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Posts Tagged ‘vintage books’

20 JUNE, 2013

The Seducer’s Cookbook: A Vintage Guide to the Lost Art of Seduction

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“Seduction … is becoming as much of a lost art as hand-caning and bookbinding. But while those two crafts can be replaced by machine work, seduction, if it is not done ‘by hand,’ will not be done at all.”

As a lover of unusual cookbooks and inventive recipes — from The Artists’ and Writers’ Cookbook to Modern Art Desserts to the Alice B. Toklas Cookbook to Patti Smith’s lettuce soup for starving artists — I was delighted to come upon The Seducer’s Cookbook (public library). This amusing 1962 gem by legendary food critic Mimi Sheraton, which falls somewhere between Esquire’s Handbook for Hosts and The Art of Kissing, presents a collection of “helpful and hilarious hints for situations into which men may lure women and vice versa,” including drink and dining menus, décor, dress, and dialogue. Gracing the book’s pages are illustrations by the great Paul Coker, who contributed to iconic counterculture magazine MAD and illustrated the wonderful 1968 volume MAD Better or Verse.

Sheraton sets the scene:

What we are concerned with here is the delectable and subtle art of luring, tempting, enticing, leading someone into going to bed with you in the most delightful way possible. For if the seduction is planned artfully, it can whet your sexual appetite in the same way that a piquant hor d’oeuvre prepares your palate for the main course to come.

Though it is true people are getting into bed with each other every day, seduction, as opposed to pushing, pulling, pleading and promising, is becoming as much of a lost art in America as hand-caning and bookbinding. But while those two crafts can be replaced by machine work, seduction, if it is not done “by hand,” will not be done at all.

She enumerates her three main goals:

I am for the game — as much fun, and often more, than the prize; hence this book for the following reasons:

  1. To enable men to get the answer they want — Yes.
  2. To give women a better reason for saying it.
  3. To keep America from becoming, sexually, a have-not nation.

But behind this amusingly lewd and seemingly superficial premise lies a deeper meditation on gender politics and women’s empowerment in the Mad Men era — published months before The Feminine Mystique turned the tide and a decade before the second wave of feminism was in full swing. Sheraton challenges the era’s assumptions in a wonderfully heartening way:

The first question to be answered if we are to get anywhere is: Just exactly who is seducing whom? If we are to believe the editors (male) of the American College Dictionary we must assume that only men seduce women, else why the definition “to induce (a woman) to surrender her chastity”? Even masculine vanity in its most extreme form should permit the editors’ minds to allow as how sometimes a man is seduced — perhaps even to the extent of adding the definition “to induce (a man) to lead (a woman) astray.”

She argues for seduction as a gender-blind art, but one the mastery of which is as intricate as it is fruitful:

The whole thing becomes a kind of round robin, and if it is hard to tell the seducer from the seduced (everyone wants to be both), it is important for all of us to be on our toes, to develop our seductive proficiencies so we can play our roles properly should the need arise.

Sheraton even flips certain gender-perception conventions around to give the stereotypical pop-culture male more dimension, arguing against the idea that getting laid is his only consideration:

He has his ego, and nothing deflates it more than the thought that a woman’s sole interest in him is sexual. This may not sound plausible, but it’s one of the best-kept male secrets. Just let a man think any woman he’s at all interested in would have gone to bed with any other presentable male who chanced by, and he is enraged and starts competing. He will immediately begin to turn hand-springs on her lawn (intellectually and even physically), trying to convince her he’s really a pretty special guy — out of bed as well as in. This is where his talents as a seducer will stand him in good deal.

But what makes the relationship between food and sex so compelling, after all? Sheraton writes:

The urge to eat and the urge to procreate are basic, natural and deliciously intertwined … and certainly no other method of seduction is as healthful or nourishing. No matter what else may go wrong, at least you’ve had a good meal.

It may be worth noting here the three sorts of appetite described by Dumas père in his Dictionary of Cuisine — as applicable to sexual hunger as to gastronomic.

  1. Appetite that comes from hunger. It makes no fuss over the food that satisfies it. If it is great enough, a piece of raw meat will appease it as easily as a roasted pheasant or a woodcock.
  2. Appetite aroused, hunger or no hunger, by a succulent dish appearing at the right moment, illustrating the proverb that hunger comes with eating.
  3. The type of appetite that is roused at the end of a meal when after normal hunger has been satisfied by the main courses, and the guest is truly ready to rise without regret, a delicious dish holds him to the table with a final tempting of his sensuality.

