You Eat Funny Stuff when...

...you are leaving town and trying to finish the last odds and ends of food. Especially when you didn't buy much of that food yourself, but it was bequeathed to you when everyone else left.

For example:
black bean-butternut squash-chipotle wraps
beer-buttermilk-lemon crepes
lentil-squash curry

It's actually been surprisingly good. I made some regular crepes and was so disappointed in them that I went back to the beer-buttermilk recipe. And who knew that you could put butternut squash in everything?

Of course, there's also those splurge meals where although you've vowed not to buy any more food, you suddenly find yourself at the farmer's market in Homer with the best looking fresh vegetables in your hand and it suddenly turns itself into a gourmet, $80 a plate meal for 5.

Kachemak bay oysters on the half shell? Yes please. Especially ones bought that day from the grower's association on the Homer Spit.

Seared blackened tuna? Yes please. Especially when it's hand-delivered by the woman who caught it in Mexico and served up with bleu cheese.

A bed of organic greens? Oh, yes please. I also won't complain about caramelized carrots, delicious organic strawberries, or organic lemons.

Clos du Bois merlot? Ok, if you insist.

Cranberry Pear Crisp with Vermouth and sweetened milk? Oh, you want me to have indigestion, do you? Well, lucky for all of us, such fresh food doesn't weigh us down even when we do overeat.

And to top it all off, a night of wonderful company with three old Bohemians and one young one too. Hooray for me.

Rome, as promised

I never finished my story about Rome.

The second and third day of my trip were significantly better than the first. I left the hostel early Saturday morning to walk to meet Virginia. We spent the day touring the city Virginia style - perfect. Espresso and cornetto (croissant) as the first thing. An open air flea market in the rain. A walking tour of her favorite cathedrals. Across town to Vatican City, where I saw San Pedro and the Swiss Guard and everything else. I didn't go inside, which maybe I regret a little tiny bit. No Sistine Chapel. But I don't really regret it, because I had a wonderful day laughing and reminiscing with Virginia. We went to a restaurant owned by her friend for a fantastic lunch buffet. Exhausted, we hiked it to her beautiful apartment in a wealthy area built up in the 1920s.

At any point I expected to head back to the hostel for the night. I would meet up with the Australians, I hoped, and pretend that I enjoyed myself as I tagged along on their nightlife tour. At the last minute, however, plans changed and I followed the Dao where it led me. Virginia and her husband took me to a dinner party with their group of intimate friends - all rich Roman socialites. One family owns a chain of shoe stores, one runs the restaurant, one couple were both famous models, Virginia's husband himself is a city architect. Not the elite, but definitely wealthy and happy to be in Roma. They welcomed me with warm friendliness like I hadn't seen even in Milan. They teased me for living in Milano, saying "that's not Italy. you must come to the south" and promising to introduce me to their single sons, all doctors and lawyers or their counterpart. We were served by a Filippino girl. I wondered if it is weird for Virginia, a Filippino herself, to be on the other side of society from most of her countrymates. In Milan I saw a lot of Filippinos working as nannies for the youngest of children and the oldest of grandparents. Virginia is in her element, however, and perfectly poised as she relaxes with her eight best friends.

I loved it, but I was the one who fell asleep on the couch at the ungodly hour of midnight. Virginia says that if you are the first to leave one of their dinner parties, they all talk about you after you've gone, but there was no saving me after two nights without significant sleep.

They let me sleep in their daughter's bed - lofted a few feet from the ceiling and graffitied with all her friends' names and love notes.

There was a hail storm that night, but I slept right through it.

The next morning I shared a coffee with Paul's mother who lives inside her room in the small apartment. The streets were full of inches of hail piled up like autumn leaves in the gutters and curbs. Virginia and I adventured to the Capitoline museum, where some of the most famous Roman, Etruscan, and Italian art is held. We saw the ruins buried forty feet under the current street level. We saw Nero, and Marcus Aurelius, and Romulus and Remus sucking the wolf's teat, and some of the best trompe l'oeil sculpture I've ever seen. I again, like in Florence, saw in person the works I've learned about.

Greek pottery - We learned the difference of black on red versus red on black, but it all looked the same in the textbook photographs until I could get my nose a few inches from the clay and see the scraped away bits and the painted on bits and truly relish their delicate beauty.

