From Vilna, with Love: Vilna Vegetarian Cookbook, Rediscovered

Every now and then there’s a new book that calls to us from the past. A forgotten manuscript, newly rediscovered, that hums in our ear, “This is how we were then.”

Sometimes we vilna vegetarianreply in delight, as with What Pet Should I Get? by Dr. Seuss. At other times, we are by turns confused, horrified, reverential, as with Harper Lee’s Go Set a Watchman, the recently unearthed first draft of her masterpiece, To Kill a Mockingbird.

Yet another new-old book has come to us recently. It hasn’t gotten as much attention, but its particular call from the past is no less powerful, both for what it tells us of its place and time, and for what we know, nearly eighty years later, of how that place and time came to an end.

The book is The Vilna Vegetarian Cookbook: Garden-Fresh Recipes Rediscovered and Adapted for Today’s Kitchens by Fania Lewando, lovingly translated, annotated and adapted for contemporary kitchens by Eve Jochnowitz, and published by Schocken Books.

Fania Lewando and her husband Lazar were the owners of a vegetarian restaurant in Vilna, the Jewish name for the city of Vilnius, whose nationality teetered between Poland and Lithuania in the years after World War I. Vilna was home to a Jewish community large and lively enough that at one time the city was dubbed the Jerusalem of Lithuania. It was a cosmopolitan metropolis where the Haskalah, the secular Jewish “Enlightenment,” flowered, and a dynamic arts scene thrived. The famed YIVO, the Institute for Jewish Research, had its first headquarters there.  The Lewandos’ cafe was a gathering place for the city’s Jewish intelligentsia, who appreciated her innovative vegetarian cuisine. Besides running her restaurant, Fania Lewando was a noted spokeswoman for the cause of vegetarianism and the then-young science of nutrition. She published her cookbook in 1938.

Fania Lewando cropped

Fania Lewando

The next year, the Soviets took control of Lithuania; they were followed in 1941 by the Nazis. According to an essay in the new edition of Lewando’s book by Efraim Sicher, her great nephew, the Lewandos were likely captured by the Soviets while fleeing the Nazis, and probably killed soon afterward. The Jewish community of Vilna was obliterated like so many others.

But the YIVO had relocated to New York in 1940, before the Nazi occupation, and somewhere along the way, a copy of Lewando’s book wound up in its library. It sat there until a few years ago, when Barbara Mazur and Wendy Waxman discovered it. They showed a oopy to Joan Nathan, the Jewish food writer, who brought it to Schocken. Eve Jochnowitz, the Yiddishist and culinary ethnographer, had actually seen the book some years earlier at YIVO and had fallen under its spell. She was tapped for the project. The new volume is the result.

In it, the past speaks to us in a surprisingly contemporary voice. A lifetime before Michael Pollan coined his famous, “Eat food. Mostly plants,” Lewando was writing the first lines of her book: “It has long been established by the highest medical authorities that food made from fruits and vegetable is far healthier and more suitable for the human organism than food made from meat.” Indeed, she cooks up fruits and vegetables of all sorts in seemingly endless ways. While many of recipes are rooted in the Old World Ashkenazi palate (latkes, kugel, blintzes), several  would be at home on the restaurant menus of today (cauliflower cutlets, for example, leek frittata, coffee ices, and marinated pears that are a lot like the sweet-sour gastriques).

But The Vilna Vegetarian is definitely of its time. The recipes are written in old-timey cookbook style; there are no ingredient lists; ingredients and measures are contained within the rather terse instructions, which assume that readers have basic kitchen skills. They also reflect the technology of the time; as Jochnowitz explains, no oven temperatures are listed because the coal and wood-fired ovens of the day couldn’t calibrate exact temperatures.

There are no photographs of the food in this book; instead, colorful botanical illustrations from the 1938 edition decorate its pages. It also includes essays from that period on the value of fruits and vegetables and Jewish vegetarianism, and a chapter of notes from the restaurant’s guest book written by Vilna luminaries, some of whom, we are told, survived, and some who did not.

The breadth of Jochnowitz’s work on this volume cannot be understated. In addition to translating from the Yiddish and parsing Lewando’s personal kitchen usage, she also converted the original metric measures to American cups and spoons, tested recipes, and added helpful notes for today’s cooks where necessary.

