to the vegetables rather than the other way around--this way, the orzo is incorporated into the vegetables rather than the vegetables serving as a complement to the pasta. You could make this with many different vegetable combinations, but I'm partial to the early summer one. Then again, I was amazed that shell peas were still available on Saturday, and I can't imagine we'll see too many more of them after this week's mini heat wave, so I can see making this pea-less, out of necessity. Sprinkle some Parmesan if you like, and you're set for lunch, dinner or a snack. It is equally delicious re-heated.

Here's the recipe, from June 2009: Early Summer Orzo

The second recipe comes from a Mark Bittman "Minimalist" column from the summer of 2004, his Pasta with Corn, Zucchini and Tomatoes. I have been making this dish every summer since then, which I think is the definition of a keeper. So, in the early evening, after I'd come inside sweaty and grubby from mowing the lawn and watering the garden, I found myself, once again, chopping onions and garlic, dicing squash and cutting corn off of the cob. And the sauteing starts off the same way. The key difference here is the tomatoes. Tomatoes wouldn't work in the first recipe because they fall apart, and there, you're looking for intact bits. With this recipe, soupy is fine. You add the tomatoes around the time you put the water for the pasta in, and by the time the pasta is cooked, the tomatoes have broken down, and you have a delicious smelling pan of vegetables on the stove, waiting to be dumped upon the hot pasta. This dish might not be quite as pretty as the other one, but it's equally delicious.

Here's the recipe, from July 2008: Pasta with Corn, Zucchini and Tomatoes

Now, I have two different kinds of leftovers to eat this week, and while the chard and lettuce are still in my fridge, waiting for their turn, I can feel somewhat satisfied that most, if not all, of those vegetables I schlepped home so hopefully on Saturday are going to end up in my stomach rather than in the compost.

Enjoy!

It's a Pie Party! Blueberry Crumble Pie

So, first I made a pie crust (documented here), and then I made pie. Because even though as recently as a few months ago I was scared of pie crust, I wanted to be part of the pie party.

My friend Gina Hyams has just come out with a book called Pie Contest in a Box, and so she's made me think about pie more than I usually do. And then I read about Shauna Ahern, aka Gluten-free Girl, having an internet pie party. Apparently, thousands of people are making pies and many of them are blogging about it today. How could I resist?

I had to contemplate what kind of pie to make. Strawberries are almost gone here, and blueberries and peaches are not yet in season, though they will be soon. Rather than using non-local fruit, I decided to go for the local but frozen option--the blueberries still in my freezer from last summer's annual blueberry picking expedition.

I scoped out some recipes and relied mostly on a combination of Mark Bittman and King Arthur Flour. I decided that, despite my newfound comfort level with pie crust, I didn't want to make a 2-crusted pie. And given my love for peach-blueberry crumble and for blueberry crumble bars, it made sense to make a blueberry crumble pie.

I tossed the blueberries with sugar, cornstarch, lemon zest, lemon juice and a dash of nutmeg. I made my standard crumble topping from oats, flour, brown sugar, melted butter and walnuts. I topped one with the other and baked. Delicious smells wafted from the oven.

What I didn't do was wait to cut it. It was after 9 p.m., and Alex was lying on the couch, sleepy and waiting for his pie. The King Arthur Flour Baking Book said "Hold your horses." (Really.) Don't even think of cutting that pie until it's cool. But reader, I cut it. I waited until the vanilla ice cream was sufficiently soft, and then I cut it.

And lo, it was wet. Yes, my blueberry pie had turned into blueberry pie soup.

But you know, between the blueberries and lemon, the oats and walnuts, the vanilla ice cream melting in rivulets across the plate, it didn't really matter.

There was pie, and it was good.

Blueberry Crumble Pie
loosely adapted from Mark Bittman's How to Cook Everything, with
additional help from The King Arthur Flour Baking Book

Crust
1 9 inch pie crust (I used Melissa Clark's all-butter Perfect Pie Crust.)

Filling
5 cups blueberries, fresh or frozen, picked over, rinsed and dried
1/2 - 1 cup sugar, depending on your preferences and the sweetness of your berries
2 tbsp. corn starch
Pinch nutmeg and/or cinnamon
Grated zest of 1 lemon
1 tbsp. lemon juice
Dash of salt

Crumble Topping
1 cup whole rolled oats
1/2 cup flour
3 tbsp. brown sugar
4 tbsp. melted butter
1/3 - 1/2 cup walnuts (optional)
pinch salt

Note: I did not bake my pie crust ahead of time. None of the recipes I looked at called for it. However, given the soupiness of the fruit, I probably would blind bake it next time. The outside of the crust was nicely crispy, but the bottom was soggy. That might just be the way of fruit pies, but I'm going to experiment.