Sheraton goes on to offer several menus for various occasions and scenarios — from morning-after breakfast to seduction outside marriage to dumping someone by serving leftovers. Here’s a sampling from a menu for seducing young lovers:

STRAWBERRIES CHANTILLY

Wash ½ pint strawberries, drain on paper toweling, hull them and cut lengthwise into quarters. Leave 2 of the nicest berries uncut. Sprinkle with 1 tablespoon Cointreau, and a little sugar if they are sour, and chill them for ½ hour. Beat ½ cup heavy sweet cream until it is stiff, adding ¼ teaspoon sugar and the tiniest drop of rose water to it halfway through the whipping. Fold berries into the cream, pile into two individual serving dishes and top each with a whole strawberry. Chill for 1 hour before serving.

The Seducer’s Cookbook is delectable and diverting from cover to cover. Pair it with this fascinating read on ancient aphrodisiacs and anti-aphrodisiacs.

Thanks, Kaye

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25 APRIL, 2013

The First Book of Firemen, 1951

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A whimsically illustrated vintage homage to the men and women of The Red Menace.

“If I were a fairy godmother, my gift to every child would be curiosity,” professed mid-century writer and illustrator Jeanne Bendick, who tirelessly bridged the gender gap in science through the dozens of children’s books about science and technology. Though Bendick both wrote and illustrated many of them — like her endlessly wonderful 1953 cosmic primer, The First Book of Space Travel — she also did artwork for stories by other writers. Such is the case of the equally delightful 1951 gem The First Book of Firemen (public library) — a whimsically illustrated homage to the men and women of The Red Menace, written by Benjamin Brewster and researched in close collaboration with the New York City Fire Department.

From a taxonomy of firemen’s tools to the evolution of firefighting techniques to an anthropological tour of firefighters around the world, this vintage treat is at once a charmingly illustrated time-capsule of a bygone era and a timeless tribute to the heroic vocation countless little kids dream about.

Though long out of print — as is the fate of a sad many vintage gems — used copies of The First Book of Firemen can be found here and there, or borrowed from your local library.

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22 APRIL, 2013

14 Ways to Acquire Knowledge: A Timeless Guide from 1936

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“Writing, to knowledge, is a certified check.”

The quest for intellectual growth and self-improvement through education has occupied yesteryear’s luminaries like Bertrand Russell and modern-day thinkers like Sir Ken Robinson and Noam Chomsky. In 1936, at the zenith of the Great Depression, the prolific self-help guru and famous eccentric James T. Mangan published You Can Do Anything! (public library) — an enthusiastic and exclamation-heavy pep-manual for the art of living. Though Mangan was a positively kooky character — in 1948, he publicly claimed to own outer space and went on to found the micronation of Celestia — the book isn’t without merit.

Among its highlights is a section titled 14 Ways to Acquire Knowledge — a blueprint to intellectual growth, advocating for such previously discussed essentials as the importance of taking example from those who have succeeded and organizing the information we encounter, the power of curiosity, the osmosis between learning and teaching, the importance of critical thinking (because, as Christopher Hitchens pithily put it, “what can be asserted without evidence can be dismissed without evidence”), the benefits of writing things down, why you should let your opinions be fluid rather than rigid, the art of listening, the art of observation, and the very core of what it means to be human.

14 WAYS TO ACQUIRE KNOWLEDGE

  1. PRACTICE
  2. Consider the knowledge you already have — the things you really know you can do. They are the things you have done over and over; practiced them so often that they became second nature. Every normal person knows how to walk and talk. But he could never have acquired this knowledge without practice. For the young child can’t do the things that are easy to older people without first doing them over and over and over.

    […]

    Most of us quit on the first or second attempt. But the man who is really going to be educated, who intends to know, is going to stay with it until it is done. Practice!

  3. ASK
  4. Any normal child, at about the age of three or four, reaches the asking period, the time when that quickly developing brain is most eager for knowledge. “When?” “Where?” “How?” “What?” and “Why?” begs the child — but all too often the reply is “Keep still!” “Leave me alone!” “Don’t be a pest!”