Humanist sculpture - I never fully understood what it meant for art to be humanist, how the Roman was revived in the Renaissance and the intervening Medieval art was truly different. In a hall of sculpture, however, where I could feel (even without touching) each muscle fiber and twitch of flesh carved into the marble, it all made sense. The importance of the human body - and the human mind attached to it - impressed itself upon me intensely. A slide in art class cannot convince the viewer of the time and effort it takes to wrestle a human form out of solid rock. In real life, however, you understand that what deserves this much time, attention, effort, expense - that reflects what is important to the ones creating, funding, and viewing the work.

Museums quickly overwhelm me. By the end I was ready to leave and find a bar for a cappuccino. Perfect.

A final tour of - oh shoot, i can't remember the name of the famous squares we visited - anyway, all the sites you are supposed to see in Rome. She took me to her favorite street, where all the artists live (the rich artists who've made it big). She used to tutor in English the modern aristocrat who owns most of the street. I loved seeing the pride she had in her own city. The day rendered me speechless, and I'm afraid Virginia misunderstood it as disinterest, but I tried to show her the rapture on my face.

Back again at Virginia's, we watched a football match on tv. It was Rome playing (I don't know against whom) and when they scored, we could open the windows and hear the cheers erupt from the stadium a mere kilometer away.

Paul gave me Grappa to try, which I am embarrassed to say I didn't like at all. I suppose my palette is not yet that refined.

Just as the night was turning dark, we went out in the car - Paul, Virginia, and Alison their daughter - for a driving tour of Rome. They wanted to hit the sights that weren't seen by most tourists because they could only be accessed by car. We went up to a mountain over the city and saw the view of the city. There was a peephole in the gate, through which St. Peters glowed like a golden diamond in a cerulean evening sky. The Garden of Oranges. Smaller, older cathedrals where I could see the simplicity that makes the famous ones ornate by comparison. They treated me so well.

Driving around the Coliseum in their car, I was happy.

Finally we went to a little (and expensive) Italian restaurant where they treated me to a final Roman meal before dropping me at the train station. I waited a few hours in the station before finally catching my 1130 train home.

London vs. Betsi's Heart. Point: London

ok, so i thought i'd like it. but i didn't know i'd like it this much.

except for the sun setting at about 330, and the conspicuous absences of mountains or snow, the city is pretty much perfect.

today we discovered camden market, where you can find any trendy aesthetic your little heart could desire. well, there was a conspicuous absence of steampunk, but in a few years, i'm sure that will have filtered in as well. black leather and silver studs, baby doll brit, hippie goddess, asian kawaii, you name it. i could have spent hundreds of pounds, but, as i have not chosen an aesthetic subculture to adopt as my all-around identity, i didn't know where to start. i left without spending anything (well, 80p for a coffee). i was hoping to find a new bag, as my current GR-tastic one is starting to lose zipper teeth, but to no avail. the crafting hipster movement was also rather under represented.

erik leiser's film last night, imagination, was a wonderful exploration into the psyche of twin, pre-adolescent girls who let their imaginative and spiritual exisitences control their physiological existence. though i am by no means an animation or puppetry buff, my stomach reacted with little thrills at the aesthetics of the film. furthermore, his exhibit of recent holographic work explored some of the same themes - linking infinity with deity, mystery, and exploration. his newest piece shows exciting promise as he moves toward a more organic sensibility and his holographic skill improves. both the screening and the exhibition were at Goldsmiths, University of London, which is apparently famous for birthing the ever-entertaining Damien Hirst.

i am lucky to count him as a friend. thanks, erik.

Victorians, Post-modern architecture, Ikea, and Kung Fu. Not a bad night, if I do say so myself.

Tonight we went to a bar in Corso Sempione, near the park in Milan. The bar was an Indian bar, and it was beautiful, with elaborately carved wooden doors and golden pictures of elephants on the walls. We sat in a red, turquoise and blue tent to take our drinks. I wanted to order something off the “Indian Drinks” menu, but they had run out of the Indian liquor, so I ordered a Long Island Iced Tea instead. I am constantly ordering mixed drinks even though I know I don’t like them. I much prefer beer. Anyway, it wasn’t bad.

