This second collection won the Frank O'Connor International Short Story Award, one of the world's richest prizes for the short story form — and the title story is a stunner. Yes, it's a homage to short story wizard Raymond Carver's classic (substituting "Anne Frank" for "Love"), but the subtleties and wit are Nathan Englander's own. What seems at first to be an ordinary reunion between two high school girlfriends, now married, ends up exploring questions of Jewish identity, Israeli politics, intermarriage and the Holocaust.
Englander's lineage reaches back to Bernard Malamud, Saul Bellow and Philip Roth, but he's less interior, more likely to give us pages of sparkling dialogue than reams of mulling over this or that. He has a natural sense of drama (a play he's written, based on an earlier story, "The Twenty-Seventh Man," opened at New York's Public Theater in November). And his relaxed storytelling voice makes this collection feel intimate, even when he's writing about Israeli history from the Yom Kippur War to today in "Two Hills," which focuses on two matriarchs of the settlement movement, or following the cross-country ramblings of a traveling writer whose crowds have dwindled down to every author's nightmare, a single demented fan who insists he read to him alone.
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What We Talk About When We Talk About Anne Frank Stories by Nathan Englander
Blasphemy New and Selected Stories
A mix of new and older stories, spanning 20 years of work by Sherman Alexie, a master storyteller who has been honored with numerous awards. Alexie is constantly experimenting with form, but he never forgets to be funny. He laces his incisive observations about race, class, gender, sex, infidelity, and Indian and non-Indian bigotry with biting wit. Standouts among the older stories: "Indian Country," which opens with a noted Coeur d'Alene author arriving in Montana to learn he's been jilted by a Navajo woman, and "War Dances," the story of a 41-year-old undergoing MRIs and steroid treatments for sudden deafness, which probes a still-painful father-son connection. New stories include the raucous "Midnight Basketball," in which one teammate disses Obama's jump shot, and "Cry Cry Cry," which begins, "Forget crack, my cousin, Junior, said, meth is the new war dancer," and takes the cousins through to Junior's brutal end. These are stories that provoke and illuminate.
Short Stories To Savor On A Winter Weekend
As a lagniappe, begin with Object Lessons, a pairing of 20 contemporary authors with 20 potent classics from the pages of The Paris Review. Among them: Dave Eggers on "Bangkok"; James Salter's time bomb of a love-gone-bitter story; and Aleksandar Hemon on Jorge Luis Borges' cosmic "Funes, the Memorious," about a man cursed with the inability to forget anything.
Then move on to these five, my best collections of 2012:
Merge / Disciple by Walter Mosley
Excerpt: Merge / Disciple
The Life Of Objects
Excerpt: The Life Of Objects
When a family of smiling gypsies appeared in the stable yard, Frau Schmidt flung open a kitchen window and screamed, "Raus, ihrSchweine, oderichlasseeuchverprugeln!" Get out, you swine, or I'll have you thrashed. The gypsies did not bother to answer or even to look at her, sauntering down the avenue, followed by Felix's dogs.
When I saw that one of the boys carried Bessie, Felix's favorite brown-and-white spaniel, I put down my work and rushed after them. When the boy saw me, he gave a loud laugh and threw Bessie high into the air. She fell on the grass unharmed and I was able to grab her collar, but the other dogs ran after the gypsies, ignoring my command to heel. When, a few minutes later, the dogs came yelping into the yard, there were only two of them.
It was uncommon to see strangers at Lowendorf, but workers from Poland, many of them young and wearing the letter P on their clothes, had begun to appear in the village soon after the war began, headed for Ludwigsfelde and other nearby cities. The conscripted foreign workers, sent to work on the land when the farmers were mobilized, were tormented by the farmers' children, and the farmers' wives gave them only a portion of the meager rations allotted the workers by the government. Some of them soon escaped to find their way home, but others came to the Yellow Palace after dark for food. Felix instructed Kreck to give them cheese, bread, and beer. Fortunately there was enough for everyone. Cows had begun to disappear mysteriously from the village, and it was growing hard to find good. When Caspar came upon bits of hide from Felix's prize Friesians, he lost his head, running across the park with the reeking skins in his hands. Alarmed by his cries, we rushed into the stable yard. "People are hungry," Felix said quietly as he led Casper to the pump to wash his hands.
