Brain Pickings

Posts Tagged ‘Maira Kalman’

25 JULY, 2012

Maira Kalman on Identity, Happiness, and Existence

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“How are we so optimistic, so careful not to trip and yet do trip, and then get up and say OK?”

In this wonderful short video, Maira Kalman — the remarkable artist, prolific author, unmatched storyteller, and one of my favorite hearts and minds in the world — shares some wisdom on identity, happiness, and existence. Watch and take notes.

The idea that you’d have to say ‘goodbye’ to all this — even though it’s infuriating and maddening and frightening and horrible, some of the time — is even more infuriating and maddening and horrible: How do you spend this time without perpetually being so broken-hearted about saying the eventual goodbye? I usually say, in the end, okay, it’s love and it’s work — what else could there possibly be?

Speaking to the fluidity of character and the myth of fixed personality, Kalman observes:

How do you know who you are? There are many parts to who you are, so there isn’t one static place. And then, the other part of that is that things keep changing.

Here are some of the beautiful, poignant quotes Kalman reads and shows from her published works.

From And The Pursuit of Happiness:

From The Principles of Uncertainty:

How do you know who you are?

How are we so optimistic, so careful Not to trip and yet Do trip, and then GET up and say O.K. Why do I feel so sorry for everyone and so PROUD?

What can I tell you? The realization that we are ALL (you, me) going to die and the attending disbelief — isn’t that the central premise of EVERYTHING? It stops me DEAD in my tracks a DOZEN times a day. Do you think I remain FROZEN? NO. I spring into action. I find meaningful distraction.

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09 JANUARY, 2012

9 Books on Reading and Writing

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Dancing with the absurdity of life, or what symbolism has to do with the osmosis of trash and treasure.

Hardly anything does one’s mental, spiritual, and creative health more good than resolving to read more and write better. Today’s reading list addresses these parallel aspirations. And since the number of books written about reading and writing likely far exceeds the reading capacity of a single human lifetime, this omnibus couldn’t be — shouldn’t be — an exhaustive list. It is, instead, a collection of timeless texts bound to radically improve your relationship with the written word, from whichever side of the equation you approach it.

THE ELEMENTS OF STYLE

If anyone can make grammar fun, it’s Maira KalmanThe Elements of Style Illustrated marries Kalman’s signature whimsy with Strunk and White’s indispensable style guide to create an instant classic.

The original Elements of Style was published in 1919 in-house at Cornell University for teaching use and reprinted in 1959 to become cultural canon, and Kalman’s inimitable version is one of our 10 favorite masterpieces of graphic nonfiction.

On a related unmissable note, let the Elements of Style Rap make your day.

BIRD BY BIRD

Anne Lamott might be best known as a nonfiction writer, but Bird by Bird: Some Instructions on Writing and Life affirms her as a formidable modern philosopher as well. The 1994 classic is as much a practical guide to the writer’s life as it is a profound wisdom-trove on the life of the heart and mind, with insight on everything from overcoming self-doubt to navigating the osmotic balance of intuition and rationality.

On the itch of writing, Lamott banters:

We are a species that needs and wants to understand who we are. Sheep lice do not seem to share this longing, which is one reason why they write so little. But we do. We have so much we want to say and figure out.”

And on the grit that commits mind to paper, she counsels:

You begin to string words together like beads to tell a story. You are desperate to communicate, to edify or entertain, to preserve moments of grace or joy or transcendence, to make real or imagined events come alive. But you cannot will this to happen. It is a matter of persistence and faith and hard work. So you might as well just go ahead and get started.”

On why we read and write:

Writing and reading decrease our sense of isolation. They deepen and widen and expand our sense of life: they feed the soul. When writers make us shake our heads with the exactness of their prose and their truths, and even make us laugh about ourselves or life, our buoyancy is restored. We are given a shot at dancing with, or at least clapping along with, the absurdity of life, instead of being squashed by it over and over again. It’s like singing on a boat during a terrible storm at sea. You can’t stop the raging storm, but singing can change the hearts and spirits of the people who are together on that ship.”

