Category: essays

The Magic Pudding

personby Gillian Polack
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In my past and present, I write mostly serious short pieces on speculative fiction for Aurealis, one of my favourite magazines. In 2016 I wrote one slightly-less-serious-than-usual article. This year I have an article that mentions Norman Lindsay in another edition of Aurealis, but it is about one of his most hated rivals.

Early Australian Fantasy: The Magic Pudding by Norman Lindsay

The writing world is full of solid literary criticism. Sometimes, it’s important to see literature from a different perspective.

We bring ourselves to our reading. We bring our dreams about stories and we bring the other stories we’ve read and we bring our expectations. Readers aren’t neutral, so I thought I’d explore how this non-neutral reader sees a particular work. The work in question is Norman Lindsay’s The Magic Pudding. It’s so very Australian, with its larrikin humour and its reliance on British culture and its very Australian animals. It’s one of the great works of Australian fantasy. It’s been written about by so many scholars and studied in all its nuances. Just not the way I will look at it here.

Today I’ll examine The Magic Pudding from three angles. The first is nostalgic. I used to actively look for pudding recipes when I was a child, almost entirely due to this book. Recipes sum up nostalgia in this case more effectively than an analysis of my feelings. The second angle is that the structure of the book is very much derivative of Gilbert and Sullivan. The third is how I read it as a fantasy novel.

Let us look at Gilbert and Sullivan first.

The Magic Pudding would work well with music. The characters sing so very much and we’re given many of their verses. We’re not given the whole of any of the very long songs, which is probably just as well given that the long songs would add another three hundred pages to the story, but the whole novel is riddled with rhyme and song.

The songs fit into the tale in the same way they do in light opera in general. They reflect the characters and they denote a pause in the action and they change the direction of the story and they… do virtually anything. Not all of what they do makes sense logically or in narrative terms, which is why I see The Magic Pudding as a comic operetta, in the style of Gilbert and Sullivan. The world of Bunyip Bluegum is a nonsensical world, where right and wrong and logic do not have standard values, and it’s rather like the world of The Mikado in how one thing leads to another by verbal trick.

The logic uses Australian culture, of course, to underpin its deviance from rational narrative. Two of the heroes are murderers and thieves, for they killed the cook who invented Albert the Puddin’ (we know this because Albert says so) and yet they feel noble and hard-done by when the puddin’ thieves try to steal from them. And the capacity to sing a song and eat a good meal count for more than prior social standing. The world is not an Alternate Earth—it’s the world of a stage. The world of an Australian stage.

So why do I also read this book as a fantasy narrative? Lindsay borrows from the late nineteenth century fantasy writers as much as he borrows from light operetta. It’s the combination of the two that give the book its uniqueness.

The Magic Pudding has some of the critical elements of a fantasy narrative, despite seldom being listed as such. My inner fantasy fan has always read it as a fantasy novel (with rhyme, illustrated), since I was old enough to read. It was on the family bookshelves from then until now, for I have just inherited the family copy. I’m working from the 1958 re-issue of the 1908 original, for those who really need to know these things. (I should have said this right up front, but one thing that re-reading The Magic Pudding does, every time, is lead to a disordered mind.)

When I started this essay, I was going to say that The Magic Pudding is a quest fantasy, but now I’m not sure if it’s that or sword and sorcery, with Albert the Puddin’ taking the role of the sapient and rather unlikeable artefact. Not only is my mind disordered, but it’s also indecisive. Let’s take a look at some of the fantasy elements in the book instead of coming to a firm decision about the book’s inner identity.

There are five critical elements: the hero’s journey, the artefact of power, the stereotyping of minor players, fabulous backstory, a happy ending.

The Hero’s Journey

Bunyip Bluegum starts off as an oppressed near-adult. The source of his oppression is his uncle’s whiskers:

Whiskers alone are bad enough

Attached to faces course and rough,

But how much greater their offence is

When stuck on Uncles’ countenances.

His uncle, being of unkind disposition, refuses to denude himself of them, despite the lack of room for the whiskers in the family home. At first, Bunyip Bluegum eats his soup outside (for drinking whiskers in his soup is intolerable) but finally he is forced to leave home. He takes up a walking stick (for he lacks any possessions and so can’t be a swaggie or other traveller) and becomes a gentleman of leisure. This is not only his first step into adventure, but it demonstrates that he will grow in status as he travels. Like so many young men of good family, the Outback and a walking stick lead to a new and better existence. And so he does. Each slice of the story shows that Bluegum is the centre of the adventures and is the one who, with increasing wit and decreasing morality, helps his friends rescue the pudding and escape from danger.

Precious artefact

Albert the Puddin’ is magic and coveted. His first manifestation was ’in a phantom pot/A big plum-duff an’ a rumpsteak hot‘ on an iceberg. Men and penguins will kill to obtain him and will commit trickery and deceit. While his special property is the unlimited capacity to feed people pudding and while that pudding can be any type (though is most likely to be rump steak, steak and kidney or plum duff) in terms of the fantasy quest it’s his personality that counts.

A sapient quest object has to be either wise or very difficult and Albert is as difficult as a badly brought up eight year old with a talent for rude barbs. When I was eight, I have to admit, I was very relieved to read the episode where he was turned upside down and sat upon, for there is some magic that is better silenced. Still, there is no denying that Albert is a precious object without equal. He belongs in a quest novel. Characters spend their lives defending him, chasing him, questing for him, and eating him.

Stereotyped Minor Characters

The Magic Pudding is a picaresque adventure and one of the most important elements in picaresque adventures is the secondary cast. It has to include scurrilous rogues (in this case, the puddin’ thieves), women who form an attractive background (and even, in the case of The Magic Pudding are rescued from drowning and given a fictional love for a penguin as part of said penguin’s song—I was going to quote from it here, but the best bit is a spoiler and, if we’re talking fantasy, we have to avoid spoilers) but have no personality or role of their own. Minor characters also include, of course, any number of random people and bandicoots for when a character needs direction or assistance. The only thing I’m unsure about in this is whether there are enough bandicoots in classic picaresque fantasy, but that’s another subject and needs to be left for another day.