    Those first bitter refusals to our honest questions of childhood all too often squelch our “Asking faculty.” We grow up to be men and women, still eager for knowledge, but afraid and ashamed to ask in order to get it.

    […]

    Every person possessing knowledge is more than willing to communicate what he knows to any serious, sincere person who asks. The question never makes the asker seem foolish or childish — rather, to ask is to command the respect of the other person who in the act of helping you is drawn closer to you, likes you better and will go out of his way on any future occasion to share his knowledge with you.

    Ask! When you ask, you have to be humble. You have to admit you don’t know! But what’s so terrible about that? Everybody knows that no man knows everything, and to ask is merely to let the other know that you are honest about things pertaining to knowledge.

  5. DESIRE
  6. You never learn much until you really want to learn. A million people have said: “Gee, I wish I were musical!” “If I only could do that!” or “How I wish I had a good education!” But they were only talking words — they didn’t mean it.

    […]

    Desire is the foundation of all learning and you can only climb up the ladder of knowledge by desiring to learn.

    […]

    If you don’t desire to learn you’re either a num-skull [sic] or a “know-it-all.” And the world wants nothing to do with either type of individual.

  7. GET IT FROM YOURSELF
  8. You may be surprised to hear that you already know a great deal! It’s all inside you — it’s all there — you couldn’t live as long as you have and not be full of knowledge.

    […]

    Most of your knowledge, however — and this is the great difference between non-education and education — is not in shape to be used, you haven’t it on the tip of your tongue. It’s hidden, buried away down inside of you — and because you can’t see it, you think it isn’t there.

    Knowledge is knowledge only when it takes a shape, when it can be put into words, or reduced to a principle — and it’s now up to you to go to work on your own gold mine, to refine the crude ore.

  9. WALK AROUND IT
  10. Any time you see something new or very special, if the thing is resting on the ground, as your examination and inspection proceeds, you find that you eventually walk around it. You desire to know the thing better by looking at it from all angles.

    […]

    To acquire knowledge walk around the thing studied. The thing is not only what you touch, what you see; it has many other sides, many other conditions, many other relations which you cannot know until you study it from all angles.

    The narrow mind stays rooted in one spot; the broad mind is free, inquiring, unprejudiced; it seeks to learn “both sides of the story.”

    Don’t screen off from your own consciousness the bigger side of your work. Don’t be afraid you’ll harm yourself if you have to change a preconceived opinion. Have a free, broad, open mind! Be fair to the thing studied as well as to yourself. When it comes up for your examination, walk around it! The short trip will bring long knowledge.

  11. EXPERIMENT
  12. The world honors the man who is eager to plant new seeds of study today so he may harvest a fresh crop of knowledge tomorrow. The world is sick of the man who is always harking back to the past and thinks everything wroth knowing has already been learned. … Respect the past, take what it offers, but don’t live in it.

    To learn, experiment! Try something new. See what happens. Lindbergh experimented when he flew the Atlantic. Pasteur experimented with bacteria and made cow’s milk safe for the human race. Franklin experimented with a kite and introduced electricity.

    The greatest experiment is nearly always a solo. The individual, seeking to learn, tries something new but only tries it on himself. If he fails, he has hurt only himself. If he succeeds he has made a discovery many people can use. Experiment only with your own time, your own money, your own labor. That’s the honest, sincere type of experiment. It’s rich. The cheap experiment is to use other people’s money, other people’s destinies, other people’s bodies as if they were guinea pigs.

  13. TEACH
  14. If you would have knowledge, knowledge sure and sound, teach. Teach your children, teach your associates, teach your friends. In the very act of teaching, you will learn far more than your best pupil.

    […]

    Knowledge is relative; you possess it in degrees. You know more about reading, writing, and arithmetic than your young child. But teach that child at every opportunity; try to pass on to him all you know, and the very attempt will produce a great deal more knowledge inside your own brain.

  15. READ
  16. From time immemorial it has been commonly understood that the best way to acquire knowledge was to read. That is not true. Reading is only one way to knowledge, and in the writer’s opinion, not the best way. But you can surely learn from reading if you read in the proper manner.

    What you read is important, but not all important. How you read is the main consideration. For if you know how to read, there’s a world of education even in the newspapers, the magazines, on a single billboard or a stray advertising dodger.

    The secret of good reading is this: read critically!

