Brain Pickings

Posts Tagged ‘books’

23 NOVEMBER, 2012

How to Use Your Turkey Leftovers: 13 Ideas from F. Scott Fitzgerald

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“Not one but has been tried and proven — there are headstones all over America to testify to the fact.”

F. Scott Fitzgerald — literary legend, master of the muse, deft hatemail responder, star of early book ads, and one amazing dad — was also an unsuspected gourmand. After those favorite recipes by favorite poets and Marilyn Monroe’s stuffing recipe, here come 13 irreverent ideas for how to use your turkey leftovers, found in Fitzgerald’s 1945 collection of essays, notebook excerpts, and letters, The Crack-Up (public library):

TURKEY REMAINS AND HOW TO INTER THEM WITH NUMEROUS SCARCE RECIPES

At this post holiday season, the refrigerators of the nation are overstuffed with large masses of turkey, the sight of which is calculated to give an adult an attack of dizziness. It seems, therefore, an appropriate time to give the owners the benefit of my experience as an old gourmet, in using this surplus material. Some of the recipes have been in my family for generations. (This usually occurs when rigor mortis sets in.) They were collected over years, from old cook books, yellowed diaries of the Pilgrim Fathers, mail order catalogues, golf-bags and trash cans. Not one but has been tried and proven — there are headstones all over America to testify to the fact.

Very well then. Here goes:

  1. Turkey Cocktail: To one large turkey add one gallon of vermouth and a demijohn of angostura bitters. Shake.
  2. Turkey à la Francais: Take a large ripe turkey, prepare as for basting and stuff with old watches and chains and monkey meat. Proceed as with cottage pudding.
  3. Turkey and Water: Take one turkey and one pan of water. Heat the latter to the boiling point and then put in the refrigerator. When it has jelled, drown the turkey in it. Eat. In preparing this recipe it is best to have a few ham sandwiches around in case things go wrong.
  4. Turkey Mongole: Take three butts of salami and a large turkey skeleton, from which the feathers and natural stuffing have been removed. Lay them out on the table and call up some Mongole in the neighborhood to tell you how to proceed from there.
  5. Turkey Mousse: Seed a large prone turkey, being careful to remove the bones, flesh, fins, gravy, etc. Blow up with a bicycle pump. Mount in becoming style and hang in the front hall.
  6. Stolen Turkey: Walk quickly from the market, and, if accosted, remark with a laugh that it had just flown into your arms and you hadn’t noticed it. Then drop the turkey with the white of one egg—well, anyhow, beat it.
  7. Turkey à la Crême: Prepare the crême a day in advance. Deluge the turkey with it and cook for six days over a blast furnace. Wrap in fly paper and serve.
  8. Turkey Hash: This is the delight of all connoisseurs of the holiday beast, but few understand how really to prepare it. Like a lobster, it must be plunged alive into boiling water, until it becomes bright red or purple or something, and then before the color fades, placed quickly in a washing machine and allowed to stew in its own gore as it is whirled around. Only then is it ready for hash. To hash, take a large sharp tool like a nail-file or, if none is handy, a bayonet will serve the purpose—and then get at it! Hash it well! Bind the remains with dental floss and serve.
  9. Feathered Turkey: To prepare this, a turkey is necessary and a one pounder cannon to compel anyone to eat it. Broil the feathers and stuff with sage-brush, old clothes, almost anything you can dig up. Then sit down and simmer. The feathers are to be eaten like artichokes (and this is not to be confused with the old Roman custom of tickling the throat.)
  10. Turkey à la Maryland: Take a plump turkey to a barber’s and have him shaved, or if a female bird, given a facial and a water wave. Then, before killing him, stuff with old newspapers and put him to roost. He can then be served hot or raw, usually with a thick gravy of mineral oil and rubbing alcohol. (Note: This recipe was given me by an old black mammy.)
  11. Turkey Remnant: This is one of the most useful recipes for, though not, “chic,” it tells what to do with the turkey after the holiday, and how to extract the most value from it. Take the remnants, or, if they have been consumed, take the various plates on which the turkey or its parts have rested and stew them for two hours in milk of magnesia. Stuff with moth-balls.
  12. Turkey with Whiskey Sauce: This recipe is for a party of four. Obtain a gallon of whiskey, and allow it to age for several hours. Then serve, allowing one quart for each guest. The next day the turkey should be added, little by little, constantly stirring and basting.
  13. For Weddings or Funerals: Obtain a gross of small white boxes such as are used for bride’s cake. Cut the turkey into small squares, roast, stuff, kill, boil, bake and allow to skewer. Now we are ready to begin. Fill each box with a quantity of soup stock and pile in a handy place. As the liquid elapses, the prepared turkey is added until the guests arrive. The boxes delicately tied with white ribbons are then placed in the handbags of the ladies, or in the men’s side pockets.

There I guess that’s enough turkey talk. I hope I’ll never see or hear of another until—well, until next year.

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22 NOVEMBER, 2012

Bruno Munari on Design as a Bridge Between Art and Life

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“The designer of today re-establishes the long-lost contact between art and the public, between living people and art as a living thing.”