Backstory

Heroes don’t have much backstory (just uncles with whiskers). Most of them emerge from voids with little experience or personality. They grow into both experience and personality through their adventures and with the help of their sidekicks. These personality-filled support characters have backstory in spades. This backstory serves to set up events, give stories to pass the time, and makes characters more personable when they lack the intrinsic interest of the Hero.

The fact that Sam Sawnoff and Bill Barnacle are prone to singing their background stories merely emphasises the colour they bring to the story. We hear about their adventures on the ice (the prettified version) and romance (the prettified version) and pretty much everything about them that Lindsay can fit into verse.

It’s important to note here that Lindsay came of the same literary generation as AB Patterson and Henry Lawson and knew them both, though he didn’t really know Patterson that well and couldn’t get past Lawson’s deafness. The rhymes are part of the vernacular of the day. This is the backstory of The Magic Pudding, however, and not of her characters, so I won’t explore it further here.

Happy ending

Where a young boy is forced to leave home due to the dreadful torment of his uncle’s whiskers, the best possible happy ending is for him to make his own home. In this case it is a home with a special pudding paddock on a branch just high enough to enable a certain Puddin’ to pull faces at pickle onions.

Like all great fantasy novels, The Magic Pudding anticipated the needs of fans in some very interesting ways. Fans can filk the songs, or cosplay the characters, for instance. Given I belong to foodie fandom, I, of course, want to find out what Albert the Puddin’ tastes like.

Assuming that making a sentient pudding is not wise, since it inevitably leads to the death of the creator, all the different flavours of Albert reflect standard recipes of the time. My source is the first cookbook printed in Australia (to the best of our knowledge) and there are three reasons for taking the recipe from it. First, I’m not breaching any copyright. Second, it’s the exact right age to reflect Norman Lindsay’s mother’s generation and the pudding she would have cooked (although there is a greater likelihood of her owning a copy of Mrs Beeton than this volume), which means it’s very likely to be the flavours Lindsay knew, and third, the book is suspect (at least some of it was plagiarised from earlier cookbooks) which exactly fits the scurrilous humour of The Magic Pudding. Just because a piece of writing is in our past, doesn’t make it respectable. Just because The Magic Pudding is witty and wonderful, doesn’t make it respectable, either. So, from Edward Abbott’s infamous cookbook English and Australian cookery book: cookery for the many, as well as for the upper ten thousand (the Pudding section, of course) here is a taste of Albert.

Beef-steak Pudding.—Take two pounds of rump-steak, and cut into seasonable pieces; and cut into shreds two or three onions. Paste the pudding-basin with good crust, not too rich nor too poor. Put the meat into the basin, with some pepper and salt, and a dozen oysters, with a little thickening, composed of mushroom ketchup, flour and water, and mustard. Simmer for an hour and a half, and serve in the basin; or turn it out, if the gravy in the pudding can he retained.

Connoisseurs prefer a beef-steak pudding to a beef-steak pie; and mutton, veal and ham, kidney, sausage, fowl, fish, and game puddings may be served in a similar way. 

Raised in a Barn: Marmalade

personby Madeleine Robins
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Square jar filled with orange marmalade
Photo: WikiMedia Commons

I swear I’ve told this story before, but can find no evidence of it anywhere. So.

When I was in my 20s, the daughter of an old family friend asked me if she could get married at my parents’ house. She asked me before she asked my parents 1) because it was a virtual certainty that my father, who loved parties, would say yes, and 2) she wanted to make sure that this would not put my nose out of joint, me being the Household Daughter and at that point unmarried and sans prospects. I appreciated her thoughtfulness, but said of course she could. The Barn was a terrific place for parties, and a wedding seemed like an all-around good use of the place. 

The wedding was catered, and it was my father’s first time having Others–not family or guests under supervision–take over the kitchen (my mother had pretty much ceded the kitchen to my father at this point). So there was a wedding, with many people bustling about in the kitchen, and there was much rejoicing. At the end of the rejoicing bride, groom, and guests decamped, the caterers cleaned up, and the Barn was much as usual.

It was at that point–about 6pm–that I discovered a 30-gallon plastic trash bag, half filled with sliced mixed citrus fruit, tucked under the kitchen island. There had been a plan for sangria, apparently, which got forgotten in the scrum. My father, peering into the depths of the plastic bag, lamented the waste of all that fruit. “There must be something we could do with it.”

I should have known better, but offhandedly said that we could make marmalade with some of it (it was an awful lot of fruit). “Great!” my father said. Thus I found myself, at 6:30 on a Saturday evening, driving in to town to pick up 10 pounds of sugar.

Once returned, I did a quick sugar-to-fruit calculation, and we filled our largest Dutch oven to the brim with fruit and sugar and water. It was probably 7:30 when we turned the heat on under the pot. Then we waited. And waited. My father, not the most patient of humans when dealing with a process with which he was unfamiliar, began to get antsy. And tired. And grumpy. Around 9pm, when we were still waiting for the pot to boil, he announced that he was going to bed. And he did, leaving me with a vast pot of stubbornly un-boiling citrus and sugar. By the time the stuff began to boil it was midnight; by the time the fruit had softened and the juice begun to thicken toward jamminess it was 1am.  

At which point I realized I had not thought about containers, let alone about sterilizing jars and tops. I began, frantically and not too quietly, to search for every spare jar and container in the house. A note about the kitchen at the Barn: my parents’ rooms were above it, and one side of the kitchen was open to the hallway. Noise in the kitchen inevitably would be heard upstairs. So while I was rattling around finding containers and filling the next largest pot with water in which to sterilize them, my father shuffled out to the landing and demanded to know what the Hell was going on downstairs.

“I’m finding jars to put the marmalade in,” I said, between clenched teeth. (I was, at this point nursing a fine sense of abandonment.)

“Well, don’t make so much goddamned noise!” Dad shuffled back to his bed. I put more jars into the pot to sterilize. 