Soon after this, Felix asked Kreck how much food was held in reserve at Lowendorf. Along with their treasure, the Metzenburgs had brought champagne and wine, Turkish tobacco, gramophone records, and books from Berlin, but not much food, relying on the countryside to supply the needs of the estate. A levy of grain, meat, and poultry was by law sent each month to the army, with rapid and dire punishment for hoarding, resulting in a shortage of food, with inevitable speculation, even in a small village like Lowendorf. The quality of food was beginning to suffer (flour mixed with sawdust).
Kreck reported that we had stores of rice, potatoes, salt, dried fruit, cheese, flour, jam, and vegetables (not much coffee, sugar, or oil), and, of course, the wine from the old baroness's cellar. There was enough animal fodder, hay and oats to last to the next harvest.
***
The village women engaged by Dorothea as maids stopped coming to the house that spring, and the old men who worked as grooms and gardeners disappeared. I began to help in the kitchen and in the laundry, and Caspar and I worked in the garden. In Ballycarra, I'd swept the house, washed dishes, and made beds, but I was not used to working outside. I soon discovered that I preferred it to other work. As I bent to lift a basket of potatoes or reached to hang sheets on the line, I could feel the strength streaming through my arms and down my back, and it made me happy.
A certain amount of time was necessary to prepare dinner, given the numerous ways to cook and, what was perhaps more important, to present root vegetables. I learned from Schmidt six recipes for potatoes (which for an Irishwoman is something). Caspar's ferret caught rabbits, and I learned to skin and clean them. We bottled fruit from the orchard and hid the jars in the basement.
Roeder, who'd made it clear that any responsibility other than caring for Dorothea would be met with resentment, was soon worn down by the simple fact that she, too, required nourishment — I noticed that she was willing to perform any task deemed sufficiently refined for one in her position. Shelling peas fell into this category, as did watering the topiary on the terrace and making toast, although scouring pots, cleaning the stove, or washing sheets did not qualify. As she wore black lace gloves at all times, I had never seen her bare hands, and I still didn't see them.
Kreck tended the door, although there were no longer many visitors, and saw to the general running of the house, as well as serving at table with Caspar's assistance (Caspar, to Kreck's begrudging admiration, was a flawless servant). I offered to polish the parquet floors, which seemed only to require me to skate soundlessly through the rooms, arms clasped behind my back, feet wrapped in pieces of old carpet, but Kreck refused my help, perhaps because he liked to skate himself.
Kreck was also in charge of the ration books. Each citizen of the Reich was meant to receive seven ration cards a month, but the number of calories was continually reduced, the cards difficult to obtain and frequently unavailable. Blue was for meat; yellow for cheese, milk and yoghurt; white for jam and sugar; green for eggs; orange for bread. Pink was for rice, cereal, flour, tea, and coffee substitutes. Purple was for sweets, nuts, and fruit. Seafood was impossible to find because of the mining of coastal waters and the war in the Atlantic. The coffee substitute, called nigger sweat, was made of roasted acorns, and we counted ourselves fortunate when Kreck could find it.
***
On the tenth day of May, the Germans violated the neutrality of Holland, Belgium, and Luxembourg in a surprise attack led by the Tank Corps, with a view to invading France at its weakest point. On the thirteenth, as anticipated, the German army crossed the Meuse and entered France. In June, we heard the news that Italy had joined the war on the side of the Axis, which confirmed to some, although not to Felix, that the rapid defeat of England and France was imminent. Thousands of Jews who had managed to leave Germany were arrested and sent to work camps.