Most of the recipes can be prepared and enjoyed by contemporary readers. (Who among us wouldn’t enjoy a stuffed turnover or a homemade vegetable soup?) But some recipes will only be read with wonderment by 21st-century cooks, like the one for pickled apples that calls for lining a barrel with cherry leaves and dill, filling it with apples, adding buckets of boiling water, sugar, salt, and molasses to cover, and weighting the lid with “freshly washed stones.” Oh, and replenishing those buckets of sugar syrup daily for eight weeks.

I won’t be trying that one any time soon. But I am very glad to read about it. And glad, sad, and generally awestruck by the entire book, and by the voice of a woman who still calls to us so clearly: See, this is what it was like at my table.

***

If you would like to watch a video of Eve Jochnowitz preparing Fania Lewando’s Rice Dumplings Stuffed with Mushrooms while describing the process in fluent Yiddish (don’t worry—it has English subtitles) here’s a video from the blog, In Mol Araan.  As the caption says,”I like the part where we add more butter. Also the other part, where we add more butter.”

 

***

If you would like to see what Vilnius looks like today (with stretches of cityscape that look like the photos might have been taken in Fania Lewando’s time—and some fleeting scenes from the local Holocaust museum) here is a video tour from The New York Times website that I came across while preparing this profile.

 

Originally published on TheWeiserKitchen.com

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The Gastronomical She: The Art of M.F.K. Fisher

The last few decades have seen our attitude toward food change dramatically. We used to take it for granted. Sure, we stopped to eat it several times a day; we obsessed about its caloric content and its nutritionalMFK FIsher wolf value; we celebrated and mourned with it; in times of shortage or famine, it became the focus of our lives. But it wasn’t so long ago that food as a subject for artistic or intellectual examination was unheard of. Traditionally, when we studied history, we charted the movements of kings and generals, heroes, and sometimes, heroines. When we wrote poetry or sang songs, love was (and still is) our theme. In recent years, TV has given us celebrity chefs; restaurant culture and easy air travel have introduced us to exotic cuisines; and universities have recognized a field called culinary history. Still, this consideration of food as a “serious” subject is rather new. Plenty of people continue to think about food only when they’re deciding whether to bring home pizza or Chinese.

Imagine, then, the audacity of a 29-year-old author named M.F.K. Fisher, who in 1937 published a volume of essays on food. Serve It Forth combined history, memoir and meditation, a combination that would characterize Mary Frances Kennedy Fisher’s writing for the next half-century. Fisher “seized culinary writing” writes Joan Reardon in her lovely triple biography, M.F.K Fisher, Julia Child and Alice Waters: Celebrating the Pleasures of the Table (Crown, 1994), “from the domestic scientists, the packagers and promoters, even the ‘gourmets,’ and with cunning and daring, she placed it at the center of those ‘ageless celebrations’ of life.,’” Serve It Forth was the product of Fisher’s days as a young student bride, first in Dijon, France, where she tasted the glories of French cooking, and later, in Los Angeles, where a part-time afternoon job left her free to spend mornings reading culinary texts in the Los Angeles public library.

This peripatetic education prepared her to chronicle the eating habits of ancient Greece and Rome, the role of the potato in everyday meals, her own experiences eating snails, Catherine de Medici’s culinary influence on France, dining alone, aphrodisiac foods and a poignant return to a much-loved restaurant. A strange mix, but one held together by Fisher’s unforgettable voice, now playful, now painterly, sometimes superior, and sometimes full of heartbreak for the crushed dreamers (including, at times, herself) that she observed in her travels. Whatever her mood, she never doubted the sensuality and the sacredness of eating.

Here is Fisher on tangerines peeled and left for a few hours on top of a radiator in a sparsely furnished apartment: “. . . I cannot tell you why they are so magical. Perhaps it is that little shell, thin as one layer of enamel on a Chinese bowl, that crackles so tinily, so ultimately, under the MFK Fisherteeth. Or the rush of cold pulp just after it. Or the perfume.” And here she is on the potato: “Baked slowly, with its skin rubbed first in a buttery hand, or boiled in its jacket . . . it is delicious. Salt and pepper are almost always necessary to its hot moist-dusty flavour. Alone or with a jug of rich cool milk or a chunk of fresh Gruyere, it fills the stomach and the soul with a satisfaction not too easy to attain.”