ON WRITING

Hailed as one of the most successful writers alive, Stephen King has hundreds of books under his belt, most of which bestsellers. On Writing: A Memoir of the Craft is part master-blueprint, part memoir, part meditation on the writer’s life, filtered through the lens of his near-fatal car crash and the newfound understanding of living it precipitated.

Though some have voiced skepticism regarding the capacity of a “popular writer” to be taken seriously as an oracle of “good writing,” Roger Ebert put it best: “After finding that his book On Writing had more useful and observant things to say about the craft than any book since Strunk and White’s The Elements of Style, I have gotten over my own snobbery.”

A few favorites from the book follow.

On open-endedness:

Description begins in the writer’s imagination, but should finish in the reader’s.”

On feedback:

Write with the door closed, rewrite with the door open.”

On the lifeblood of writing:

It starts with this: put your desk in the corner, and every time you sit down there to write, remind yourself why it isn’t in the middle of the room. Life isn’t a support system for art. It’s the other way around.”

On the relationship between reading and writing, which I wholeheartedly second:

Can I be blunt on this subject? If you don’t have time to read, you don’t have the time (or the tools) to write. Simple as that.”

ZEN IN THE ART OF WRITING

In Zen in the Art of Writing: Releasing the Creative Genius Within You, Ray Bradbury — acclaimed author, dystopian novelist, hater of symbolism — shares not only his wisdom and experience in writing, but also his contagious excitement for the craft. Blending practical how-to’s on everything from finding your voice to negotiating with editors with snippets and glimpses of the author’s own career, the book is at once a manual and a manifesto, imbued with equal parts insight and enthusiasm.

On the key to creativity (cue in Elizabeth Gilbert’s TED talk):

That’s the great secret of creativity. You treat ideas like cats: you make them follow you.”

On what to read:

In your reading, find books to improve your color sense, your sense of shape and size in the world.”

On art and truth:

We have our Arts so we won’t die of Truth.”

On signal and noise, with an embedded message that “you are a mashup of what you let into your life”:

Ours is a culture and a time immensely rich in trash as it is in treasures.”

THE WAR OF ART

Steven Pressfield is a prolific champion of the creative process, with all its trials and tribulations, best-known for The War of Art: Break Through the Blocks and Win Your Inner Creative Battles — a personal defense system of sorts against our greatest forms of resistance. “Resistance” with a capital R, that is.

Are you paralyzed with fear? That’s a good sign. Fear is good. Like self-doubt, fear is an indicator. Fear tells us what we have to do. Remember our rule of thumb: The more scared we are of a work or calling, the more sure we can be that we have to do it.

Resistance is experienced as fear; the degree of fear equates the strength of Resistance. Therefore, the more fear we feel about a specific enterprise, the more certain we can be that that enterprise is important to us and to the growth of our soul.”

Also of note: Pressfield’s recent companion guide to the text, Do The Work, one of our 5 favorite manifestos for the creative life.

ADVICE TO WRITERS

Advice to Writers is “a compendium of quotes, anecdotes, and writerly wisdom from a dazzling array of literary lights,” originally published in 1999. From how to find a good agent to what makes characters compelling, it spans the entire spectrum of the aspirational and the utilitarian, covering grammar, genres, material, money, plot, plagiarism, and, of course, encouragement.