Eventually, all the jars were filled with marmalade, sealed with a lid or paraffin, and, because I was by then truly irritated at having been left do all the actual work, I washed all the pots and gear, and put everything away. The finished ranks of mis-matched jars–about two dozen of them, if I recall correctly–I arranged on the kitchen counter, and made my way upstairs at about 4am.

My father, creature of habit, woke at 6am. Out of my slumber I woke enough to hear him shuffling downstairs to the kitchen to make a cup of coffee. I could tell the moment when he saw the jars of marmalade because I heard him mutter “Jesus Christ.”

We did not discuss the process subsequently. We gave the largest pot of marmalade to the bride and groom, as a souvenir. The rest went to good homes–many good homes. Years later when I told this story within my father’s hearing he got the most peculiar, abashed grin, as one who realizes he was not the hero of this particular saga. By then he had become a quite proficient maker of jalapeño jelly and other canned goods. To my knowledge he never again attempted marmalade, even as sous chef.

The History Girls and me

personby Gillian Polack
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I’ve been a member of The History Girls since 2015, and written a fair number of posts. The History Girls comprises some of the world’s best historical fiction writers… and me. This one is from April 2016, and made me realise that some subjects return again and again in my life. I’m looking at the same subject now, but in other Early Modern writing and with quite different intent. I want to know how people other than Shakespeare and Marlowe thought about Jews they knew and Jews they imagined. It is, of course, for a novel, or maybe a novel and some short stories. It’s a far bigger subject than I realised. More on this in a few months, maybe, when I start the research seriously. As you know, I have a thesis to finish.

Right now, my writing self and my research self are sharing the seventeenth century. I tend to think of Shakespeare as a sixteenth century writer, because a lot of his themes borrow from the Middle Ages (which is my main historical stomping ground) and because I associate him with Elizabeth I. The truth is, however, that he wrote well into the seventeenth century. He died in 1616.

This means he was a seventeenth century writer. It also means that many aspects of his world view reflect the sixteenth century. Shakespeare is on the cusp of change. This is one of the reasons his work can be interpreted in so many ways.

We tend to think of the seventeenth century as nearly modern. It’s the Time of the Rise of Reason and the Rise of Science and the Formation of Us. All this is true. At the same time, the seventeenth century had an underlying world view that was anything but modern. Shakespeare reflects this in his plays. He reminds us that we’re all formed by our pasts, even if we don’t remember those pasts or know much about them.

Prospero demonstrates the older world view in The Tempest. In fact, the whole Tempest demonstrates this. It shows the relationship between humans and non-human sentient beings in a great chain of being, for instance. 

I was first introduced to the great chain of being when I was in Year Eleven (age 15-16, for those who like to keep track of these things) and read Tillyard’s The Elizabethan World Picture. I fell in love with The Tempest when I read Mary Stewart’s This Rough Magic, not too long after. I had already read everything we knew of by Shakespeare and gone to every performance I could, for I was a sad Shakespeare addict, but I never liked The Tempest. I hated what was done to Caliban and playing tricks on people for purportedly moral reasons totally bugged me. Stewart helped me realise the glory of the language and the emotional impact of Prospero’s actions and Tillyard’s description of the world view Shakespeare used to structure The Tempest suddenly clicked: it all made sense.

Prior to this, Twelfth Night was my favourite. It’s also about the world order, but it’s strictly human. It played with the order of the world as I knew it. Australians from scientific families find it easier to understand humans and to understand rational thought, but take a bit longer to see the universe from alien eyes. And, in many ways, Shakespeare is quite, quite alien to our modern selves.

So, first, what is it about Twelfth Night that was easier to understand? 

It’s a love story, with disguises and nobles and beautiful speeches. One, in particular is the stuff of teenage pining. Find it at the right moment, and it becomes the precise description of a particular moment, which, of course, I did:

Make me a willow cabin at your gate,
And call upon my soul within the house;
Write loyal cantons of contemned love
And sing them loud even in the dead of night;
Halloo your name to the reverberate hills
And make the babbling gossip of the air
Cry out ‘Olivia!’ O, You should not rest
Between the elements of air and earth,
But you should pity me!

 

The fact that the speech was false, emotional blackmail, said by a heterosexual female in disguise was irrelevant. It called me, the way it called Olivia. 

These days, I wonder what the implications would be if Olivia and Viola were truly in love and the men in the story were mere distractions. We change over time. Our understanding of the world changes over time. Shakespeare is very forgiving of such changes. His plays fit many interpretations. One day I might write the story of Olivia and Viola and how they found love despite their society. 

When I was a teen, however, I learned the speech and ignored the context and the subtext and, in fact, everything but the text itself. And I’m not so sure that I understood the text itself. I found it beautiful, and, for an emotional teenager, that was enough.

And this is why Twelfth Night is easier for moderns. We can understand it (to a degree) through the text alone. We focus on whatever facet of love or comedy that suits us, and we enjoy the play.

For me, older, The Tempest is easier to delve into, emotionally. I’ve had to lose big things in my life, so Prospero is me. I’ve had to travel alone and in exile and so Prospero is again me. So, for many people (including me), The Tempest still has a modern ring. It’s accessible. It wasn’t accessible to me as a teen, but it is as an adult. Life experience changes things.

And yet, when I stopped to think about it, Prospero faded. I could think of was what a perfect epitome of the early seventeenth century world view The Tempest represents. 

The historian in me loves pulling it to pieces and putting it back together again, because every time I read it or see it I gain a new insight into Shakespeare’s world. Sometimes I gain substantial insights because directors and actors don’t see Shakespeare’s very structured and complex reality. They humanise things and transform The Tempest into another Twelfth Night. The difference between human and non-human is faded and uncertain or the status of various players doesn’t reflect their position in the universe. The play itself gives such clear indications about class and about status, ranging from a jug of wine to a royal human so senior hierarchically that he has powers akin to angelic. 