Word pictures like these pop out on every page, not only in Serve it Forth, but in the subsequent volumes: Consider the Oyster, published in 1941, which touches on everything from the oyster’s love life to the oyster loaf at Fisher’s mother’s boarding school; 1942’s How to Cook a Wolf, a wartime prescription for coping with ration cards and shortages; 1943’s The Gastronomical Me, an autobiography told in food memories; and 1949’s An Alphabet for Gourmets. These five books, collected in 1954 in a celebrated volume called The Art of Eating, are probably her best known, but her output was far greater; before her death in 1992, Fisher produced 28 books, including a much-praised translation of French epicure Jean Anthelme Brillat-Savarin’s The Physiology of Taste.

My favorite is The Gastronomical Me, which begins with Fisher’s girlhood in California, where her grandmother’s delicate digestion ruled the dinner table, and goes on to recall her culinary awakening in Dijon, the break-up of her marriage to Al Fisher, her love affair with the painter, Dillwyn Parrish, his slow death a few years later of Buerger’s disease and her subsequent travels—all juxtaposed against memories of the food she ate. (She would marry and divorce once more, and have two daughters, but these events are chronicled in other books.)

At the beginning of The Gastronomical Me, Fisher explained herself: “People ask me: Why do you write about food, and eating and drinking? Why don’t you write about the struggle for power and security, about love, the way others do?. . . The easiest answer is to say that, like most other humans, I am hungry. But there is more than that. It seems to me that our three basic needs, for food and security and love, are so mixed and mingled and entwined that we cannot straightly think of one without the others. So it happens that when I write of hunger, I am really writing about love and the hunger for it. . . . There is communion of more than our bodies when bread is broken and wine drunk.”

Nearly 75 years later, in an age whose very religion is fear of fat and carbs, and fear of food in general, those words take a new, more urgent dimension. Unlike so many of us, Fisher never took food for granted, and her message is as meaningful today as it was when she wrote it.

 

 

Add One Part Julia and Stir: Julia Child’s Rules

Julia_Child_at_KUHTI’ve written in the past that books about Julia Child are among mysecret reading pleasures, but I was skeptical when I heard about Karen Karbo’s Julia Child Rules: Lessons on Savoring Life (Skirt!/Globe Pequot Press). It sounded like yet another gimmicky coat-tails kind of project, like the blog-book-movie phenomenon, Julie and Julia.

I must admit that I enjoyed Julie Powell’s account of her year of cooking every recipe in Child’s Mastering the Art of French Cooking; it’s a funny, engaging, stylishly written page-turner. But there’s a quality about it that’s so anti-Julia—an edge of smugness and a positively Seinfeldian lack of compassion for, well, humanity. In the first chapter of the book, Powell encounters a mentally ill homeless person on her way home from a bad day at work and casually refers to her as “the loon” half a dozen times in the anecdote that follows.  (No milk of human kindness wasted by our Julie, that’s for sure.)

As the Julie-Julia blog project went viral, Julia, then in her 90s, was reported to have made clear that that she didn’t much care for it; she thought it was a stunt and objected to Powell’s use of foul language. For me, it was that soupçon of insensitivity bubbling up here and there in the book that left me with a bad aftertaste. Julia Child was many things—a maverick, obsessive, irreverent, a lover of practical jokes—but (judging from all those biographies I’ve read) she wasn’t mean.

Julia Child Rules book coverSo, like I said, I was feeling skeptical when I opened Karbo’s book, but after the first few pages, that feeling had evaporated completely. Karbo has written a hybrid volume that is part biography, part memoir and part inspirational manual that uses Julia’s life as its template. In ten chapters, each titled with a numbered “rule,” she interweaves bits of Julia’s now-familiar (to fans) history, with a moral about her approach to living. (Rule No. 1: Live with Abandon. Rule No. 2: Play the Emperor. Rule No. 3: Learn to be Amused. And so on.)

In between, Karbo tells about her own life, her relationship with her mother (an early Julia devotee who faithfully cooked Julia’s recipes every night for dinner) and her relationship with food, cooking and balancing all the expectations and obligations of modern womanhood. That sounds like heavy stuff, but it isn’t at all. Karbo writes with a painterly eye for detail and a gag-writer’s ear for a punchline. Here’s her memory of what it was like to wait each night for her mother’s Julia-inspired creation to come to the table:

My mother would be standing at the stove, wearing a pair of Capri pants and a short-sleeved cotton shirt (not unlike those worn by Julia on The French Chef) smoking her Viceroy and stirring. The kitchen smelled of onions and butter, or garlic and butter, or what I know now to have been wine and butter. I’d ask when we were going to eat, and she would say soon. But it didn’t mean soon. It meant whenever she was finished stirring.  … We usually ate around eight-thirty. I had finished my homework hours earlier and some important TV show was inevitably on at that very moment. I had long since stopped being hungry and had entered the state where your body starts digesting its own organs to stay alive.      