The night was that perfect temperature where it’s cold but not too cold. It felt like the wind was blowing warmer air into the night, but Federico tells me it’s going to snow. Tomorrow night we are going to the Chinese restaurant and wouldn’t it be perfect if it were snowing. I chatter along in Italian, pausing now and then to let Valentina help me with vocabulary. I know my grammar is awful, and I use that to my advantage in telling bizarre jokes. The jokes don’t have to be funny, but because I am clearly poking fun at my own ineptitude, everyone enjoys the comedic relief.

The area around Corso Sempione was built during the same time as the park and the aquarium, during that wonderful late-Victoria era that I love so much. The houses drip with an art nouveau sensibility—square and tall and with tall, narrow windows. The period has been associated with a stiff collar and stiff upper lip, but in the details of these houses we can see the truth of the aesthetic. The ornate window irons are not so formal and symmetrical as the Elizabethan, or even early Victorian, periods. Today we insist that ornamentation like this is formal, stodgy even, but there was a time when oriental rugs harkened to lush opium dens and hedonistic harems rather than our grandmother’s parlor. The patterns are inspired by leaves and vines, wrought into man-made materials, as if the wild lustfulness of nature could be captured in the windows and ushered into the house.

The Victorians planted aspens throughout their cities, planted rolling parks in the midst of their new industrial centers and populated them with quaking trees. Aspens may be planted in rows, but they nevertheless grow in a twisted dance. Their leaves may look like plate gold, but they twist and spin and show all their colors, colors which are reflected in the speckled smooth bark of their trunks.

Last weekend I went to Bologna and in the park were fantastic ferocious statues from the same period. There were two of lions and their prey. One showed the lion, his phallic tail stretching straight up behind him, snarling over the great body of a bull beneath him. The other showed a lion (phallic tail long-since broken away) battling a serpent with evil teeth over the victory of a massive mountain goat. Half the snake’s head had crumbled, but a full set of iron teeth remained. The other two statues were of busty mermaids in sensual, homoerotic (can we use that word for women?) poses, looking like stone representations straight from a Mucha painting. Their hair swirled around their nipples and the fullness of their flesh. Everything was pockmarked and vaguely green with a pervasive fungal life form.

In Parco Sempione is the Aquarium, built in 1906, with the hippo’s head spouting water into a tiled pool with poi fish and lily pads. The decorative tile around the perimeter of the building echoes the sensibility of the posh neighborhood it was built for.

I eat up the ornamentation, I who usually snub my nose at formal decoration. But the details here reveal whimsy. The artistry and revelry, which we now assume the Victorians brutally repressed, is revealed at every corner. Here, for example, is a fence in which every rung ends at a different height in a fantastical curlicue. Here is a white box of a mansion with a fantastic balcony busting with great drooping plants like it’s a portal to a tropical world. Even the lower level sports marvelous germanium plants—that red blossom that I once associated with domesticity, thanks mostly to New England watercolors, but now I see as a wild red-headed vixen in the midst of a grey city.

If I were in Grand Rapids, I would host a party. Art Nouveau Party, I would call it.

“Come celebrate those twenty years (give or take a decade on either end) from 1890-1910. Come dressed as your favorite buxom Greek goddess (if Mucha is your preference) or as your friendly Victorian couple on holiday (if Talouse Latrec is more your style). Come as Sarah Bernhardt or Alfred, Lord Tennyson. Come as a Baudelaire adventurer, eagerly conquering in the name of England, God, or Science. Come as a Bohemian, emerging from the darker alleyways of Paris or Prague. Come celebrate that, for the first time in human history, we have money to spend. Come pour green into your drink, whatever it may be, and pretend it’s absinthe. Come commune with those people who pretend to be sober at work and keep their private lives hidden behind tall, thin, iron-barred windows. Come and make merry, for tonight the show must go on.”

That’s what I would say.

We drove away from the neighborhood of dreams and on through the city. The last beautiful thing I saw out my window was the porticoed Italian mansion with Michelangelo’s great horse rearing on copper legs in front.

Then we passed the stadium, which looks like a monument to communist-era architecture. An unwitting monument, the type that thinks it protests cement soviet blocs by using cement to make turrets instead. Great round, striped turrets that were either parking garages or nothing at all except a pitiful post-modern attempt at design.

“When was this built?” I asked.

“The early nineties, I think.”