Here are a few favorites:

Finish each day before you begin the next, and interpose a solid wall of sleep between the two. This you cannot do without temperance.” ~ Ralph Waldo Emerson

Don’t ever write a novel unless it hurts like a hot turd coming out.” ~ Charles Bukowski

Breathe in experience, breathe out poetry.” ~ Muriel Rukeyser

Begin with an individual and you find that you have created a type; begin with a type and you find that you have created — nothing.” ~ F. Scott Fitzgerald

You never have to change anything you got up in the middle of the night to write.” ~ Saul Bellow

Immature poets imitate; mature poets steal.” ~ T. S. Eliot

Fiction is a lie, and good fiction is the truth inside the lie.” ~ Stephen King

Good fiction is made of what is real, and reality is difficult to come by.” ~ Ralph Ellison

Listen, then make up your own mind.” ~ Gay Talese

Find a subject you care about and which you in your heart feel others should care about. It is this genuine caring, not your games with language, which will be the most compelling and seductive element in your style.” ~ Kurt Vonnegut

Write without pay until somebody offers pay; if nobody offers within three years, sawing wood is what you were intended for.” ~ Mark Twain

Originally featured, with more quotes, last December.

HOW TO WRITE A SENTENCE

Humbly titled yet incredibly ambitious, How to Write a Sentence: And How to Read One by Stanley Fish isn’t merely a prescriptive guide to the craft of writing — it’s also a rich and layered exploration of language as an evolving cultural organism. It belongs not on the shelf of your home library but in your brain’s most deep-seated amphibian sensemaking underbelly — an insightful, rigorous manual on the art of language that may just be one of the best such tools since The Elements of Style.

In fact, Fish offers an intelligent rebuttal of some of the cultish mandates of Strunk and White’s bible, most notably the blind insistence on brevity and sentence minimalism. To argue his case, he picks apart some of history’s most powerful sentences, from Shakespeare to Dickens to Lewis Carroll, using a kind of literary forensics to excavate the essence of beautiful language. As Adam Haslett eloquently observes in his excellent FT review:

[Pared-down prose] is a real loss, not because we necessarily need more Jamesian novels but because too often the instruction to ‘omit needless words’ (Rule 17) leads young writers to be cautious and dull; minimalist style becomes minimalist thought, and that is a problem.”

To dissect the Tetris-like quality of words, Fish examines the following Anthony Burgess sentence from his 1968 novel Enderby Outside:

‘And the words slide into the slots ordained by syntax, and glitter as with atmospheric dust with those impurities which we call meaning.’

Before the words slide into their slots, they are just discrete items, pointing everywhere and nowhere. Once the words are nested in the places ‘ordained’ for them — ‘ordained’ is a wonderful word that points to the inexorable logic of syntactic structures — they are tied by ligatures of relationships to one another. They are subjects or objects or actions or descriptives or indications of manner, and as such they combine into a statement about the world, that is, into a meaning that one can contemplate, admire, reject, or refine.”

Originally featured here last January.

ERNEST HEMINGWAY ON WRITING

Ernest Hemingway famously maintained that it was bad luck to talk about writing. Yet, over the course of his career, he frequently wrote about writing in his novels and short stories, his letters to editors, friends, critics, and lovers, in interviews, and even in articles specifically commissioned on the subject. In Ernest Hemingway on Writing, editor Larry W. Phillips culls the finest, wittiest, most profound of Hemingway’s reflections on writing, the nature of the writer, and the elements of the writer’s life. The slender volume packs insights on everything from work habits to mood management to discipline to knowing what to leave out, delivered with Hemingway’s unmistakable personality and his signature zeal for integrity.

On what makes a great book:

All good books are alike in that they are truer than if they had really happened and after you are finished reading one you will feel that all that happened to you and afterwards it all belongs to you: the good and the bad, the ecstasy, the remorse and sorrow, the people and the places and how the weather was. If you can get so that you can give that to people, then you are a writer.”

On symbolism:

There isn’t any symbolysm [sic]. The sea is the sea. The old man is an old man. The boy is a boy and the fish is a fish. The sharks are all sharks no better and no worse. All the symbolism that people say is shit. What goes beyond is what you see beyond when you know.”

(Cue in other famous writers on symbolism, from Jack Kerouac to Ray Bradbury to Ayn Rand.)

On the qualities of a writer:

All my life I’ve looked at words as though I were seeing them for the first time.”