Not a week passed when something did not arrive from the Metzenburgs' friends in Berlin for Felix to hide. Silver teapots and rolled canvases were easily managed, but chairs and tables — even an organ on a wagon drawn by two weary horses — were more difficult (Felix sent the organ back to Berlin with his regrets). Kreck, convinced that we were surrounded by enemies, refused to hire boys from the village and Caspar unloaded the treasure before wrapping it in canvas and packing it in metal-lined trunks. They were like actors on a stage, illuminated by lanterns, as Kreck would only allow Caspar to empty the wagons after dark, pacing and waving his arms (I once heard Kreck say, "This is a very inferior Reubens, my dear"). It soon became necessary for Felix to draw a map of the location of all the buried and hidden treasure, the Metzenburgs' as well as that of their friends, which he kept in his waistcoat pocket.
***
The summer was unusually hot, with frequent thunderstorms. Hundreds of redhead smews arrived on the river and I made sketches of them for Mr. Knox.
When I could find time, I worked in the library, packing books. Shortly before tea, Kreck would arrive to change the blotting paper on the desks. The mother of FrauMetzenburg had been abruptly exiled to Lowendorf in 1919, according to Kreck, thanks to a careless maid who'd forgotten to change the paper. Herr Schumacher had held the compromising blotter to a mirror in order to read the letter his wife had written that morning to her lover, and Kreck did not want it to happen again. His moustache made him look as if he were always smiling, a deception that fooled me for some time, and I couldn't tell if he was teasing me.
I'd discovered that before coming to Lowendorf, Herr Elias had been a teacher at the Youth Aliyah School in Berlin, where he had prepared Jewish children for emigration to Palestine, teaching Hebrew and Zionist history. After Kristallnacht, Felix, who'd met Herr Elias through a dealer in rare books, had arranged for him to leave Berlin to teach at Lowendorf. The village children, whose idea of a Jew was a man with horns, had quickly grown attached to Herr Elias, who lived in the village, perhaps because he played music for them on his gramophone, and fed them.
I was surprised one evening by a small black bear in a ruffled skirt that had strolled away from some Hungarians busy stealing fruit in the orchard. Fortunately, she was tame, and when I turned to run, she did not chase me.
***
When I spoke to the Metzenburgs, I addressed them as Herr Felix and Frau Dorothea, but that summer they began to call me Maeve, rather than Miss Palmer. Felix preferred the company of as many people as possible, and I was occasionally asked to join them in the dining room. I wasn't asked if guests were expected, but visitors had become rare at Lowendorf. The Metzenburgs' isolation was difficult for Felix, accustomed as he was to brilliant conversation (or so I imagined), if not the distraction of sophisticated companions, but Dorothea did not seem to mind it at all. I seldom saw her. During the day, she drove to the village to visit the sick, taking them clothes and medicine, and to call on the old people who'd been left behind, often without food or money, when their sons were sent to the front. I'd noticed that a house, a dog, a child, or even a crisis often enabled, if not compelled, people to remain together. It gave them, among other things, a subject. I was not the Metzenburgs' subject, but I provided an easy distraction for them while they learned to be alone. It was not my conversation that was sought, but my presence, which both inhibited and stimulated them.
I was a bit stiff at first, and always five minutes too early in the dining room, having raced to change my clothes after I helped Caspar and Schmidt to prepare dinner (the first night, I caught Dorothea staring at Inez's black dress, trying to remember where she'd seen it before). It didn't take long to learn that it was considered bad luck to hand a saltcellar to someone rather than to place it before him, and that one did not say "God bless" at the start of a meal. If, for some reason, you had to leave the table, you did not do so without first asking to be excused. You did not drink tea with dinner, as did my mother. You did not use your napkin to wipe anything other than your mouth, as did my father. You did not eat with animals on your lap, as did some of the Metzenburgs' friends (I didn't count Mr. Knox and his gull, who always took tea with us).