We discover that the hierarchy is not fixed. The Tempest contains a social lesson as to what is possible and what is impossible. Caliban remains a monster and Prospero discovers he cannot reach godhood and must shoulder his human responsibilities. The love story is a mere excuse for an exploration of far deeper matters.

Maybe Twelfth Night is more than a diversion, too. I doubt it, though. I doubt it because of its name. The Tempest suggests that the world will turn topsy-turvy and the question is open: will people find their right places at the end. Twelfth Night, as a title, reflects the last day of Christmastide. A time of fun and for emotions and for bulwarking oneself against the long, long winter. Not the time for deep thoughts about the human condition.

My deep thought at the moment is that I need a cup of coffee. Coffee reached England about forty years after Shakespeare died. I wonder what his plays would have been like if fuelled by coffee?

Wizardry

personby Gillian Polack
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In September 2016, a writer-friend called Helen asked me to write a post about one of my novels for her blog. This novel has now been translated into Greek, has a lovely audiobook, and has cool merch (me, I like the teddybear the most). Why did I choose this blogpost? Mainly because Helen Stubbs and I talk about Greek food a lot. She has the right ancestry and I grew up in the right part of Melbourne. And, of course, there’s that Greek translation.

Helen suggested I talk about my new book The Wizardry of Jewish Women. I instantly wanted to write you a post about why she suggested it, the contexts, the places, the people. That’s because my new novel is about all these things. I’m living in a world that’s got History and Culture and Much, Much Cooking until I move back into writing mode. When I’m back into writing mode, I’ll be thinking about genders (many genders) so I think you’ve got the simple end of things here.

While The Wizardry of Jewish Women isn’t autobiographical (which is a shame – I really would like those children to be mine!) it borrows a lot from people I’ve known and things I’ve done. Those cold corridors in Parliament House and the meetings and the policy papers that keep one character up at midnight: they’re stolen from my life. How they operate in Judith’s life has nothing to do with my life, however. I transformed my experiences when I gave them to Judith.

I’ve transformed things the whole way through. Even my mother (who makes a guest appearance) has been transformed.

This is nothing new, and it’s nothing unusual. Fiction is not reality. Fiction is invention based on whatever threads we spin and whatever weave we choose to make with those threads. The reason it’s particularly important in this case is that early readers thought the novel was autobiographical. Some thought the historian was me, while others thought the enthusiastic feminist was me. I put both characters in, so that readers could see that just because a historian appears in fiction, doesn’t mean that I’m that historian and just because I use places I know (like Parliament House) doesn’t make it autobiographical.

Some writers thinly disguise their lives and use novels to explain the truths of their existence. Me, I’m more likely to take something I’ve done and make it into something entirely new. My life is the ground under a trampoline, and my novel is the trampoline and my characters only touch the ground by mistake.

A lot of fantasy writers do this, especially those that write at the realist end of fantasy. We take our reality and we transform it. That transformation always happens. It has to happen. Without that transformation, the novel wouldn’t be a fantasy novel. Without that transformation it would be an entirely different story, but also an entirely different kind of story.

To create the transformation I start with things I know (the corridors of Parliament House) and I place them in the world of the novel. I spend a lot of time creating the world of the novel, because it’s the trampoline and without it my characters end up on the ground or suspended in midair. For the world of this novel, for example, I invented a house in Newtown and one in Canberra and one in Ballarat and one in Melbourne. I know the floorplans and the squeaks of the floorboard and the colour of the carpet. None of these houses are real. This is unlike the house in Ms Cellophane, which is quite real. Ms Cellophane is a different novel, and I created the world of the novel differently.

When he launched Wizardry, the wonderful Michael Pryor commented on my complex magic system. It’s complex because it’s real. I didn’t follow writerly instructions on how to invent a magic system, I studied historical magic (wearing my ‘historian’ hat) until I had a good sense of how various forms of Jewish magic would meet at a point in history and create the one my characters discover. In the process, I also learned how Jewish magic was similar and quite, quite different from Christian magic and how the cultural mindset that created it also created what we see as modern scientific thought. Creating the world for this novel changed the way I see our world. It made me realise that my family has no magic tradition due to what it has suffered historically.

The big lesson I learned in creating the world for my novel was that people change and adapt in order to survive. I learned that one of the things I was doing in this novel was re-creating a world that could have been. The magic in the novel was one of the traditions lost to most of Western Judaism due to persecution. We lost a lot more than magic, but the magic was an emotionally safe way for me to talk about the other things.

Survival involves loss and damage and hurt. Even survival of smaller ills is damaging. Feminism and Judaism have a lot in common. They care about seeing the damage and healing the hurts of humanity. They care not just about living, but about living a good life.

This is why my novel is about feminism and about Judaism. I wanted to show what it was like to live hurt and to survive, to make wrong decisions and nevertheless to keep on going, to see life as a continuing challenge and to try to heal. If our reality is the ground under the trampoline, then this is the netting that links the frame to the play area.

Despite the trampoline metaphor, this isn’t a metaphorical novel. Despite the fact that it’s not about me, it’s not so very imaginary. Wizardry is set in a world exceptionally like ours, but with Jewish magic.

I didn’t want to talk about the time of adventure and the time of damage – I wanted to explore how women heal themselves and heal others. It’s a small world. My characters don’t explore the universe, they play on their trampoline. It’s enough for them.

Sometimes it’s too much. Sometimes they turn to the Dark Side. Sometimes they turn to pink tutus. Sometimes they turn to food.

It’s funny that people are asking me about the feminism, for there is as much chocolate as there is feminism. This is because my characters don’t bounce naked. I have to dress them and give them the various parts of their lives, from a giant teapot to a liquor cabinet. I didn’t just research the magic system and I didn’t just build on feminism and Judaism.

Whatever my characters see and feel when they jump on their trampoline is theirs and theirs alone.

Urban Planning. Or Not

personby Madeleine Robins
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I jay-walk in almost any city I’ve been t0: I’m a New Yorker, I think it’s inborn. I’ve jaywalked in Paris and London and Helsinki, San Francisco and Boston and Chicago–sensibly, because I’m not a stupid New Yorker. There are the streets you dart across, and the ones you look at and think, Oh, Hell no.