First, there must be talent, much talent. Talent such as Kipling had. Then there must be discipline. The discipline of Flaubert. Then there must be the conception of what it can be and an absolute conscience as unchanging as the standard meter in Paris, to prevent faking. Then the writer must be intelligent and disinterested and above all he must survive. Try to get all these things in one person and have him come through all the influences that press on a writer. The hardest thing, because time is so short, is for him to survive and get his work done.”

The most essential gift for a good writer is a built-in, shockproof shit detector. This is the writer’s radar and all great writers have had it.”

HOW TO READ A BOOK

How to Read a Book, originally written by Mortimer Adler in 1940 and revised with Charles van Doren in 1972, is the kind of book often described as a “living classic” — “classic” because it deals with the fundamental and unchanging mesmerism of the written word, and “living” because it does so in a way that divorces this mesmerism from its hard medium, allowing the essence to evolve as our culture has evolved over the decades. From basic reading to systematic skimming and inspectional reading to speed reading, Adler’s how-to’s apply as efficiently to practical textbooks and science books as they do to poetry and fiction.

One of the book’s finest points deals with the fundamental yin-yang of how ideas travel and permeate minds — the intertwined acts of reading and writing. Marginalia — those fragments of thought and seeds of insight we scribble in the margins of a book — have a social life all their own: just ask The New York Times’ Sam Anderson, who recently shared his year’s worth of marginalia in a wonderful interactive feature. Hardly anything captures both the utilitarian necessity and creative allure of marginalia better than this excerpt from Adler’s classic:

When you buy a book, you establish a property right in it, just as you do in clothes or furniture when you buy and pay for them. But the act of purchase is actually only the prelude to possession in the case of a book. Full ownership of a book only comes when you have made it a part of yourself, and the best way to make yourself a part of it — which comes to the same thing — is by writing in it.

Why is marking a book indispensable to reading it? First, it keeps you awake — not merely conscious, but wide awake. Second, reading, if it is active, is thinking, and thinking tends to express itself in words, spoken or written. The person who says he knows what he thinks but cannot express it usually does not know what he thinks. Third, writing your reactions down helps you to remember the thoughts of the author.

Reading a book should be a conversation between you and the author. Presumably he knows more about the subject than you do; if not, you probably should not be bothering with his book. But understanding is a two-way operation; the learner has to question himself and question the teacher, once he understands what the teacher is saying. Marking a book is literally an expression of your differences or your agreements with the author. It is the highest respect you can pay him.”

First featured here, along with a meditation on modern marginalia, in December.

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19 DECEMBER, 2011

The Best Food Books of 2011

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From farm life to molecular gastronomy, or what The Beatles have to do with the history of menu design.

After the year’s best children’s books, art and design books, photography books, science books, and history books, the 2011 best-of series continues with a taste of the year’s most delectable food books, a literary lobster course of the finest variety.

FOOD RULES / MAIRA KALMAN

It’s not every day that one of the greatest food books of our time gets a makeover by one of the greatest illustrators of our time. Such is the case of this new edition of Michael Pollan’s classic compendium, Food Rules: An Eater’s Manual, illustrated by the great Maira Kalman () — the timelessly sensible blueprint to a healthy relationship with food redone in Kalman’s characteristically colorful and child-like yet irreverent aesthetic. This new edition also features 19 additional food rules, including Place a bouquet of flowers on the table and everything will taste twice as good and the meta When you eat real food, you don’t need rules.

