On Not Riding a Bicycle

I hadn’t run a mile since high school. Not all at once, anyway. Then I moved to a new town and started running around in it. This turns out to be a good way to get to know a place. Here there are potato fields, corn fields, soybean fields, and an old cemetery. You can run alongside them, and you can run along the tops of the dikes, and then run down to the river. Here’s what the path along the river looked like before the leaves fell off.

This Sunday, I’ll run a 5k. It’s for a good cause: I’m raising money to support Safe Passage, an organization in Northampton, Massachusetts, that provides support to women and children who have experienced domestic abuse. If you’d like to make a donation, you may do so right here.

Or maybe you’d like a running playlist? I just uploaded a sampling of what I’ve been listening to, and that’s available here.

A Little More Gorey

Last week, I went to Cape Cod to read from Cape Cod Noir with fellow contributors Dana Cameron, William Hastings, and David Ulin (who also edited the book). One of the readings was hosted by the Falmouth Public Library. There, I met Jill Erickson, a reference librarian who happens to have performed in several of the Edward Gorey theatrical entertainments which were the inspiration for my story in the anthology, “Twenty-Eight Scenes for Neglected Guests.”

Jill showed me her files on the plays, including Chinese Gossip, Stumbling Christmas, and Heads Will Roll. There were scripts (marked up with notes from the actors and from Gorey), newspaper clippings, and the original programs.

Oh, and the puppets. On her flickr page, Jill has photos of the puppets.

Some Notes on Edward Gorey

Last fall, under the guise of research, I took a trip to the Edward Gorey House in Yarmouth Port, Massachusetts. Gorey lived on Cape Cod for about twenty years, and his work was the first thing I thought of when David Ulin asked me to contribute a story to Cape Cod Noir, an anthology of original crime fiction published this week by Akashic Books.

Gorey’s house is now a museum. A rotating selection of original drawings and sketches are on display here, along with some of the curious objects Gorey collected over the course of his life. Oddities abound, including guest checks showing what he ate every day for a month at a local diner, a herd of hand-stitched stuffed elephants, a sofa shredded nearly to death by his many cats, and an impressive set of glass telephone pole insulators.

Part of what I admire about Gorey’s work is the care with which it’s structured—consider the abecedarians of creatures and accidental deaths, or the recurring imagery (umbrellas, dogs, wrought-iron fences) in a book like The Sopping Thursday. But even while Gorey shapes these intricate melancholies, he explodes the very notion of structure and narrative. Ominous threats loom, their exact nature never revealed. Characters’ motives are hidden and stay that way. Important events occur offstage. People wander, swoon, murder, flee, weep, cajole, and often die in circumstances they—and we—don’t entirely understand.

I think of Gorey as a reverent iconoclast. His book The Awdrey-Gore Legacy stands as one of my favorite mystery stories. In it, the elements of a murder case, including suspects, weapons, and the detective’s disguises, are illustrated each in turn, laid out as though from some musty file. It’s a loving homage to the cosy mystery genre, as well as an unraveling of the form. There’s a story here, but we can only infer what happened. The result is a labyrinth without a solution.

My story in Cape Cod Noir, “Twenty-Eight Scenes for Neglected Guests,” is an attempt to evoke something of Gorey’s style and preoccupations. The piece was a pleasure to research, because it meant revisiting his work while also reading up on Gorey himself (a Gorey-like figure appears throughout the tale).

border: 5px solid white;When I began, I knew little about him beyond a handful of peculiar facts: that he was reclusive, that he loved the ballet, that he tended to wear fur coats and tennis shoes. (He eventually abandoned the fur, which he couldn’t square with his love for animals.)

As described by those who knew him, Gorey is a study in contradiction. Though his illustrations and writings seem informed by a Victorian or Edwardian sensibility, he never went abroad, except for a brief trip to Scotland. He believed that filmmaking had been “going downhill steadily since 1918,” but he loved soap operas and television reruns. He was reclusive to the point of sometimes not answering the door when friends knocked, yet he was listed in the Cape Cod phone book. And, almost every summer for about fifteen years, he personally wrote and directed a play to be performed in one of several small theaters on the Cape.