The Metzenburgs kept to their vow not to speak at night about the war, talking instead about books and paintings, or the care of the estate — the weirs needed to be cleaned and the fields planted (there was no seed and no one to plant it), but most of the time they, too, were silent. When they spoke to friends on the telephone, they used a code, grinning slyly, that seemed alarmingly obvious to me — horses meant England, chickens meant Germany, peacocks meant France, bears meant Russia — but fortunately there seldom were telephone calls.
They often listened to the gramophone, perhaps a recording from 1936 of Der Rosenkavalier, or Karajan conducting Straus. When Dorothea said that Strauss wrote EinHeldenleben (we were listening to it for the second night in a row) after a quarrel with his wife, the jarring notes reminiscent of his wife's voice, Felix asked her where in the world she heard such nonsense. He thought it very romantic of her to countenance everything that she heard. As he believed that things could be made perfect, which was to me the most romantic idea of all, his condescension seemed unjust. I waited for Dorothea's answer, but she was silent, bent over a book on Japanese moss gardens. "It was Strauss," Felix said as an afterthought, "who expressed his gratitude to the Führer for his interest in art." He paused. "It presents a conflict, of course, but there are greater ones."
Most nights, however, we listened to dance music. I looked forward to it, the songs going through my head all the following day. I was fond of the French heartthrob Jean Sablon, especially his song "Two Sleepy People." And Lys Gauty, whose song "La Chaland qui passe" made me sad (Felix noticed its effect on me and pointed out that it was a song about a barge). Felix preferred Adam Aston, particularly when he sang "Cocktails for Two" in Polish, and I wondered if it reminded him of a love affair, or two. Once, while listening to The Threepenny Opera, music banned by the Nazis, Felix and Dorothea rose with a smile at the start of "Wie Man SichBettet" and danced to it.
When it was time for the news, Dorothea preferred a program on Berlin radio called Atlantis. It was very popular, perhaps because it featured gossip about the Nazis, and it left her less frightened than the other broadcasts. There were frequent reports of Eva Braun's brother-in-law and of Reichsmarschall Göring, who liked to entertain foreign diplomats while wearing gold leather shorts, his toenails painted red. Felix said that the program clearly had many informants, as the scandal was often only a day or two old, and almost always accurate, which made me wonder how he knew.
It was after an evening of listening to music with Felix and Dorothea that I slipped the amber cigarette holder, the silver dish, the gloves, and the pen that I'd hidden in my room into a drawer of a desk in the library, keeping only Felix's batiste handkerchief.
Christmas at Eagle Pond
Excerpt: Christmas At Eagle Pond
ON THE WINTER SOLSTICE of 1940, the darkest day, I rode a train into central New Hampshire. I was twelve and traveled for Christmas to my grandparents' Eagle Pond Farm, where I spent summers haying with my grandfather. The Boston and Maine passenger train was a puffing steam engine followed by a coal car, a mail car, and a coach barely populated. We slowed and stopped in West Andover, at the tiny depot called Gale, and the conductor—in the summer he wore a handkerchief tucked between his collar and his neck—set down the yellow step for me to descend with my suitcase. Dimly in the darkness, I saw what I looked for: my grandfather Wesley Wells with his horse and buggy, Gramp whispering into Riley's ear because the clatter of the train made him skittery. We said, "Gramp!" "Donnie!" and hugged. We stuffed my suitcase behind the buggy's seat. My grandfather had always before picked me up in the high light of June. This Sunday it was wholly dark at six P.M., with scrappy snow on the ground. I saw that Gramp had hung oil lamps at the front and back of the buggy, and now—having snuffed them out to save kerosene as he waited for my train—he lit them again with a wooden kitchen match. We climbed into the seat and set out for the farm. There were few cars on the road, but we needed to be visible as we rattled down Route 4 with wheels in the gutter. Two Model A's pulled around us. We passed the glacial boulder looming through the darkness at the side of the road. Riley shied at it, although he had passed it ten thousand times. After we spoke encouraging words about my mother's operation, we hardly talked; we were both too excited. Ahead I watched for the lights of Eagle Pond Farm, and soon I saw not only the porch light but through the window a lighted Christmas tree.