But I do not jay-walk in Los Angeles. This is not just because I don’t know another city that is as car-centric as LA, but because the city isn’t physically set up for walking, let alone jay-walking. As I write this I’m in LA, visiting my aunt. Most days, unless it’s pouring down buckets, I like to get out of the house and take a walk. My aunt’s house is at the base of a hill, and about a block away from one of the ubiquitous freeways. Logically, I’d prefer to walk up the hill–except that for many blocks there are no sidewalks, and I have an unreasoning prejudice about walking in the middle of the street in a town where some drivers do not acknowledge the existence of speed limits. So even if it means strolling down Sepulveda Boulevard–a long, uninteresting road that parallels and is largely overshadowed by I-405, I choose to walk where there are sidewalks.

LA does not make this easy. Yesterday I struck out from my aunt’s house and, rather than marching determinedly down Sepulveda southbound (which is not only uninteresting, but largely unpopulated except by the people driving by) I decided to walk toward Barrington Avenue and a small shopping area a little less than a mile from the house. A nice stroll (with, as it turned out, a cup of coffee and a brownie at the end of it). To do this, I had to cross the interstate via an underpass at Church Street. Fine. The crosswalk dictated that I cross on the southern side of the street. So I crossed and kept on walking under the interstate. Unfortunately, on the other side of the underpass the sidewalk (to which I had been directed by the necessity of crossing Sepulveda on that side) stopped. There was a well-worn dirt path, but no sidewalk. And crossing to the other side of the street, where there is a sidewalk, was rendered inadvisable by the fact that the street is curved, with lousy visibility, and people tear up and down it on their way to and from the I-405 exit/onramp. So I stayed on the dirt path until I reached a traffic light (just before the aforementioned exit/onramp) when I was able to cross to the other side of Church, and a sidewalk.

At the next intersection, at Sunset, I needed to turn west. However, having had it demonstrated to me that sidewalks are not a given, I looked west on Sunset and realized that the sidewalk on my side of the street was only there for another 100 feet or so. Okay, fool me once, shame on me. Fool me twice? That’s curiously biased city planning. So I crossed Sunset (which is a six-lane monster–you can bet I waited patiently for the light), turned right, and continued onward until I reached South Barrington Avenue, where the shops I was heading toward beckoned.

I will note that there are many single-family dwellings–classy, multi-car, expensive houses on either side of Sunset. On the southern side, where I was walking, there was a sidewalk. On the northern side: no sidewalk. The houses all had handsome gates and fences which fronted on brief, probably very expensive expanses of lawn, then the curb, then the insanity that is Sunset Boulevard. In my imagination, if I had decided to despoil the lawns in my stroll it would have been looked on with disfavor and maybe a call to 9-1-1. Lack of sidewalk says “stay away”. I don’t know why the houses on the west side of the street have a sidewalk (which runs along the handsome gates and fences, and sometimes even briefer expanses of lawn). Perhaps the west side lost the toss. The sidewalks have accessibility cuts for wheelchairs, because they are required by Federal Law. But I don’t think anyone imagines that people are actually using them.

Waaaay back in the 1970s I spent six months in LA, and even tho’ I had a car, sometimes I opted to take a walk. In those days walking was less thought of even than now–at least twice when I took a walk someone pulled over to ask if my car had broken down. I felt like I had arrived in the Bradbury story “The Pedestrian.” I began to suspect that if I had been in the runner’s regalia of the time (which included spandex leggings and a sweatband, and Nope) I might have been comprehensible. But just walking? Too weird.

In Who Framed Roger Rabbit, Eddie Valiant (played by the late, wonderful Bob Hoskins) says, “Who needs a car  when we got the best transportation system in the world?” The transportation system he’s talking about were the streetcars–the Red Car (regional) and Yellow Car (local) systems–which was “the most extensive urban rail transit system in America, if not the world,” according to historian Colin Marshall. My mother and my aunt, who grew up in LA, doubtless knew the streetcars well. In seeking the quote above, I found a brief history of the Pacific Electric Railway system and how it came to dwindle and die. Short answer: it wasn’t Judge Doom with a nefarious noir-ish plot to dismantle the streetcar system and profit from “Eight lanes of shimmering cement running from here to Pasadena!” As elsewhere in America, people liked cars, liked the freedom they gave, and as soon as they could afford to, they drove rather than use the streetcars. The Red Car went out of business in the early 60s. The LA Metro System, which combines subway and buses, has come to replace some part of it, as people came to understand the ecological and economic costs of driving everywhere.

But you still need a way to get to the Metro. And until LA invests in sidewalks that exist reliably on both sides of the street, that’s going to be a challenge.

Patreon in 2016

personby Gillian Polack
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In my very first Patreon newsletter, sent in December 2016 (really!) I wrote about a life that feels very strange now. Eight years is a long time in the life of a Gillian, after all. To celebrate the changes that eight years bring, my posts for the next few weeks will focus on what happened in 2016. I was 55, and many things happened. This, then was that very first piece for Patreon:

 

On the Bigness of Hair

Today the air was full of unshed rain. This caused my hair to be big. Since the whole morning was taken up by a visit to the National Portrait Gallery with a group of creative writing students, my hair took on a significance. I was dressed quietly and modestly, as befits a teacher, but my hair was acting big.

I noticed the hair in portraits and I commented on them. We looked at the various stages of Victorian women’s hair in particular. We discussed the technique by which ringlets could be carefully developed and the importance of the sloping shoulder in relation to the hairdo. We talked about the sex factor of Big Hair. And all the time I was aware of having big hair.

I’ve often taught the different values our ancestors have given to various physical traits and dress. Sometimes a waist is important and sometimes a slit in the side of a dress is seen as impossibly heart-breakingly daring. Hair was a constant for a long time. There are still many groups that prefer to not see women’s hair at all than to have symbols of unbridled sex in the eyes of everyone.