From the very first page, starting with Kalman’s introduction, the book is an absolute — and guilt-free — treat:

Everyone eats food. That is the universal connector. Life is fragile. Fleeting. What do we want? To be healthy. To celebrate and to Love and to live Life to the Fullest. So here comes Michael Pollan with this little (monumental) book. A humanistic and smart book that describes a Sane and Happy world of Eating. It asks us, gently, to hit the Reset button on manufactured food and go back in Time.” ~ Maira Kalman


Treat Meats as a Flavoring or Special Occasion Food

Cook

Don't Overlook the Oily Little Fishes

Shop the Peripheries of the Supermarket and Stay Out of the Middle

Eat When You Are Hungry, Not When You Are Bored

Kalman’s illustrations emanate the kind of thoughtful simplicity that underpins the message of Pollan’s classic, which is based on the premise that the wisdom of our grandparents might teach us more about eating well than the overly complicated nutritional scheming purveyed by the popular media.

Pollan has an excellent audio slideshow on his site.

Already a powerful classic in its original edition, the Kalman-illustrated Food Rules is, quite simply, irresistible.

Originally featured in November.

Images courtesy of Maira Kalman / Penguin Press

THE TABLE COMES FIRST

From Adam Gopnik, one of my favorite nonfiction writers working today, comes The Table Comes First: Family, France, and the Meaning of Food — a fascinating journey into the roots of today’s obsession with food and culinary culture. From the dawn of our modern tastes in 18th-century France, where the first restaurant was born, to the kitchens of the White House to the Slow Food movement to Barcelona’s bleeding-edge molecular gastronomy scene, Gopnik tours the wild and wonderful world of cuisine, with all its concomitant sociocultural phenomena, to explore the delicate relationship between what goes on the table and what goes on around it as we come together over our food. It’s history, nutrition, philosophy, anthropology, and sociology all rolled up into one delectable streusel of insight and illumination, in Gopnik’s unapologetically intelligent yet charmingly witty style.

Having made food a more fashionable object, we have ended by making eating a smaller subject. When ‘gastronomy’ was on the margins of attention it seemed big because it was an unexpected way to get at everything — the nature of hunger; the meaning of appetite; the patterns and traces of desire; tradition, in the way that recipes are passed mother to son; and history, in the way that spices mix and, in mixing, mix peoples. You could envision through the modest lens of pleasure, as through a keyhole, a whole world; and the compression and odd shape of the keyhole made the picture more dramatic. Now the door is wide open, but somehow we see less, or notice less, anyway. Betrayed by its enlargement, food becomes less intimate the more intensely it is made to matter.” ~ Adam Gopnik

The book opens with Charles Darwin’s famous haikuesque meditation:

We have happy days, remember good dinners.”

Gopnik goes on to explore the two pillars of modern eating — the restaurant and the recipe book — both of which are modern developments, mere blips in evolutionary time, and reflects on their cultural history with his characteristically brilliant blend of keen analysis and ever-so-subtle smirk.

The restaurant was once a place for men, a place where men ate, held court, cooked, boasted and swaggered, and wooed women. The recipe book was traditionally ‘feminine’: the kitchen was the place where women cooked, supervised, gave orders, made brownies, to steady and domesticate men. In the myth-world of the nineteenth century, the restaurant existed to coax women into having sex; the recipe book to coax men into staying home.” ~ Adam Gopnik

MODERNIST CUISINE

Nathan Myhrvold may be better-known as Microsoft’s former Chief Technology Officer, who studied quantum science alongside legendary physicist Stephen Hawking, but his true passion lies at the intersection of science and food. Myhrvold trained as a chef at LaVarenne in Burgundy, France, and has spent the past three years in a laboratory in Bellevue, Washington, perfecting — with his seven full-time chefs — the elaborate cooking techniques of gastronomy’s recent mega-obsession: molecular cuisine.

Modernist Cuisine: The Art and Science of Cooking, originally featured as one of these 5½ fantastic cross-disciplinary cookbooks, is the pinnacle of his experimentation, a 2,400-page, six-volume behemoth with over 1,000 recipes that transform the kitchen into a lab. Needless to say, expectations for the ambitious undertaking have been gargantuan, which made gastronomers all the more unsettled by the recent announcement that due to packaging concerns, the book — which weighs over 48 pounds — won’t be available until March, nearly four months past the publication date originally promised.