My parents and I lived in Hamden, Connecticut, a suburb of New Haven. I was a single child, like so many during the Depression. My mother's operation had been successful—she would recover fully—but medical habits were different in those days, and my mother remained in the hospital ten days. Soon she would be home, in bed upstairs; there would be little Christmas in Hamden on December 25. For many years I had asked my parents if we could drive north to the farm for Christmas, because I wanted to see it in winter, and because my mother had entertained me with her girlhood memories of Christmas there. This year they let me go by myself. It was my biggest present. My father drove me to the New Haven railroad station—a great cathedral, high-ceilinged over rows of benches, one wall grated with ticket stalls. We bought my ticket to Boston, and my father nervously put me and my suitcase on the streamliner, its engine shaped like a bullet wearing skirts. I took a window seat as the train puffed through the railway yards past empty passenger cars and unloaded freight trains. We chugged by rows of houses beside the noisy tracks and emerged into a countryside bordered by Long Island Sound. Between the train and the water hovered the remains of a derelict trolley line that once took passengers, with many stops and transfers, from Boston down the coast to New Haven. Over the marshes, the broken line swooped on great wooden trestles, dangling tracks where a thousand seagulls perched. The train stopped in New London, Westerly, Kingston, Providence, Back Bay, and finally pulled into Boston's enormous South Station. My aunt Nan, youngest of three Eagle Pond sisters, was waiting for me as I stepped off the streamliner. She was working in a Boston bookstore while her husband did a stint in the Coast Guard. My parents had been relieved that she could lead me across Boston, although I could have done it myself. I felt babied. A yellow cab took us to the smaller and older North Station, where the Boston and Maine dispatched trains north to Maine, New Hampshire, and Vermont. I bought my ticket and waited an hour talking with my aunt before departure. We hugged and said goodbye, and I climbed into the little train we called the Peanut. There were two passenger cars, and I boarded the front one because the second would be dropped off at the big city of Manchester, New Hampshire. The Peanut went all the way to White River Junction in Vermont, stopping at a dozen depots on the way, and returned the morning after. Now it passed through the populous area north of Boston, through Lowell and Lawrence and into farming country. For the first time I looked at snow on hayfields, and on barns that sheltered Holstein cattle. Approaching Manchester I watched as houses displaced fields. We dropped the second car and headed toward Concord, the state capital, where a railway station rose on the alluvial plain of the Merrimack River. Then the Peanut stopped every few miles—Penacook, Boscawen, past farmland into the market town of Franklin. We stopped at the East Andover depot named Halcyon, three miles later Andover, two miles later Potter Place, two miles later West Andover, where my grandfather waited at its depot called Gale. The stations were close together because, not so long in the past, farmers carted their milk by oxen to the railroad's morning milk car, on its way to Boston and H. P. Hood. These days, a truck picked up the cans at Eagle Pond Farm.