In the preface to his 1966 classic Design as Art (public library) — one of the most important and influential design books ever published — legendary Italian graphic designer Bruno Munari, once described by Picasso as “the new Leonardo,” makes a passionate case for democratizing art and making design the lubricant between romanticism and pragmatism.

Revisiting Munari’s iconic words is at once a reminder of how much has changed, and how little — but mostly a timeless vision for design’s highest, purest aspiration.

Munari begins:

Today it has become necessary to demolish the myth of the ‘star’ artist who only produces masterpieces for a small group of ultra-intelligent people. It must be understood that as long as art stands aside from the problems of life it will only interest a very few people. Culture today is becoming a mass affair, and the artist must step down from his pedestal and be prepared to make a sign for a butcher’s shop (if he knows how to do it). The artist must cast off the last rags of romanticism and become active as a man among men, well up in present-day techniques, materials and working methods. Without losing his innate aesthetic sense he must be able to respond with humility and competence to the demands his neighbors may make of him.

The designer of today re-establishes the long-lost contact between art and the public, between living people and art as a living thing. … There should be no such thing as art divorced from life, with beautiful things to look at and hideous things to use. If what we use every day is made with art, and not thrown together by chance or caprice, then we shall have nothing to hide.

In the introduction, he cites Maxim Gorky:

Munari cautions against holding on too stringently to conceptions of what art is and isn’t:

Anyone working in the field of design has a hard task ahead of him: to clear his neighbor’s mind of all preconceived notions of art and artists, notions picked up at schools where they condition you to think one way for the whole of your life, without stopping to think that life changes — and today more rapidly than ever. It is therefore up to us designers to make known our working methods in clear and simple terms, the methods we think are the truest, the most up-to-date, the most likely to resolve our common aesthetic problems. Anyone who uses a properly designed object feels the presence of an artist who has worked for him, bettering his living conditions and encouraging him to develop his taste and sense of beauty.

Munari cites from the school prospectus of Walter Groupis, who founded the Bauhaus in 1919 in what is considered the birth moment of design, with a lens on art education that parallels Isaac Asimov’s vision for science education:

‘We know that only the technical means of artistic achievement can be taught, not art itself. The function of art has in the past been given a formal importance which has severed it from our daily life; but art is always present when a people lives sincerely and healthily.

‘Our job is therefore to invent a new system of education that may lead — by way of a new kind of specialized teaching of science and technology — to a complete knowledge of human needs and a universal awareness of them.

‘Thus our task is to make a new kind of artist, a creator capable of understanding every kind of need: not because he is a prodigy, but because he knows how to approach human needs according to a precise method. We wish to make him conscious of his creative power, not scared of new facts, and independent of formulas in his own work.’

Munari ends on a note reminiscent of Lloyd Wright’s ethos, arguing for beauty as a kind of right:

When the objects we use every day and the surroundings we live in have become in themselves a work of art, then we shall be able to say that we have achieved a balanced life.

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21 NOVEMBER, 2012

Dutch Illustrator Rop Van Mierlo’s Charming Rorschach-Like Wash Paintings of Wild Animals

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“A wild book for civilized people.”

If you combined a classic Rorschach test with Stefan G. Bucher’s Daily Monster project, you might get something like Wild Animals by Dutch illustrator Rop Van Mierlo — an absolutely wonderful collection of his gentle wash paintings, made by dropping ink and watercolor onto paper to create softly explosive shapes with no hard edges or contours.

The book was originally self-published and went on to win Best Graphic Design category of the Dutch Design Awards in 2011. Also available are various prints and postcards of the lovable beasts.

The snake rattles,
the lion yawns
and man makes a book.
A wild book
for civilized people.
A sophisticated book
for wild people.
A beautiful book
with wild animals
for civilized people.
A book with beautiful animals
for wild people.

Thanks, Sebastian; images courtesy Rop Van Mierlo

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20 NOVEMBER, 2012

Tiny Collaborative Stories

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A charmingly minimalist cross-pollination of word and image at the heart of being human.

Last year, Joseph Gordon-Levitt, better-known as RegularJOE in the hitRECord universe he created, asked thousands of contributors to submit tiny stories through words and images. He sifted through more than 8,000 submissions to cull 67 contributions, which were then collected in The Tiny Book of Tiny Stories: Volume 1. The hitRECord crew is now back with The Tiny Book of Tiny Stories: Volume 2 — a delightful compilation of 62 such tender, poignant, beautiful micro-narratives selected from nearly 15,000 submissions. All the stories are made collaboratively — a writer would submit a story to the site, then an artist who likes it would illustrate it, or vice-versa, then others would join in and remix the stories and artwork.

In a heartening twist on traditional publishing, hitRECord is splitting all proceeds from the book 50-50 with the contributing artists and writers.

The Tiny Book of Tiny Stories: Volume 2 will be followed by Volume 3 in 2013, for which submissions are already being accepted.

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Donating = Loving

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