Guy Fawkes, Kitchen Confidentials and a New Painting
I don’t know if it is because it is near to Guy Fawkes Day, but there have been lot of fireworks going off around here for the past week. It’s great to view it from our flat since we are up high enough to see over the surrounding buildings. They were even shooting them off when there was a fog layer that made it hard to see more than a block. Thursday was the actual Guy Fawkes Day and there constant pops and booms. Apparently, the big fireworks shows are on Friday Night this year (I’m writing this on Friday morning), although rain is in the forecast.
Guy Fawkes was infamous as the revolutionary who was caught guarding a big pile of dynamite under the House of Parliament, as part of Catholic plot to kill King James I. Poor Guy (and undoubted his co-conspirators and other people he knew), of course, was tortured and killed in that very slow, excruciating and public way that the British seemed to love in that era. In response to the thwarting of the “Gunpowder Plot”, Parliament passed an act in 1605, authorizing celebratory fireworks. It was referred to as the Thanksgiving Act and I wonder if it led to the American holiday. Underlying this whole thing was the fight between the Protestants and the Catholics for control (which is still going on in Northern Ireland), so, for a long time, Guy Fawkes Day was also Attack the Catholics Day. After centuries of this, it has turned into an excuse to set off fireworks (endlessly and apparently for at least a week).
Kitchen Confidential 1: Here is an unanticipated odd thing about living here: The water is so hard that it leaves a lime residue on things that builds up and interferes with things like dishwashers and kettles. So I have to add this special salt to the dishwasher and occasionally use “Scale-away” to clean the kettle.
Kitchen Confidential 2: I have gotten so fed up with the miniature combo washer-dryer in our kitchen that I have decided to just get a big percentage of our clothes (and especially things like sheets and towels) laundered by an outside service. Like the grocery service I use, all I have to do is go on-line and give them pick up and drop off times and someone appears at the door and the whole thing is magically charged to my debit card.
Kitchen Confidential 3: I miss US supermarkets. I’m sure there are good grocers somewhere in London or in the suburbs, but there aren’t any near here. There is no place to get fresh fish. I have no chance of walking anywhere to get a turkey for Thanksgiving (and can’t imagine carrying one on the Tube) and will have to order one on-line. No real butchers in the neighborhood either. The closest place is really Borough Market, which is only a 10-15 minute bus ride from Liverpool Street Station. I’m just going to end up shopping there more, but I have to beat the lunchtime crowds, when it can be hard to even move around.
Kitchen Confidential 4: Every time I try to make something in our kitchen, I realize that I am missing some key pan or tool (or that I can’t possibly get the ingredients because the groceries are so limited). I have been hesitant to buy stuff for the kitchen since we aren’t going to be her that long, but I just weakened and bought an emersion blender and a nice spatula.
Kitchen Confidential 5: The Unitarian Church we attend has a large percentage of vegetarians. We decided to try going to one of their covenant groups, which starts with a meal and I asked Rev. Andy what sort of things people bring. He told me that they usually don’t serve “flesh” when I suggested bringing ceviche. Thanks to years of cooking for Hannah, I was able to come up with something–Roasted Autumn Root Vegetable with a Balsamic Maple Glaze. I also brought wine to the group, which was a change in the culture, but seemingly a welcome one.
Here is a new painting that I have just finished. It is loosely based on the view from the incredible villa we stayed in on the Amalfi Coast. (Thanks again Cheryl!) You may or may not recall that I had decided that I was using too much of a paint-by-numbers approach and trying to paint within the lines. So I made a conscious effort here to paint in a freer way. I didn’t sketch out the design on the canvas first and decided to use only a pretty large flat brush and I didn’t worry too much about getting the perspective perfect, which the mathematical side of me likes to do. (I am always attracted to artwork that has a kind of mathematic underpinning. I should probably try that some time.) The one thing about painting this way is figuring out when to stop. (Before I would stop when all the spaces were filled.) I’m not sure that the final result is any better, but I think I find it more satisfying to paint in this way.
ti were the superstars of the music scene. This was partly due to fact that women were not permitted to perform in many Catholic countries, but also because of the incredible sound that castrati created. According the program notes, musicologists feel that countertenor and altos do not capture that sound. (The last castrati died in 1924 and there really are no good recordings.) Anyway, Farinelli began singing for Philip and never stopped. He quit performing in public and continued to sing daily for Philip until Philip’s death in 1742. (Some of this comes from the programme. You have to buy them here, which is kind of annoying when you are used to free Playbills on Broadway. But the content is much better and this one had articles about the history of castrati, a long article about Philip V, an article about the history of music therapy and an interview with the playwright, Claire van Kempen, Rylance’s wife. It was worth the £4.)