Preheat oven to 450.

If desired, partially blind bake pie shell. Good instructions for doing so here: Blind Baking a Pie Crust

For filling, toss blueberries with sugar, corn starch, lemon zest, lemon juice, nutmeg and salt.

Pile berries into crust.

Combine oats, flour, brown sugar, salt, nuts (if using) and melted butter. Distribute over blueberries and pat into place.

Place pie pan on baking sheet (in case of drips). Bake at 450 F for 10 minutes and then reduce heat to 350 F and bake for another 40-50 minutes. (I baked mine for another 45.) Cool on a rack for as long as you can stand it (longer is, indeed, better). Serve with vanilla ice cream or whipped cream.

Freedom from Fear of Pie Crusts

For a long time, I thought the world was split between bread people and pie people. Not bread and pie eaters, but bread and pie makers. Either you weren't scared of yeast and made bread or you weren't scared of the crust and made pie. I was a bread person, no question. I'd been baking bread since I was a teenager and laughed in the face of yeast fear.

Pie, on the other hand, scared me. It was the crust, of course. That delicate balance between flour and fat. How would I know when the butter was mixed in correctly? What if I put too much water in? What about the endless sticking and the attempts to put the sticky sad crust into a pie plate. By the time the crust was done, I was too stressed out to enjoy it.

So, I just didn't make pie. Occasionally I'd buy a supermarket crust for a quiche. But more often, I found alternatives for quiche and stuck with cookie crusts for pie.

I have Melissa Clark to thank for my conversion. Or maybe conversion isn't the right word. But I think I can safely say that I am no longer afraid of pie crusts, and I give Melissa Clark my gratitude. It was her perfect pie crust recipe in In the Kitchen with A Good Appetite that helped me face my fear and overcome it. Melissa's recipe was the start, but there were several other simple things that made this possible.

First, the chopper.


If you mix the flour and butter in a mini-chopper or food processor, you don't really have to think about pastry blenders or wonder about when the ingredients are mixed enough. A few whirls, and it's done. And when you add the cold water, a tablespoon at a time, it becomes clearly apparent when the dough is sticking together.


The second crucial piece is the plastic wrap.

I use this method when I bake biscotti--you spoon the wet and too soft batter onto a length of plastic wrap, which allows you to mold it into a shape that you can freeze until it's hard enough to work with. So it is with pie crust. You dump the messy, sticky mass of flour/butter/water onto the plastic wrap, and in moments, you have a nice round disk all ready to chill.

The last crucial item is the Silpat.

I used to try to roll out pie crusts on a cutting board, and it was frustration incarnate. But from the start of my getting-over-my-fear-of-pie-crust attempts, I realized I needed to change that. I put my Silpat on the dining room table, so there was room to work, with some flour handy nearby.

The marble rolling pin was a gift from my friend Derick 20 years ago. Why Derick decided he should send me a marble rolling pin in the mail from Boston to Eugene, Oregon, I have no idea, but 20 years have now passed, and while the rolling pin has lost its handles, it still works beautifully.

Because the dough is chilled, you can roll it out before it gets sticky. I put a bit of flour down on the Silpat, added a bit more as I was working and turned the dough over a few times. Rolling a pie crust out on a floured Silpat is not stressful, it turns out. Just when you wonder whether the dough is warming up, it's big enough for your pie. Voila.

This is maybe the fourth or fifth crust I've made since I discovered Melissa's recipe and the method documented here, and I've made 2 in the past 2 weeks! Unthinkable even a year ago.

Not that losing my fear of pie crusts is going to make me scared of yeast. I'm just going to have to widen my view of the world just a little bit, now that I am a person who can not only make bread, but also pie.

All-Butter Perfect Pie Crust
from Melissa Clark's In the Kitchen with a Good Appetite

Time: 15 minutes plus one hour's chilling

1 1/4cups all-purpose flour

1/4 teaspoon salt

8-10 tablespoons unsalted butter, preferably a high-fat, European-style butter like Plugra, chilled and cut into 1/2-inch pieces (Clark's recipe calls for 10 tablespoons; my crusts have been plenty buttery with 8.)

2 to 5 tablespoons ice water (I seem to always need 5.)

1. In a food processor, briefly pulse together the flour and salt. Add butter and pulse until mixture forms chickpea-size pieces (3 to 5 one-second pulses). Add ice water 1 tablespoon at a time, and pulse until mixture is just moist enough to hold together.

2. Form dough into a ball, wrap with plastic and flatten into a disk. Refrigerate at least 1 hour before rolling out and baking.