For those interested in reading more about him, I recommend Alexander Theroux’s The Strange Case of Edward Gorey. Theroux knew Gorey personally, and his book offers great insight into the life of an enigmatic artist. It’s just been released in an expanded edition by Fantagraphics Books. Theroux was recently interviewed by NPR about the book.

The Strange Case draws from interviews collected in Ascending Peculiarity: Edward Gorey on Edward Gorey, edited by Karen Wilkin. That title, by the way, comes from one of Gorey’s descriptions of his own process: “I just kind of conjured them up out of my subconscious and put them in order of ascending peculiarity.”

And while I do recommend a visit to the Edward Gorey House, there’s an excellent book of photographs of the place by Kevin McDermott, Elephant House, or, The Home of Edward Gorey. McDermott went into the house shortly after Gorey’s death, before any of his belongings were moved. It’s a haunting portrait of a man via his pursuits, his habits, and his absence.

And those curious about my own story, “Twenty-Eight Scenes for Neglected Guests,” will find it in Cape Cod Noir, alongside new work by Ben Greenman, Dana Cameron, Paul Tremblay, Kaylie Jones, and others.

Upcoming Events

I’ve been in hiding for a while now, but in the months ahead, I have a string of appearances in various corners of New England. If you’re looking for me, here’s where you’ll find me:

At the Conference on International Opportunities in the Arts, I’ll be on a panel about first books. The other panelists are poet Marisa Crawford (The Haunted House) and artist and author Mira Bartók (The Memory Palace). That’s on Friday, April 8th, at 1:30pm in the Boston Room of the Boston Public Library.

On Saturday, April 9th, at 2pm, I’ll be teaching a multigenre workshop called “New England and the Sea” at the James Merrill House in Stonington, Connecticut, along with poet Leslie McGrath and shipwright Bill Taylor. And yes, in this case multigenre means fiction, poetry, and ship building. There will be discussions of craft, close readings of work by Merrill and others, schematics to pore over, and an incredible view of Stonington Harbor. More information is available at Dzanc Books.

On Sunday, April 17th, at 5pm, I’ll give a reading at the Stonington Free Library in Stonigton, Connecticut. It’s likely that this will be the first time I read from my new novel-in-progress (unless you count all those times I’ve read sentences aloud to myself, to make sure they made sense). The reading is free and open to the public.

Finally, I’ll be reading at Jabberywocky Books in Newburyport, Massachusetts, on Saturday, May 7th, at 7pm, as part of the Tannery Reading Series. Also reading is Aine Greaney and Pamela Greenberg.

These and other events will be handily indexed over at my BookTour.com page.

Beginner’s Greek

Speaking of tigers, my friend Cheryl Lu-Lien Tan’s book A Tiger in the Kitchen is out today. To help celebrate the publication of this memoir about food and family, Cheryl asked me to share a family recipe.

I didn’t have one at hand, so I thought I’d check in with the Greek side of my family, meaning my dad.

Dad, I said, what do we have in the way of family recipes? Nothing written down, it turns out, but he recalled that his grandmother often made leg of lamb with clove sprigs. He also said that she ate little if any meat, and added, “I think it helped her to live to 103, that and the cold coffee which I seem to recall she drank.”

As far as eating meat goes, I take after my Yaya (though I like my coffee hot). So I thought: maybe it’s time to establish some new family recipes.

I’m currently living and working at the James Merrill House in Stonington, Connecticut. I’ll have more to say about this extraordinary place in the months ahead, and if you’d like a tour, I recommend previous resident Ivy Pochoda’s piece over at Writers’ Houses. But what you need to know for now is that Merrill spent a lot of time in Athens, and that Greece figures into much of his work (see below). Also, during one of my first days here, I discovered in his bookshelf near the kitchen a little yellow volume of Greek cooking by Robin Howe.

It was published in Britain in 1960, and this copy is inscribed to Jimmy (as he’s referred to in these parts), “So as to be able at Delos,” with a bookmark helpfully left in the section on wines. This is the kind of cookbook that uses the teacup as a unit of measurement, and the writing is full of bold proclamations, starting with the first sentence: “Almost everything Greek is controversial; the country, the politics, and naturally the cooking and wines.”