Of course. I had guessed a few years earlier, before the fall of the wall, but the early nineties were the same. The cement of cities was upheld as gritty reality. That proletariat, industrial glorification is so communist in origin, yet there we were as “free western countries” promoting the exact same aesthetic. It makes me shudder as much as the green-tinted glass, brick and exposed metal beam omnipresent CAD-program aesthetic of today. In 2002, my high school was featured in an architectural magazine for it’s cutting-edge design. The library which faces the entrance drive is reminiscent of a lantern shape, green oxidized exposed metal making up the bone structure for the large glass windows and ligaments of brick. By the time I left college in 2008, every new bank, hospital and office park in Grand Rapids utilized the exact same idea. Puke.

Since arriving in Italy I have visited my first Ikea. This experience would be almost exactly the same anywhere in the world, but I had to come to Italy to finally discover the joy of mass-produced homeware fashion. At least here is something we can’t blame on the Americans. The Swedes are to blame, although we can always point to Ford or McDonalds as the originators of the cookie cutter model that has been applied so ubiquitously. Many thoughts (probably not original ones) ran through my head as I followed the school of shoppers through the store’s current. Is Ikea bad? Is it wrong to have our aesthetic handed to us on a plate? I found myself attracted to many things in that store. Was I attracted because Ikea has hit on the common current aesthetic and now offers it to us at affordable prices? Or has Ikea in fact /created/ this aesthetic, which has pilfered into my brain because it’s on tv and in my friends’ houses? If Ikea didn’t create it, then some other designer did. Is there a problem with that? Is a designer for Ikea no less an artist? Must everyone create their own living aesthetic instead of picking and choosing from those offered commercially? Is it even possible to live outside of a commercial identity?

As I said, these aren’t original questions, but there they were in my head. I have an itch when it comes to aesthetic tyranny. We can’t escape it. What the stores tell us to like, we like. At least those chains like Ikea, Pottery Barn or Anthropologie (oooh, I love their aesthetic) have an intentional aesthetic. At least there is recognition of the artistry of life. What’s worse is the tyranny of aesthetic that we experience every day without even being aware: the color and font choices in advertisements, for example, affect how we think and view the world. Advertisements, at their core, are intended to manipulate. Thus, for the last 100 years (since the period I have already exalted), our social aesthetic has been moved forward primarily by manipulation, sometimes really shitty manipulation at that.

I suppose that for this reason, someone has argued that the impressionists were truly the only artists unaffected by manipulation. Prior to that, it was religious purposes. Afterwards, it was the bas-cultural trends. I’m sure I don’t agree with this at all, but whatever. It’s something to think about.

After the bar in Milan we drove to Andrea’s house and watched Kung Fu Panda. I think there must have been a drug in my Long Island Iced Tea, because I felt sloshy-headed yet somehow hyper-attuned to everything. The daoist philosophy shining in the movie was reassuring, even if it was a cartoon.

As I’m applying for internships and jobs back in the States, I find a lot of solace in stoicism. By non-resistance, my path will take its natural course. By trusting in God, I know that He will bring me to the right place. By working hard to follow every opportunity that seems good, not getting too attached to any particular one, and leaving decision-making until the time when decisions must be made, I can balance fierce excitement about my potential futures with calm reassurance that what will be will be.

And all these thoughts thanks to an Iced Tea. I wonder what the Indian liquor would have done?

Good Articles

The Real Great Depression - The panic of 1873 bears more significance to today than that of 1929, and preceded the economic shift from Europe to America. Within America it bolstered popularity for fundamentalist religion. The author writes in such a way as to make history interesting and clear to an outsider like me - and also reveals how a financial market crash affects more than just those people who want to buy stuff on credit.

Sha Na Na and the Invention of the Fifties - 'The Fifties' as we know them today are an invention of 1969, when social unrest necesitated finding a common link in nostalgia. The decade of Cold War panic and Beatniks became the Sock Hop era of family values and economic optimism. The Juvenile Delinquants of the time became Greasers - glorified white working class teens.

The End of Art - A meaty read, full of great quotes and revealing thoughts on a topic that artists love to explore. Or at least, should love to explore. Bringing religion into any discussion is a dangerous step these days, but this author masters the complex task and opens door for further exploration. His mention of religion will raise fewer red flags than his insistence that "The subjugation of art... to political ends has been one of the great spiritual tragedies of our age" (I happen to agree). But neither does he delicately poke at religion with postmodernist fear of stepping on somebody's toes.