You and your inner adolescent can’t help but laugh along in sympathy, even if your mother (like mine) never attempted Tranches de Jambon Morvandelle— at twelve, whose view of the world matches her mother’s? And then, two chapters later, having been thoroughly drawn into the domestic scene Karbo creates, your inner adolescent just might find herself sobbing when the author recalls her mother’s death from a brain tumor at the age of 46, and her last Julia-inspired birthday meal for her apathetic daughter.

If Karbo had only written a memoir of her own life, this would have been a charmer of a book, but it is more than that. That’s because Karbo interprets Julia through a fresh, decidedly feminist lens. Others have written about how Julia’s height of six feet, two inches put a damper on her social prospects, and how she languished, rich but purposeless, until World War II. Then, so the story goes, her wartime service with U.S. intelligence forces in Asia occasioned a fateful meeting with the man who was to be love of her life, Paul Child, who didn’t care that she was a whole lot taller than he was.

This is all undoubtedly true, but Karbo puts a different spin on Julia’s height. Her chapter titled “Play the Emperor” refers not only to the roles Julia always got in the amateur theatricals that she loved, but also to the approach to life that she evolved in those years. The tallest girl in the room never got cast as the princess or the ingénue; she was always the lion or the emperor. In Karbo’s telling, instead of accepting her lot with the outward grace of a good sport, Julia enthusiastically embraced it, and came to revel in the opportunities if afforded her to steal the show.

From this, Karbo extrapolates a rule for living: Play the Emperor. And she explains: “A woman as tall as Julia could never be transformed by a new dress or a tube of lipstick. No makeover would ever make over the part of her that failed to comply with traditional standards of feminine beauty.” Karbo finds inspiration in Julia’s resilience: “Her practical nature asserted itself, and she realized she had a choice. ‘Why languish as a giantess when it is so much fun to be a myth,’ [Julia] …wrote in her diary. She may have been whistling in the dark, or practicing a sassy attitude, but she seemed to have understood even then that a girl could choose to behave in a way that would distinguish her.”

Karbo ends the chapter concluding, “I’m not saying you’re fine the way you are. Julia, certainly, for her time, was not ‘fine’ the way she was. Instead, by embracing all that she was, she redefined fine.”

I wouldn’t exactly say that Julia Child Rules “redefines” Julia, but it does offer up fresh perspectives on our beloved food diva—and maybe even on ourselves. And that’s no gimmick. It’s just a darn good read.

This post originally appeared on booktrib.com

Bon Appetit: A Reader’s Guide For Julia Child Fans

The phrase “reading for pleasure” takes on a different meaning for every reader. Some choose mysteries; others go for romance or biography or a particular author. For the past few years, one of my favorite escapist reading choices hasn’t been an author or a genre, but a subject: Julia Child. Her life and work make for reading that I, for one, find irresistible: cooking and eating, Paris, true love, international intrigue and the triumph of perseverance. Plus, there’s Julia herself, the force of nature, the exuberant soul whose wit and charm belied a work ethic of steel. Julia, who told legions of fans that of course they could cook haute French cuisine, and who counseled them to take courage in the kitchen. Julia, who, more than any single individual, transformed the way we think about food.

Even now, eight years after her death at age 91, Juliaphiles like me want more. And lucky for us, the past few years have seen the publication of a shelf full of books about Julia. Since the 1999 publication of Noel Riley Fitch’s 592-page doorstop of a biography, Appetite for Life,  there have been at least nine volumes devoted to Julia’s life and times, including her own posthumously published memoir, My Life in France. And while they all cover the same waterfront, they’re all different enough to make engrossing and pleasurable reading.      

dearie

The most comprehensive of these is Dearie: The Remarkable Life of Julia Child, by Bob Spitz, published by Knopf late last year. Spitz writes that he got to know Julia when he accompanied her to Sicily in 1992. He was on assignment to write about her and emerged from the experience with a crush on the lively septuagenarian: “She was exactly like her TV persona… warm, funny, outgoing, whip-smart, incorrigible and most of all, real.”