Old postcards and the earliest of films show this attitude clearly. The sirens of the screen and the charmers of the cards wore a surprising amount of cloths. Titillation was through showing the possibility of skin rather than actual skin. But the hair! It was padded and it was pulled and it was piled up high. The postcards weren’t decorous at all – they were simply focused on something that far too many modern viewers don’t know to look for.

I kept the depictions of sirens in mind when I was walking my students through the Portrait Gallery. The word ‘sirens’ is in mind because of Norman Lindsay, whose portrait was there, sporting both a satirical look and a satyrical look. He was part of the change in culture that objectified the body of a woman. One day I’ll find out if anyone had counted the number of naked women he drew compared with other artists of his ilk and time. His more formal pictures still focused on the hair and these were of decorous women, but he felt the siren call of bare skin and was notorious in his day for refusing to block his ears against that call.

In the gallery immediately before Lindsay were the Victorian matrons. Unlike the sex symbols of the day, their hair was not so big. It was not small. It was most definitely soignée and often beautifully curled, but the nature of the hair of the dignitaries was quite different to that of the hoi polloi in the theatre.

Big hair isn’t simple. It reflects social stratification and relationships as much as it reflects fashion and hygiene. Except today. My big hair today was perfectly simple. There’s a lesson in that, too.

Tradition and cholent

personby Gillian Polack
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I’ve been looking at maps this week in my spare time and it was Purim over the weekend. Purim is an historical festival, not so much a religious one, so I always try to make sense of a bit more Jewish history as my learning for the celebration. I was perplexed as a child when non-Jewish families didn’t do learning as part of their celebration. This is a tradition. My tradition is not that of Fiddler on the Roof! and the song “Tradition”.  It is learning and food, much food. There are many Jewish cultures. Learning is one of my favourite bits. It ranks as high as chicken soup.

When I was a teen, I had this conversation.  It began with me asking, “What did you learn for Christmas?”

“I got these presents, let me show you. You show me your presents, too.” Chanukah collided with Christmas that year, as it did from time to time, but my friend was totally baffled when I showed her my present for fifth night, which was a small box of Smarties (Australian M&Ms). Me, I had present-envy. I didn’t get presents such as hers even for my birthday.

I am a slow learner. The next Easter I asked a Greek Orthodox friend.

“What did you learn for your Easter?”

“We didn’t learn. We dyed eggs red and cracked them.” She had some dye left over and we totally messed up my mother’s kitchen and destroyed many candles making decorated eggs. We didn’t crack them, because Easter was over. We put them in a bowl and left them on the counter until my father complained about the smell.

Later I found that not all Jews learn every festival. But it’s my tradition and I love it.

This year’s choice for Purim was propelled by the sad fact that historical research and research for novels all take planning. I was considering actual Jewish populations along the Rhine at different times for something I’m looking into later in the year. I had a crashing thought that had me investigating maps last week. I used Purim to give me the time to make everything make sense. Tomorrow I’m back to my regular resaerch, which is currently wholly in literary studies

For all this (except the literary studies), I blame cholent.

Cholent, the dish, is a Jewish slow-cooked casserole from (mostly) Eastern Europe. Its name, however, most likely comes from French. We talk a lot about European Jews migrating east, but the most popular explanations and timing don’t fit Western European history. Yiddish is a lot more recent than the first migrations, and… it’s complicated. I made it understandable using maps. The maps themselves don’t explain things – they triggered the explanations, which is why there are no maps in this post and only one link to one. I answered a lot more questions that night and this weekend than I could give in a post – the question of Jewish movement eastward, for instance, must wait.

I began with a map of the Roman Empire at its pre-Christian peak. There were millions of Jews distributed throughout the Roman Empire as citizens, as non-citizens, and as slaves. I’ve seen estimates of numbers ranging from one million to ten million, and I usually use four million as a compromise number to work with.

Four million is over a quarter the size of the modern world Jewish population so, a while back I calculated how many Jews we would have around today if history had been kinder. It was in the vicinity of 320 million. Eighty million if you take the minimum number of Jews in the Roman Empire and over a billion using the largest estimate. We would not be such a tiny minority, in other words, if we had progressed simply because the world population has expanded and we had not been forcibly converted, mass murdered, exiled, enslaved, enthusiastically converted to other religions and so forth.

Populations follow trade routes and you can see evidence Jewish life along all the Roman trade routes. Well, all those where anyone has looked. Antisemitism is so deeply ingrained in our societies that many experts demand far more evidence for a Jewish burial than, say, a Christian one. There is a lot that probably needs to be re-evaluated in the archaeological record if we want to know actual Jewish populations in most areas.

Assessing the written record is easier, but not in a good way. The vast majority of Jewish records have been destroyed, and we’re reliant on surprising survivals such as the Cairo genizah. This means our knowledge through writing is patchy from anyone Jewish, because of the destruction, and biased from anyone else. Occasionally the bias is positive. Occasionally.

This means we really don’t know a lot about how many Jews lived in the Roman world, where they lived and how they lived. We know a lot more than we did, but we still have big gaps. We do know, however, the geographical limits of Jewish life and the trade routes related to much of the Jewish everyday.

The next map I thought of, then, was of Charlemagne’s empire at the time of its division into three, 843. I was thinking of places that were more antisemitic and less antisemitic and they pretty much follow this divide. It was easier to be Jewish in the central band of the empire (the one with Charles’ capital – which makes sense, because his personal confessor converted to Judaism and this does not seem to have ended the world) and a few key places nearby. These are all, in modern day Europe in eastern France (usually the parts that also speak German), the Saar, Italy, Provence and Burgundy. This became the Jewish heartland of non-Hispanic Europe in the Middle Ages.

It is the original Ashkenaz. It’s the Ashkenaz that made European Jewish marriages one husband to one wife, but refused to relinquish divorce despite enormous pressure from local Christians. Rashi, one of the great Medieval scholars, used the word ‘akitement’ for divorce: marriage in Judaism was and is a contract that can be acquitted, it’s not a covenant. European Jewish was both Jewish and European and that wide strip of territory that formed that heartland explains a great deal about us.