Yield: One 9-inch single pie crust. Recipe can be doubled for a double crust; divide dough into two balls and form two disks before chilling.

Friday Links: The June Swoon Edition

So, as typically happens post-blogathon, I fell into a bit of a June swoon. This one was delayed temporarily by the V.S. Naipaul flap, but it arrived nonetheless.

These links have been piling up, and the time has come to share them. I'm hoping that this time of rest in June will stoke my blogging energy again, so that I'll be back more regularly in July. Until then, a lot of links!

The India Links

The New York Times is running a series of pieces about India, and it's not surprising I'm finding them fascinating. A couple of weeks ago, they ran a piece about Gurgaon and how the city has been built up basically without any infrastructure. I had never spent any time in Gurgaon before Sunil moved there, and it is a very strange place. I went to one mall that is glitzier than any mall I've ever been in in the U.S., and I've watched Sunil's street being torn up for a very belated installation of sewer pipes. I've seen the fleets of cars waiting outside the multinational companies whose offices are in Gurgaon, and I've bumped along the truly terrible roads right next to them. It's rare to think of Delhi as organized in any way, but compared to Gurgaon it is.

Jim Yardley's article on Gurgaon

Jim Yardley answers questions about the piece and Gurgaon

The NYT Gurgaon slideshow

The slide with evidence that more than one pink-topped rickshaw exists!

My final India link is unrelated to Gurgaon. A few weeks ago, I had one of those frantic meet-in-the-aisles-of-Trader-Joes catch-ups with an old friend. She had her 3 month old baby in a front pack (last time I'd seen her, she had only a toddler; now there are 2!) and was supposed to be buying food for dinner. While her very patient baby waited, we gabbed hurriedly in the frozen food aisle. And she told me about a blog I'd never heard of about Indian food. The blog, Eat and Dust (a play, of course, on the title of Ruth Prawer Jhabvala's 1975 novel, Heat and Dust, made into a movie in 1983 with Julie Christie, Greta Scacchi and Zakir Hussein) is written by a British woman, Pamela Timms, who's lived in Delhi for a number of years with her family. (Her husband is the South Asia correspondent for the Telegraph.) Her specialty is Delhi street food. I've only begun to explore the blog, but it's right up my alley.

A Telegraph article about Pamela Timms (They call her the "Delia of Old Delhi.")


The Obituary Links

It seemed an interesting coincidence that on the day when there were already all these India-related pieces in the NY Times, there was also the obituary of M.F. Husain, one of the most famous painters to come out of modern India:

M.F. Husain

Husain died at 95. It was clearly a bad week for talented nonagenarians, as the next day, obits for the travel writer Patrick Leigh Fermor appeared.

I had only vaguely heard of Fermor before Anthony Lane wrote a fascinating profile of him in the New Yorker in 2006. It may only be available to subscribers, but it's totally worth a read.

Anthony Lane on Patrick Leigh Fermor, 2006

Anthony Lane's response to Fermor's death, June 2011

Patrick Leigh Fermor Guardian obit

Patrick Leigh Fermor New York Times obit


The Local Links

We've had good news and bad news here in Western Massachusetts in the past 10 days or so.

The good news is that Amherst College, my alma mater, has named Carolyn "Biddy" Martin to be its 19th president. She will be the first woman president and the first openly gay president. Amherst was founded in 1821 and went coed in 1976. That's 155 years of being a men's college. When I was there in the mid-late 1980's, it felt more like a men's school that let women attend than a truly coed college. That's changed in the past 20 years, certainly, but this is a big step, and I'm delighted that they've finally taken it.

Amherst's announcement on Biddy Martin

New York Times piece on Biddy Martin

The bad news came a few days later. Our beloved local video store, Pleasant St. Video, announced that they are closing in July. They've been a fixture in downtown Northampton for 25 years. I've been a member for 16 of those years; I joined when I moved back to this area in 1995. Not only do they have a great collection, it's the kind of place where you might run in to pick something up and end up staying there much longer than planned because you're chatting with the folks at the counter or watching whatever movie is playing on the TV in the corner.

They are going out on their own terms, at least. The store didn't close overnight, and they are undertaking a fundraising effort to save their huge, varied, quirky collection by having people donate to the Forbes library in Northampton. For every $8 donation, they'll give Forbes a DVD. They're letting people donate generally or to save specific titles. (I wanted to save "Slings and Arrows," but someone else had claimed it, so I saved the films of Mira Nair instead, even though I haven't actually seen all of them.) It turns out that you can donate credits to save films also, and I have more than 30 credits on file with them. (I always bought credits in advance, and I have to admit that I wondered when I bought my last batch of credits last fall whether I'd use them all before the store closed.) I've already donated some to bolster my crush on Bill Nighy by saving the UK version of State of Play and a somewhat obscure but quite wonderful British film called The Lawless Heart, which Alex and I watched years ago and which I've always wanted to see again. I have a bit more time to decide. Meanwhile, according to the local NPR station, they raised $20,000 the first week, about a third of what they need to save whole collection. Let's hope the momentum continues.