The two talked about a biography, but Spitz had other projects and did not start on Dearie until after Julia’s death. I must admit that it took me a while to love this book. In the early chapters, Spitz sometimes takes a portentous tone, endowing simple events with great meaning. Example: in kindergarten, Julia McWilliams learned to follow rules and listen to instructions, which Spitz notes are “prerequisites for following a recipe.” One wonders at the other five-year-old rule-followers who did not go on to culinary careers. But that’s just a quibble, and for the most part, it’s fun to follow Julia’s life from her youth in conservative Pasadena, California; through her wartime service in Asia (where she met her future husband, Paul Child); to their years in Paris and elsewhere in Europe (where she learned to cook and began her groundbreaking book, Mastering the Art of French Cooking); to her days of cookbook and TV stardom and beyond. Along the way, he offers snapshots of nearly a century of history—turn-of-the-century California; World War II in Washington, D.C. and the Pacific theater; postwar Europe; the early days of public television; and the evolution of the food scene in America.

my life in france

Julia told her own story in a memoir that came out not long after her death. My Life in France (Knopf, 2006) was written with Paul’s grandnephew Alex Prud’homme, and it is a beauty. The pair worked on the book during the last two years of Julia’s life, with Prud’homme interviewing her, writing up what she had said and giving it to her for editing. Julia recalls her days not only in Paris (where Paul was stationed with the State Department), but in Marseille, (his next assignment) and in Provence, where they had a vacation home. Forty or fifty years after the fact, she recalls individual meals and how she cooked them, as well as the people she shared them with. It’s both sweet and frank, a graceful memoir of food, work and her years with the man she adored in a land they both loved.

covertJulia and Paul’s wartime experience has been recounted many times, but never in as much detail as in A Covert Affair: Julia Child and Paul Child in the OSS by Jennet Conant (Simon and Schuster, 2011). This book is as much about Julia and Paul as it is about an all-but-forgotten-but-once-notorious woman named Jane Foster. The three met during the war when they were stationed in what was then Ceylon, working in the Office of Strategic Services, the intelligence unit that was the precursor to the CIA. Foster left government service shortly after the war, disillusioned by a leadership who ignored her on-the-scene observations of revolution in Asia. She went to France to pursue her painting, but during the McCarthy years, her leftist ties led to her being investigated by the State Department and the FBI. She was eventually indicted on charges of espionage, but never tried because France did not extradite for such charges. (The evidence seems to have been pretty flimsy, at that.) Paul was investigated too, but he was exonerated, while Foster was hounded by the U.S. government and the press for years. Connent tells a sad but fascinating tale of what Julia herself later called “a disgusting era.”

As AlwaysA happier story is told in As Always, Julia: The Letters of Julia Child and Avis DeVoto: Food, Friendship and the Making of a Masterpiece (Houghton Mifflin, 2010). Joan Reardon, a food historian who has written on M.F.K. Fisher, was the editor of this volume, and she has done a wonderful job of selecting and judiciously annotating the correspondence of these two friends. They met by mail in 1952, when Julia sent a fan letter to Avis DeVoto’s husband, the historian and writer Bernard DeVoto.  He had written a column bemoaning the poor quality of kitchen knives and Julia sent him a good one from Paris. Avis DeVoto, who handled her husband’s correspondence, wrote back, launching a friendship-by-mail that lasted for years and resulted in the publication of Mastering; it was Avis DeVoto who made the introductions that eventually got the book published. Reading this book is pure pleasure; sixty years later, the two women’s voices dance off the page as they exchange notes on cooking and recipes, husbands, politics, and the progress of the book, which took years to complete.  You’ll enjoy meeting the dynamic DeVoto, and if you want to know what Julia was like in private, in her own voice, this is the book to read.

backstage with JuliaAnother angle on the Julia story can be found in Backstage with Julia: My Years with Julia Child by Nancy Verde Barr (John Wiley & Sons, Inc. 2007). The book chronicles a later period in Julia’s life, some twenty years after the publication of Mastering, when Julia had been a TV star for nearly two decades. They met in 1980, when Barr was running cooking schools and raising her family. A friend asked her to help with a Planned Parenthood benefit where Julia would be doing a cooking demo; the two women clicked and Barr joined Julia’s team of assistant cooks, working with her on Good Morning America, traveling with her, and forging a friendship that lasted until Julia’s death. Barr is an engaging writer (and a wonderful cookbook author in her own right) and this slender book adds another perspective to the Julia canon.