Ashkenazi culture spread east and changed and that’s a story for another time. It began to spread early enough so that ‘cholent’ could have a French name: it came from the Carolingian Empire after French developed as a language. Not before the eleventh century. Which is interesting because… I have another mental map for that.

In the late 8th century, a Jewish trade network operated from that region (and possibly Champagne). We don’t know a lot about it, but when I looked at its most known route, Jewish traders used those ancient fairs, with a special focus on Medieval fairs. I have a book with maps of every town in that region that had a fair in the Middle Ages and the dates we know those fairs operated and I cannot find it! So this is work for my future, after my thesis is done.

The Rhadanites were gone about the time that the Khazar Empire declined and fell, and one of their trade routes led to the heart of the Empire, so that’s something else to explore one day. About the time both faded from view, the Crusades began in Europe and persecution of Jews became far more severe. But… right until the mid-20th century, those towns were part of larger trade routes and had Jewish communities.

Every trade fair needed a route to the fair, and each stop was a town usually between 15-20 miles from the previous and also served as fairs for local farmers. In the Middle Ages, prior to all the murders and expulsions, so many of these towns had Jewish traders and craftspeople. And so many of those families would have cooked cholent or an equivalent.

This is a small fraction of what I spent one night and one Purim sorting out. I have to leave it now until September. I’ll write it up more accurately and less improperly when I’m actually working on it. In other words, these are my early thoughts.

Why did I share them with you, then? Part of the family tradition of learning includes talking about things. If anyone wants to talk about these subjects, this is a good place and a perfect time. Why perfect? Because all my thoughts are halfway right now. I could be very, very wrong in how I see things.

There is a tradition to this learning. The tradition is that you have to prove anything you want to challenge. Evidence! When I was a child and we argued without evidence it occasionally led to very sophisticated behaviour, such as the sticking out of tongues, which got us into trouble. Evidence is safer than the sticking out of tongues.

What’s the aim of challenging and providing evidence? That the learning may continue… (kinda like the spice must flow).

 

Victory Garden 2.0

personby Madeleine Robins
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During the early days of Covid (y’all remember the early days of Covid, right?) I realized that if I didn’t do something I would get…a little frantic. I have a well managed tendency to anxiety, counterbalanced by the belief that running in circles flapping my arms and squealing does nothing to improve the situation. If I can do something–even a small something–to ameliorate an anxietous situation, I feel better. I think of this as tending a Victory Garden*, after the WW1 and WW2 practice of home gardening to reduce the strain on supply chains during the war.

During first couple of years of Covid I sewed masks for donation; hooked up with a group that provided materials and found recipients (health and day-care workers, etc.) and distributed them. And spending a few hours every week had the wonderful benefit of making me feel calmer about getting through the pandemic.

We are, as you may have noticed, in an election year.  And the world is a mess. At the state and local levels, not to mention the national levels, the stakes feel almost unbearably high. And my tendency toward anxiety (see above) has been ratcheting higher and higher. This is something that no amount of sewing is going to help. So what can I do to do something? I’m  not a good debater–for someone who works with words, when I’m confronted with the opportunity to discuss politics with someone of differing opinions I tend to get incoherent and arm-wavy and anxious, which convinces no one of my deeply-held feelings in the matter. I am conflict averse (read: I’m a big coward) and actually rather shy about approaching people. But there’s that ratcheting anxiety thing, which is only going to get worse.

Fortunately, during the last couple of elections I’ve found a way of helping that is A) within my skill set, B) does, I think, a good deal of good, and C) makes me feel better. I write postcards. Working with a group called Reclaim Our Vote, I hand-write postcards to voters who may be in danger of missing their opportunity to vote, either through lack of information or outright attempts to mislead them. What I like about these postcards is that they don’t endorse a candidate or espouse a particular platform. They’re simple and informational: “The election (or primary) is on X date. Your state rules say you can vote in the following ways. If anyone tells you you aren’t registered/aren’t allowed to vote, here is what you do. Your vote and your voice are important.” It’s about making sure that every voice is heard.

Writing out the full script (which varies according to the state the recipient lives in)–using multicolored pens (for impact) and my best handwriting–is hard on my increasingly antique wrists–I can do maybe 20 in an evening. So I start small, with a list of maybe 100 recipients. When I get those done, I order another set of postcards and addresses. It’s not exactly rocket surgery, but Center for Common Ground has evidence that post carding gets people to the polls, especially in areas where redistricting or other shenanigans has left many potential voters confused about where, how, and when to vote.

During the last Presidential election my brother, whose politics are, shall we say, entirely opposite to mine, was concerned about election integrity. So he and his wife did a smart thing: they volunteered as poll workers. Not only did they help the process, but they were able to report to their friends that they saw zero evidence of vote tampering, but considerable evidence that everything had been done to ensure that the vote was aboveboard. They felt less anxious about the process. I think sometimes that it’s the ground-level stuff that is most important: convincing people one at a time that the system can work.

So in and among all the other things I’m doing this spring, if you want me I’ll be writing postcards. Or icing my wrists.

If you’d like to get involved in post carding, check out the Center for Common Ground’s page.

__________

*the irony here, of course, is that no one in their right mind wants me to actually garden. Plants see me coming and recoil in terror. In this case the pen, and the needle, are my wheelhouses, and I stay in them.

Building A Village

personby Madeleine Robins
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I’ve been thinking a lot about the future. Not the future. My future.

My aunt turned 98 on Thursday, and I went down to spend a couple of days with her. I am often awed, not just by the devotion her primary caregiver shows (a woman who was her housekeeper for 30 years and took caregiving certification courses so she could be there for my aunt) but at the network of care that surrounds her. My uncle’s nephew manages the finances and coordinates her home care. Her medical care is overseen by UCLA’s Geriatrics department (which coordinates with all the medical visitors–primary care doctor, PT, nurse supervisor, meds management, etc.). Her wonderful primary caregiver is there for several days at a time (and her younger daughter, who is a PhD candidate at UCLA, subs in on occasion), and there are several respite caregivers that my aunt knows and likes, who come in so that Maria can have some time off. The guy who manages the building and takes care that everything is working properly. And family: my daughter lives in the garage apartment of the building and has dinner with my aunt a couple of times a week. I am planning to visit for a few days every couple of weeks for the foreseeable. So that’s more than a dozen people.