Modernist Cuisine isn’t for everyone — besides the hardcore foray into ingredients like methylcellulose and agar approached with cooking techniques that involve liquid nitrogen and rotary evaporators, the book comes with a hefty $625 price tag. (Amazon has it at 28% off, which clocks in at the non-negligible sum of $175 in savings — but still runs your a good $450.)

Images courtesy of Credit: Ryan Matthew Smith/The Cooking Lab LLC via The New York Times

FARM ANATOMY

From the ever-talented Julia Rothman — she of Drawn In and The Exquisite Book fame, and one of the most original illustrators working today — comes Farm Anatomy: The Curious Parts and Pieces of Country Life, a charming illustrated guide to the intricate microcosm that underpins your dinner plate. From how to properly milk a cow to a taxonomy of squash varieties and faming tools to a morphology of barn cupolas, Rothman’s warm drawings are bound to entertain, educate (did you know that a one-year-old goat is called a ‘yearling’ and you can use cornflower to dye wool blue?), and instill in you newfound awe and fascination with rural life.

And as if the striking illustrations weren’t enough of a feat, most of the type in the book was handwritten, with the exception of the introduction and metadata font, which Rothman created from her handwriting.

The book was inspired by Rothman’s first visit to the farm on which her husband, Matt, grew up, which left the born-and-bred New Yorker artist wide-eyed and wonderstruck.

Working on this book has given me a chance to learn more about what it’s like to live off the land and to better understand Matt’s roots. In small ways I hope to bring the ideals and traditions he grew up on back into our daily lives.” ~ Julia Rothman

The last pages of the book feature Rothman’s meticulous biography, which not only pleases the attribution crusader in me but also tickles my Rube Goldberg curiosity as a fascinating rabbit hole of a reading list, featuring such esoteric treats as Storey’s Illustrated Breed Guide to Sheep, Goats, Cattle, and Pigs, Amish Quilt Patterns, 500 Treasured Country Recipes, and Country Wisdom & Know-How .

Utterly charming and thoroughly researched, Farm Anatomy is one of those rare treats that speak to your eyes and your heart, and in the process manage to expand your mind.

Originally featured here, with more images, last month.

ART OF THE MENU

Menu Design in America: 1850-1985 by design writer extraordinaire Steven Heller (previously), Esquire food columnist John Mariani, cultural anthropologist and graphic design historian Jim Heimann, and high-end publisher Taschen (previously) is a delicious history of menu creativity, featuring nearly 800 vibrant illustrated examples of menu ephemera, alongside photographs of restaurants, that together tell the rich and fascinating story of eating out in America. Besides the fascinating design history, the book doubles as a curious tracker of American inflation, both economic (who’s in for a $1.50 fine-dining lunch?) and of culinary claims (how did we go from simple and to-the-point food descriptions to foofy foodie-speak?).

Originally featured, with more images, in August.

Images via Taschen

THE RECIPE PROJECT

This year marked the launch of quirky indie publisher Black Balloon, whose launch email included the word “amazeballs” and whose inaugural release, The Recipe Project: A Delectable Extravaganza of Food and Music, presented a delightful and nerdy treat for the foodie-musicologist, transforming delicious recipes into singable, danceable songs. (We’ve previously seen science, history, tennis, color, civic complaints, and the weather set to music.)

The beautifully illustrated recipes come from a roster of famous chefs — including Mario Batali, John Besh, David Chang, Tom Colicchio, and Andrea Reusing — contextualized amidst chef interviews and essays by acclaimed food writers like Melissa Clark and J. Dixon, pondering such complexities as the culinary connotations of The Beatles’ White Album and what moussaka has to do with Metallica.

Masterminding the project is Brooklyn-based band One Ring Zero, who for the past couple of years have been working their favorite rock-star chefs to each choose the musical genre for his or her song, all included on the CD that comes with the book. One Ring Zero’s Michael Hearst got the kernel of this genre-bender in college, when he composed a choral piece around a recitation of grocery store names.