We pulled into the U-shaped driveway, my grandmother smiling in the kitchen door wearing a cardigan over her print dress and apron. While my grandfather backed the buggy into the carriage shed, detached Riley, and led him to his stall, my grandmother Kate held me close. I followed her into the kitchen, warm from the range's fire. Gramp had finished his chores and supper before picking me up, and now he joined us as Gram served me baked beans with brown bread. I was mopping up the last of the beans when the telephone rang twice, which on our party line meant that the call was for us. Central told Gram that it was person-to-person for Donnie Hall, which didn't surprise anybody. Gram gave me the phone, and I heard my mother's frail voice from the hospital bed. I told her I was fine, how was she? She was feeling stronger, she said, and handed the phone to my father. He repeated that my mother felt better. "By the time you get back," he said, "her doctor says she'll be home. Soon she'll be downstairs sitting up." The cows already milked, now Gramp shut up the chickens, and we sat in the living room, warmed by the Glenwood stove. My grandfather spoke vigorously of "Franklin Delano Roosevelt"—Gramp sounded like a Fourth of July orator—and his reelection last month, the first third term for an American president. Gramp was the world's most enthusiastic Democrat; possibly he was New Hampshire's only Democrat. His father had been a Copperhead, and brought up his children to despise Lincoln's party, although he fought in the Civil War to march with his neighbors. Gramp's voice quieted down as we spoke together of the war in Europe, and how we would inevitably join it—despite the crazies at America First yelling about staying out. We talked until we turned on the radio that took up a corner of the room. On weekdays in summer evenings, we listened to Gabriel Heatter's booming dramatic voice, as plump as a pumpkin, when he gave his nine o'clock fifteen minutes of news. Today was Sunday and we heard an ordinary voice. The Luftwaffe's incendiaries burned London; Piccadilly was in flames. When the news ended it was time for bed. My grandmother drank her cheese glass of warm Moxie; my grandfather slurped his bread and milk. Gram took the kettle from the range and filled hot-water bottles. I walked through their icy bedroom to mine, even icier, and stuffed my hot-water bottle under the sheets to warm my feet. Crawling beneath the covers I shivered a moment, but the quilts were thick, my feet almost too hot, and soon I fell asleep in my familiar goosefeather bed at the house I loved most in the world.
The Hungry Ear Poems of Food & Drink
Excerpt: The Hungry Ear
Love, satisfaction, trouble, death, pleasure, work, sex, memory, celebration, hunger, desire, loss, laughter, even salvation: to all these things food can provide a prelude; or comfort after; and sometimes a handy substitute for. It often seems food is a metaphor for most anything, from justice to joy. Perhaps too easy of a metaphor — sometimes food is just food. Still, there is nothing like food and drink to remind us of life's pleasures, sating far more than hunger.
A good meal provides such sustenance not just out of need, but out of a whole host of things, whether reminding us of our childhoods, or grandparents, or the old country — or teaching us about a new one. Food transports us to another place like little else, even if it's just the couch after Thanksgiving turkey. I have put together this anthology to honor food's unique yet multifaceted pleasures. Nothing is as necessary yet as taken for granted these days as food — except maybe poetry. Both are bread and honey, water and wine, mother's milk and manna; and if ignored, or never used, both wither. Poetry keeps body and soul together and remarks upon what makes the human animal both one with and apart from the world.
Perhaps this is why I have never met a group more reliable to have a good meal with — and it should be said, a few drinks with — than poets. (Southerners are a close second.) Whether that meal means hunks of cheese sliced off with a knife alongside crusty bread and cheap wine; or enough homemade stew to feed a fort (or loft, or shared house); an extravagant feast on someone else's dime; or a nip of an uncle's moonshine: poets sure do throw down around the table. This, I think, is not just because a poet's next meal may always be in doubt, but because poets tend to love the details, the process of food, the languid hours of a good meal — meaning not just the vittles but the talk, often loud, that accompanies it.
This may also be because the best poems, like the best meals, are made from scratch. Both rely on the seasons, but also human history; both also consist of tradition, on knowledge passed down either from books or from generation to generation, hand to mouth. In poetry, there are few shortcuts, but there are secrets. Food and poetry each insist that we put our own twists and ingredients in the mix: we make each dish, like a good poem, our own. With any luck, the result is both surprising and satisfying, exactly what we wanted, perhaps without even knowing it.
However, we know too well the ways in which our society has abandoned good food, and too often poetry entirely — as if it grows without our water and light, and that our neglect won't reveal itself. "Can one be inspired by rows of prepared canned meals?" asks Alice B. Toklas, who knew her way around both poetry and a kitchen, publishing her famous cookbook after her life partner, Gertrude Stein, passed away. "Never. One must get nearer to creation to be able to create, even in the kitchen."