minetteThere are even two children’s books about Julia Child, both beautifully illustrated and full of charm.  Bon Appetit! The Delicious Life of Julia Child, written and illustrated by Jessie Hartland (Schwartz & Wade, 2012) offers up Julia’s life in storyboard form, with multiple hand-lettered pictures spilling from each page. Beguiling scenes of Paris and of Julia in her kitchen with Paul accompany the familiar story, which ends with Julia’s first TV show. Minette’s Feast: The Delicious Story of Julia Child and her Cat, written by Susanna Reich and illustrated by Amy Bates (Abrams Books for Young Readers, Bon Ap picture book2012) tells Julia’s story from the point of view of her cat, Minette. Reich’s cat’s-eye-view narrative and Bates’ haunting pictures of Paris nicely capture Julia’s years there. Young readers will surely enjoy these two books (my daughter and niece did), but I can’t help thinking that their elders—who remember Julia in her heyday—will enjoy them even more.

cats

There’s actually another whole book devoted to Julia’s feline obsession. Julia’s Cats: Julia Child’s Life in the Company of Cats by Patricia Barry and Therese Burson was published by Abrams in 2012. This is, contrary to what you might expect, a serious biography, and it tells Julia’s story with an emphasis on the cats that joined her household over the years. (Minette was the first of many.) If you are both cat lover and a Juliaphile (like me) this book is, um, sheer catnip.

Laura Shapiro book hardcoverLaura Shapiro is one of the nation’s preeminent food historians, so it makes sense that she has weighed in with a book of her own. Julia Child, part of the Penguin Lives series (Lipper/Viking, 2007), is beautifully written volume that tells the story of Julia’s life and sums up her place in American food history and popular culture. “Julia Child,” she writes, “was unlike any other celebrity in America…what was unique about Julia was the quality of emotion she inspired, which was remarkably direct and pure. Julia attracted love, torrents of it, a steady outpouring of love that began with the first pilot episode of The French Chef and continued through and beyond her death.” 

Which I suppose is why, years after her passing, we’re still reading about Julia—and enjoying every page.

 This post was originally published at http://www.booktrib.com

Dinner, The Best Umbrella

The night that the superstorm Sandy took the power out, there was still dinner to get on the table. I suppose I could have served sandwiches, but something warm seemed in order. With the winds blowing at 70 miles an hour outside, firing up the grill was out of the question. Instead, I got out my chafing dish and set it over five squat candles that I had arranged in an aluminum tray. In went a can of condensed soup and some water, and about 45 minutes later—voila!—lukewarm soup. My other chafing dish yielded warm slices of buttered French bread. I cup an apple into wedges and dinner was served. There we sat, my daughter and me, eating our soup, bread and apples by candlelight. The storm taunted us from outside, but inside, the familiarity and comfort of family dinner prevailed.

Having written two volumes that fall into the burgeoning category of books about cooking with and for children, I’ve become convinced of the importance of family dinner. And I’m equally convinced that that the style of the dinner matters far less than the fact of sitting down together to eat it. I’m a happy producer and consumer of books to help with every permutation of the evening meal, for every taste and every occasion: multi-course extravaganzas that are cooked from scratch with organic, local sustainable ingredients; quick affairs that are assembled in 20 minutes from jars and boxes; or special, kid-themed dinners that feature foods with silly names, whose architecture makes them fun to make and eat (as in my two books). But—dare I say this in a blog post about books?—I don’t think you need a cookbook to do family dinner. The occasional take-out meal or hurricane-chafing-dish-improvisation will also qualify.

The important thing is to sit down with your kids as often as you possibly can, to share a meal, talk about the day, talk about life and just be together. I could cite many studies that have proven the social and public health benefits of family dinner (and reserve the right to do so in a future post). But now, days after the hurricane that barged in on so many lives, in so many ways, I’m just thinking about family dinner and how it’s such a sweet simple, refuge from whatever storms rage around us, no matter what’s on the table.

Note: This blog post originally appeared on BookTrib.com, The All You Can Eat Literary Buffet