My aunt wanted to stay in her own home, and is fortunate that a lifetime of work and saving has made that possible–and that her sweetness, and the love everyone has for her and my uncle, ensures that she’s surrounded by kindness and affection.

On the other hand, my father, and my in-laws, both chose to go to continuing care residences. My father did so because he went blind, and living in a rural community meant that all of his time was spent arranging rides to shop and visit doctors, and… Dad was ferociously independent and deeply social. It was a better fit for him to move–on his own initiative–to a place where things like rides, and shopping, and a social life, were part of the of the package. He lived there for about a dozen years, and loved the place. And my in-laws sold their home and moved into a similar continuous-care place while they were still hale enough to make it their home: they made friends, got involved in politics and other things, traveled widely, and were always happy to come back to their new home. In both cases, moving in long before they needed assistance (medical assistance anyway) or heightened care, meant that they had a community and a sense of belonging. They did not mourn, as some elderly folks do, for the home they left when they were put into nursing care. They were home, and the care came to them.

Because I write SF and so many of my friends are writers (with all the colorful personalities and imaginations that implies) the subject of how to handle our own futures sometimes comes up. Every few years someone says “what we should do is pool our money and buy an apartment building/subdivision/whole town and live there.” Continue reading “Building A Village”…

Two types of hunger

personby Gillian Polack
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Way back when I did more things that were political and public, friends and I learned that it’s possible to get through life without hating, without accusations based on little or no evidence, and without destroying the lives of others. We learned, quite simply, how to learn before judging. We talked about folk dance and folk music (in fact, some of us danced and some of us sang), we learned much history to advance our understanding. I can still do some of the dancing (although these days it hurts, physically, which is ironic) and sing some of my favourite songs to myself (not to others beachhead really, I have no voice) and I still learn the history. What I’ve never stopped doing and what I can still do well is cooking. Hunger for food helps feed the equally-important hunger for understanding. Let me introduce you today, then, to four cookbooks that have served me well when I need to remember how complex and wonderful different cultures are and how there are many paths to avoiding hate.

The first book is Christiane Dabdoub Nasser’s Classic Palestinian Cuisine. A friend who is Palestinian Australian said I was missing her cultural background from my book collection, even though I was cooking food that was very similar to her own cuisine. She was right. I had not even begun to understand where her food and foodways were like mine. We talked a lot, and we ate each other’s cooking, which helped, but my library didn’t reflect this at all.

I couldn’t find a Palestinian Australian cookbook. Nasser’s was published in London, though, so it’s close enough for now. By ‘for now’ I mean I need more. One cookbook is not even close to a whole culture. The first cookbook is to open a window and to begin to see through that open window. I begin learning where I make non-rational judgements and where I lack knowledge and understanding, and then the recipes I cook help me break down my issues and to stop applying them to someone else’s culture. It helps me see people, and to stop hiding behind my own biases. It helps me look for what we share and to avoid hate.

I make a variant of Nasser’s potato with rosemary dish for Passover. It’s wonderful. Sadly, there are never leftovers. For dinner tonight, I’m choosing between two different eggplant (aubergine) salads. I’m hungry just thinking about it.

I chose the second book because I needed a cup of coffee. I’ve just finished my cup, and I feel almost awake. Given I’m writing on a hot summer’s day, this is a good thing. Antony Wild’s Coffee: A Dark History is not my favourite history of coffee volume. It was the first I saw when I looked at my shelves. It is, however appropriate for today.

We all carry a lot of half-understood history with us. All our foodstuffs and foodways have their own history and sometimes we know things and we think we know things and… it helps to find works that debunk and reconsider and don’t shy away from the less-good elements of the past.

The history of coffee walks hand-in-hand with empire-building and slavery if you want to focus on one side of its history. Coffee offers so much more than this, however, and I’d not use Wild’s book alone. Coffee helped European political blokes talk to each other through coffee houses from the seventeenth century. It changed the shape of discourse, in fact, in those countries. It shaped that discourse in part of the Middle East. Opening the door to coffee history is to open the door to understanding how even the history of a single type of bean carries with it cultural complexities and is worth understanding.

The last two books are, in my library, a pair. I use them a lot. They’re both by Claudia Roden. Roden does all the things I’ve talked about. She breaks food and foodways down into specific cultures: her volume The Book of Jewish Food is a masterpiece in this way. It doesn’t contain my foodways (there’s a story in that) but it’s given me a basic understanding of how Jewish food and foodways can be interpreted and understood in a wider sense. I can integrate this with my own historical knowledge (and it helps being an ethnohistorian, I admit) and I can talk Jewish food with most people. I have favourite Jewish foodways, and I explore them separately, but I always begin with Roden’s work.

The same thing applies to my learning about the different food and foodways of the Middle East. Her A Book of Middle Eastern Food is the book that began me on this wonderful journey, when I was a teenager. I owned my own copy from the moment I left home. My little paperback is from 1982. Without it, I would not have known enough to ask friends “What should I look for in a cookbook that takes into account your background.” I have hundreds of cookbooks now, but this was one of my first, and I still love it. My copy is battered and much used.

Each note Roden makes about this cuisine or that has sparked research at my end. I find more recipes, look into the culture that owns them, begin to understand the food customs and rules… and remind myself that doing this help me remember, every day, that respect and understanding trump hate. This means, of course, that I need another cookbook. It’s been a very difficult year so far for me as an Australian Jew. My obligation from that (according to the way I see the world) is to understand better other people who are also hurting. I shall watch for cookbooks and recipe websites. This is not the only way I try to understand, but it’s definitely the most fun.