Luckily, there seems to be a surge in returning to real food — some would say "slow food," as opposed to fast — and if there's hope for what we insist we and our children eat, this may mean a world where poetry too can return to the table, where not just conversation, but culture, is made. A seat at / the common table: this dream, shared by poet and pauper alike, is found in these pages.
In one crucial way, food differs from writing: food is temporary. It is exactly this fact, as many a writer will tell you, wherein the sublime pleasure of cooking really lies. After a long day of trying to be immortal, or at least get to the end of the blank page or screen — rather symbolically hitting save — there is something satisfying in getting your hands dirty, in making something that has, necessarily, an obvious end point. With food, the better it is, the less it sticks around. (Except the way good food "sticks to your ribs" in the parlance of where I come from.) Temporariness is one of food's best qualities, making it something other than the chore that good writing can be. This is the opposite of good reading, in which the better it is the faster it flies. It is these fleeting yet everlasting pleasures that this anthology explores.
Moving through the seasons, from First Harvest to Sweet Summer, the cycle of life is shown here in its ups and downs — as only poetry can. Like the rallying cry of recent food advocates, my motto in picking these poems has been "Eat Local" — and like I say to my son, "Eat what you like" — I have been driven to include poets who write of the world around us and whose work makes my mouth water. What follows is a feast for the eyes and ear, one ranging from Pablo Neruda's famous odes to William Matthews's "Onions" to a host of evocations of blackberry picking — from Mary Oliver to Seamus Heaney; Galway Kinnell to Robert Hass to Yusef Komunyakaa. Indeed, there turn out to be a lot of fine blackberry poems, perhaps because they are both plentiful and primal. As a result, the anthology starts there, and like the seasons, circles back there, too. Along the way, we hear from James Beard Award–winning chefs like Linton Hopkins and, even in epigraphs, Julia Child and other homegrown cooks like Toklas; we sing along with drinking songs from Yeats and poems turned pop songs by Wyn Cooper, while enduring hangovers with James Wright. We visit questions of custom, memory, economy (in both the financial and poetic senses), and desire. We taste the bitterness of death, as well as the soothing food after.
I have written elsewhere — in my previous anthology, The Art of Losing, and in my own food odes — of the healing power of food after loss. It is a tradition I know best from the African-American repast, but it can easily be seen in many others: from the Midwestern casserole or Southern collard greens brought to the house of mourning to an Irish wake, toasting those gone. Such meals and drink, whether sweet tea or hard cider, remind us we're alive, while also making us realize: what else can we do but provide some sustenance for those whose only meal otherwise may be sorrow?
Food also helps us to celebrate, to mark an occasion as well as a season — from birthday cake to eggnog; from "praise wine" to the bread of high holy days. The result, seen here, is the presence of food as both an everyday and extraordinary festivity — which is where, alongside poetry, it belongs.
Sad to say, Thanksgiving remains the only homemade meal many Americans still have. Whether in soup kitchens or in their family's gathering place, such a meal represents not only fuel, but a form of welcome. Just like giving a helping hand, giving thanks is one thing we should try to do more than once a year. If we did, perhaps we would find ourselves more connected to the earth and ocean and each other, something I think that food — breaking bread, as it were — can do. No wonder that when African Americans sought their too often- denied rights as full-fledged Americans during the civil rights movement they chose the lunch counter to wage their struggle. Freedom or its lack particularly smarts when it involves food, or clean water, or one's own culture — things we all need and too often are denied. The gall of such denial angered my father, once forced to carry his lunch in a brown bag in the segregated South — just as he had to make sure he didn't have to go to the restroom when out in that separate, unequal world. Later in life, he declared he never would carry a lunch bag, or its indignity.