Pleasant Street Video's Save the Catalog page

The local NPR station on Pleasant Street's Closing

The Valley Advocate on the end of Pleasant Street Video

V.S. Naipaul is a pompous ass: an addendum

I wanted to add one more link to yesterday's list of links about V.S. Naipaul's recent comments about women and writing.

Roxana Robinson wrote an eloquent piece about the dangers of views like Naipaul's and how they're reflected in the way books are read, judged and rewarded these days. One of the key paragraphs:

Naipaul’s pronouncements are antediluvian. I won’t dignify with a response his comments on the mastery of the household; Diana Athill, the editor-turned-writer whom Naipaul denounces, is quite right to treat his maunderings as absurd. But if we can agree that this is absurd, then why do the numbers show, year after year, that our literary culture supports Naipaul’s belief? Why is it that men’s writing receives more prizes, more attention and more public acclaim than women’s? How is it that we accept this as a cultural norm?

"Do Women Write 'Tosh'?": Roxana Robinson's response.

I also wanted to post a quote, which is pretty much the first thing I thought of when I read about Naipaul's comments, in particular his comment about women's "sentimentality, the narrow view of the world . . . And inevitably for a woman, she is not a complete master of a house, so that comes over in her writing too."

Years ago, in graduate school, I read Annette Kolodny's essay, "Dancing Through the Minefield: Some Observations on the Theory, Practice, and Politics of a Feminist Literary Criticism." (The full text can be found here.) I don't remember many of the details, but there's one bit that remains, after all these years. It's this:

The (usually male) reader who, both by experience and by reading, has never made acquaintance with those [sex-related] contexts [out of which women write]--historically, the lying-in room, the parlor, the nursery, the kitchen, the laundry, and so on--will necessarily lack the capacity to fully interpret the dialogue or action embedded therein; . . . Virginia Woolf therefore quite properly anticipated the male reader's disposition to write off what he could not understand, abandoning women's writing as offering "not merely a difference of view, but a view that is weak, or trivial or sentimental because it differs from his own."

Virginia Woolf said that in 1929; Annette Kolodny wrote her essay in 1980. It's now 2011; isn't it time to move on? Aren't there other, better ways to spend our time than having to defend the writing of half the population against one arrogant bastard (as eloquent as some of those defenses have been)? Maybe we could actually be writing instead. Imagine.

Friday Links: The V.S. Naipaul is a pompous ass edition

Not surprisingly, V.S. Naipaul's comments earlier this week that he found no woman author equal to him have provoked an outpouring of comment. Naipaul went on to say that Jane Austen, in particular, was overly sentimental, and that his former editor, Diana Athill, wrote "feminine tosh." Let's hear it for open-mindedness and humility, Sir Vidia!

Here's a roundup of some interesting links about the controversy.

First, the Guardian's piece on Naipaul's original comments.

A few sum ups from American publications:

Delia Cabe in the Boston Globe

The Christian Science Monitor

Salon.com

A few responses from writers who happen to be female:

Diana Athill's response, also in the Guardian: Naipaul's attacks "just made me laugh."

The lovely Diana Abu-Jaber on NPR: From One Writer to Another: Shut Up, V.S. Naipaul

Jennifer Egan (no stranger to controversy about gender and writing) in the Wall Street Journal: "He sounds like such a cranky old man."

A Quiz

The Guardian included a quiz to see whether people could determine the gender of the writer by a paragraph, as Naipaul claims he can.

Take the quiz yourself.

I got 7 out of 10 right. What was more interesting to me was that there was only one passage (from Mary Wesley's novel Harnessing Peacocks) that I actually recognized, but it turns out that I'd actually read 6 of the 10 books on the list. (And of the 3 I got wrong, I'd read 2 of the books--go figure!)

About the photo:

I thought I'd be like the L.A. Times, which used a picture of Jonathan Franzen in an article about Jennifer Egan winning the LA Times book prize (and Jonathan Franzen losing it). So, I'm heading this with a picture of that pervasive sentimentalist, Jane Austen, so as not to have a photo of Naipaul on my blog. So there.

The Last Word

This last is a blog post linked by my old grad school pal, Kristen Lindquist, on Facebook. I'm grateful to her for it. I think this serves as an excellent final word, of the many that will be written, about Naipaul and his opinions.

Dawn Potter: A small response to V.S. Naipaul