The book also comes with a delightful free iPhone app that lets you enter up to 5 ingredients you have on hand and dishes out a delicious, speedy singable recipe to make with them.

Originally featured in October.

BLOOD, BONES & BUTTER

Gabrielle Hamilton has spent the past decade as the chef-owner of the beloved Prune restaurant in New York City’s East Village, but hear path to the kitchen was neither straight nor smooth. In Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, Hamilton — whose formidable talent as a writer is on par with her culinary mastery — recounts twenty years of seeking purpose in her life, from the idyllic kitchen of her childhood on a farm in rural Pennsylvania, raised by a French mother and an artist-set-designer father, to the difficult and protracted dissolution of her family, to the grit of her grueling and uncompromising work that took her to the peak of New York’s food scene. Anthony Bourdain calls it “absolutely the best food-related memoir, ever.” And, as Bourdain tends to, he might be absolutely right. But Hamilton’s powerful blend of culinary conviction and raw honesty make the book as much a “food-related memoir” as it is a lyrical meditation on being human.

I had no clue that my parents were unhappy with each other until I was sweeping up cornichons and hard salami and radishes off the kitchen floor.”

COOK’S ILLUSTRATED COOKBOOK

Since 1992, America’s Test Kitchen, a 2,500 square foot kitchen outside of Boston, has been publishing its meticulously tested and instructionally detailed recipes in Cook’s Illustrated Magazine. This year, they culled the 2,000 most timeless, essential, delicious recipes from the magazine’s two-decade archive and presented them in The Cook’s Illustrated Cookbook: 2,000 Recipes from 20 Years of America’s Most Trusted Cooking Magazine — an epic nearly thousand-page tome full of “test kitchen wisdom,” strategies, and tricks from the culinary trenches.

Founder and editor Christopher Kimball writes in the introduction:

This reminds me…of a story about the old-timer from Vermont’s Northeast Kingdom, who sat down one night to fill out his taxes. Now, like any thrifty farmer, he hardly found this a pleasant task, and staring him in the face at the head of a box in the top right-hand corner of the printed form where these words in bold type: DO NOT WRITE HERE.

Before going any further, the old gentleman took a firm grip on his pen and wrote in the box, in equally bold letters: I WRITE WHERE I GODDAMN PLEASE.

I guess that pretty much sums up how we go about recipe testing.”

THEY DRAW & COOK

For nearly two years, brother-and-sister duo Nate Padavick and Salli Swindell have been delighting us with their beautifully illustrated visual recipes from around the world. They Draw and Cook: 107 Recipes Illustrated by Artists from Around the World collects the best 107 of these lovely and delicious treats, joining the ranks of our favorite quirky cookbooks with an absolute gem of visual and culinary allure. From the playful and facetious to the elegant and sleek, these illustrated treasures offer everything from Chocolate Haystacks to Starving Artist Goo-lash and, of course, Cooooooookies for good measure.

We hope this book inspires you to cook up something new or maybe even pick up a pencil and doodle out your own favorite recipe and play along by visiting our website.” ~ Nate Padavick & Salli Swindell

Marmalade Flapjacks by Matt Dawson

Beetrooty-Yogurty-Thingummyjig by Corrina Rothwell

Chicken in Love by Irena Inumaru

Toad-in-the-Hole by Admira Pustika

Turn That Frown Upside Down Cake by Claire Murray

COOOOOOOOKIES! by Pietro Duchi

A feast for eyes and mouth, They Draw and Cook is bound to make you smile and drool — quite likely at the same time. And if the muse strikes, you can even submit your own illustrated recipe to the online project, adding your pin to this impressive world map of contributions.

Originally featured here in October.

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In 2011, bringing you (ad-free) Brain Pickings took more than 5,000 hours. If you found any joy and stimulation here this year, please consider a modest donation.





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