Food, like poetry, after all, is a necessity, a human need — and so food also signals justice, and its triumph. Once my mother and I ate at a restaurant in Baton Rouge, a nice lunch eatery that served meals cafeteria style. While we were in line, she remarked, almost off-handedly, that she and her friends down the road at all-black Southern University had made a pilgrimage there years earlier to help desegregate the restaurant we were standing in. Such a journey hadn't stopped with her visit twenty years before, but continued even on that day; it was a different kind of cycle that meal marked. Her telling me let me know, however indirectly, not just about sacrifice, but the dailiness of it. And that sometimes, the welcome table is something we must insist upon ourselves. I, too, sing America.
Food too can be where we experience, or even reclaim, culture. Not only is it where we declare our values — or what we like — but also some of what we aspire to. In the words of Chef Julia Child, "How can a nation be great if its bread tastes like Kleenex?"
We, too, wish to grow. Food can not only be a way, say, of celebrating red beans and rice, or rice and black beans, or fried rice, or basmati, or long grain, or any version of rice that you can imagine — but it can provide our first experience of another world of taste and temperature. The table is literally where we experience the spice of life; and learn the names of spices in other tongues. Food is often our first adventure with another culture and a way we learn to measure our own.
Or do I mean poetry is? This anthology revels in the many tastes all around us, some of which we need poetry to help describe.
The ritual of cooking and eating, in the course of human history, has traditionally involved not just what we could grow from the earth, but what we could tend, milk, feed, gather, fish, hunt, or slaughter. I don't mean to put such need above others — we should eat a balanced meal — but it is easy to judge the eating of others, and easy to feel self-righteous about food. And yet what gets lost in the litany of diets and healthier-than-thou discussions is the food itself. The pleasure of a plum, fresh from the icebox, so delicious / and so cold. Or the taste of fresh milk, or real butter, or the sounds even of the cows on my grandparents' farm — food is not just fuel, but an experience, and one we'd do well to honor the full range of.
You'll see vegetables here — be sure to eat those, please — and plenty fruit, but you'll also find "Beer for Breakfast" and bacon for dessert. Here is the full range of eating, from pork — about which there seem enough poems to warrant its own section — to peaches, from "the meat of memory" to the need for forgetting. This book's menu is as omnivorous as my poetic taste. I have sought, like the poets here, to sometimes consider the difficulties of the dilemma of killing things to live. The sacrifice involved in preparing food not merely economic, but at times gendered, as Mary Oliver reminds us in her poem about life on a farm. We also consider the lobster — one of the only foods remaining often brought home live by those who eat it, which, if some see as cruel, at least is honest. "The pleasure of eating should be an extensive pleasure, not that of the mere gourmet," poet and farmer Wendell Berry writes. He could be speaking of poetry too. Berry reminds us that "the knowledge of the good health of the garden relieves and frees and comforts the eater. The same goes for eating meat. The thought of the good pasture and of the calf contentedly grazing flavors the steak. Some, I know, will think it bloodthirsty or worse to eat a fellow creature you have known all its life. On the contrary, I think it means that you eat with understanding and with gratitude." As the farmer knows, like my grandparents who raised livestock and connected to the source, food is not mere fuel or fetish, but, ultimately, praise.
Such everyday praise — of coffee and collards, of appetite and loss, salt and honey and hot peppers and "American Milk," of the human body and the greening world — is this anthology's aim. The poems often focus on what we might call "source foods," foods in their natural, whole, and ingredient states. We too seek the source: may finding it, alongside the poets here, leave you sated, yet wanting more tomorrow. Please join me at the table.
In the words of my grandmother, Help yourself.
A Wintry Mix: Alan Cheuse Selects The Season's Best
They sometimes seem at odds, the lyrical impulse and the narrative impulse. My own taste runs to the books that somehow combine the two modes, and when I'm considering what to give as gifts to people who live to read — and read to live — it's always those books that stand out in my mind as the best variety of gift.
We all have our stories that extend over time, but if the stories don't pulse at least now and then with the power of the lyric impulse, it's not really life in all its fullness.