Naturally, but I was able to choose without too much controversy the components of this feast-to-be. Because I’m here in a little seaside town, where one can actually purchase fish from a self-serve bin down at the docks, I settled on Psari Fournou Spetsiotiko, or “fish as prepared in the island of Spetsai.” And to accompany this: stuffed tomatoes, and spanakopita.

I would have help, luckily. Emily was visiting from Northampton, and we drove together to McQuade’s supermarket in Mystic (a well-stocked if somewhat mystifying store, seemingly laid out with the triangle as its principal geometric feature; an aura of confusion permeates the aisles). We found most of what we needed there, then collected my brother Sean (there’s also an Irish side of the family), and his girlfriend MaryLeigh, who had taken the train from Brooklyn. We would need their help eating, and MaryLeigh would lend her photography talents to the endeavor.

Back in Stonington, Sean shucked oysters, Emily began chopping a pile of spinach, and I got to work on the sauce for the fish (a native cod). One thing I now understand about Greek cooking is that it uses even more olive oil than one might dare to imagine. But instead of the cup and a half called for by the Spetsaians Ms. Howe consulted, I used about 3/4 (controversial?). Next, two tablespoons of tomato purée, a handful of chopped parsley, and plenty of chopped garlic and lemon juice. Also some salt and pepper. Then I let the sauce and the fish get to know each other for a while.

By then we were ready to move on the spanikopita. The chopped spinach—all two pounds of it—was tossed with a generous amount of salt and pepper. We fried two large chopped onions in olive oil, then added the spinach. How much oil, you ask? The recipe calls for a cup, and in this case I do recommend the full amount. Yes, the spinach and onions will be completely drenched, and you will have to pull them dripping from the oil. But this turned out to be the tastiest spanikopita any of us have eaten, and that may have had something to do with it.

The spinach and onions went into a bowl with a half pound of crumbled feta, some pepper, a tablespoon of chopped fresh dill, and two tablespoons of finely chopped parsley. If you’re worried about how to get more oil in there, not to worry: each of the ten sheets of phyllo dough gets brushed with some. That’s five sheets on the bottom, the spinach mixture on top of that, and five sheets on the top. Scored into squares with a sharp knife, and sprinkled with water to keep it from curling. Then it goes into a “moderate” oven for 40 minutes.

Next for the stuffed tomatoes. Stuffed with what? Nothing less than their own chopped up innards. Also a teacup of rice and one of olive oil (of course), 2 finely chopped onions, an ounce each of currants and pine nuts, 2 tablespoons of chopped mint, 2 more of parsley, and salt and pepper. That gets simmered with a half pint of water for about 12 minutes. Emily had scooped out the tomatoes, and into them we spooned the mixture, leaving a little space at the top, to allow for the expansion of the rice. If you use brown rice, by the way, you may want to cook it a little more in advance.

We learned that it can be tricky to match the tops of the tomatoes with their bottoms: see this video for our solution to the final stages of that puzzle. The tomatoes get sprinkled with breadcrumbs, then baked for about 45 minutes. Breadcrumbs also on top of the fish, by the way. The book says an hour in the oven for the fish, but I found that it was ready in less than half that time.

As for wine, we went with a Boutari Moschofilero, from Mantineia. (I personally went with perhaps too much of it.) In her book, Robin Howe describes it as a light wine of the Riesling type, from the Peloponnese. It was the only Greek wine in town, but it did the trick, and everyone agreed that the meal was delicious.

The dishes weren’t from family recipes, but I feel like they are now, and I learned some new things about my great-grandmother in the process. Also, there was some leftover stuffing for the tomatoes and, as I write this, it’s baking in the oven, stuffed inside some green peppers.

I’m grateful to Cheryl Tan for inspiring me to embark upon this little cooking odyssey, and I hope you’ll check out her book. Her blog is also full of great recipes and dining experiences—I can attest personally to the high quality of this meal we shared not long ago in Saratoga, New York.

Though there’s probably no food memoir in my future, maybe I should blog about food more often? I do love to cook.

 

Light into the olive entered
And was oil. Rain made the huge, pale stones
Shine from within. The moon turned his hair white
Who next stepped from between the columns,
Shielding his eyes. All through
The countryside were old ideas
Found lying open to the elements.

from “After Greece” by James Merrill