    Somebody wrote that stuff you’re reading. It was a definite individual, working with a pen, pencil or typewriter — the writing came from his mind and his only. If you were face to face with him and listening instead of reading, you would be a great deal more critical than the average reader is. Listening, you would weigh his personality, you would form some judgment about his truthfulness, his ability. But reading, you drop all judgment, and swallow his words whole — just as if the act of printing the thing made it true!

    […]

    If you must read in order to acquire knowledge, read critically. Believe nothing till it’s understood, till it’s clearly proven.

  17. WRITE
  18. To know it — write it! If you’re writing to explain, you’re explaining it to yourself! If you’re writing to inspire, you’re inspiring yourself! If you’re writing to record, you’re recording it on your own memory. How often you have written something down in order to be sure you would have a record of it, only to find that you never needed the written record because you had learned it by heart!

    […]

    The men of the best memories are those who make notes, who write things down. They just don’t write to remember, they write to learn. And because they DO learn by writing, they seldom need to consult their notes, they have brilliant, amazing memories. How different from the glib, slipshod individual who is too proud or too lazy to write, who trusts everything to memory, forgets so easily, and possesses so little real knowledge.

    […]

    Write! Writing, to knowledge, is a certified check. You know what you know once you have written it down!

  19. LISTEN
  20. You have a pair of ears — use them! When the other man talks, give him a chance. Pay attention. If you listen you may hear something useful to you. If you listen you may receive a warning that is worth following. If you listen, you may earn the respect of those whose respect you prize.

    Pay attention to the person speaking. Contemplate the meaning of his words, the nature of his thoughts. Grasp and retain the truth.

    Of all the ways to acquire knowledge, this way requires least effort on your part. You hardly have to do any work. You are bound to pick up information. It’s easy, it’s surefire.

  21. OBSERVE
  22. Keep your eyes open. There are things happening, all around you, all the time. The scene of events is interesting, illuminating, full of news and meaning. It’s a great show — an impressive parade of things worth knowing. Admission is free — keep your eyes open.

    […]

    There are only two kinds of experience: the experience of ourselves and the experience of others. Our own experience is slow, labored, costly, and often hard to bear. The experience of others is a ready-made set of directions on knowledge and life. Their experience is free; we need suffer none of their hardships; we may collect on all their good deeds. All we have to do is observe!

    Observe! Especially the good man, the valorous deed. Observe the winner that you yourself may strive to follow that winning example and learn the scores of different means and devices that make success possible.

    Observe! Observe the loser that you may escape his mistakes, avoid the pitfalls that dragged him down.

    Observe the listless, indifferent, neutral people who do nothing, know nothing, are nothing. Observe them and then differ from them.

  23. PUT IN ORDER
  24. Order is Heaven’s first law. And the only good knowledge is orderly knowledge! You must put your information and your thoughts in order before you can effectively handle your own knowledge. Otherwise you will jump around in conversation like a grasshopper, your arguments will be confused and distributed, your brain will be in a dizzy whirl all the time.

  25. DEFINE
  26. A definition is a statement about a thing which includes everything the thing is and excludes everything it is not.

    A definition of a chair must include every chair, whether it be kitchen chair, a high chair, a dentist’s chair, or the electric chair, It must exclude everything which isn’t a chair, even those things which come close, such as a stool, a bench, a sofa.

    […]

    I am sorry to state that until you can so define chair or door (or a thousand other everyday familiar objects) you don’t really know what these things are. You have the ability to recognize them and describe them but you can’t tell what their nature is. Your knowledge is not exact.

  27. REASON
  28. Animals have knowledge. But only men can reason. The better you can reason the farther you separate yourself from animals.

    The process by which you reason is known as logic. Logic teaches you how to derive a previously unknown truth from the facts already at hand. Logic teaches you how to be sure whether what you think is true is really true.

    […]

    Logic is the supreme avenue to intellectual truth. Don’t ever despair of possessing a logical mind. You don’t have to study it for years, read books and digest a mountain of data. All you have to remember is one word — compare.

    Compare all points in a proposition. Note the similarity — that tells you something new. Note the difference — that tells you something new. Then take the new things you’ve found and check them against established laws or principles.

    This is logic. This is reason. This is knowledge in its highest form.

The rest of You Can Do Anything! goes on to explore such facets of success as the fundamentals of personal achievement, manual and mental production, the art of the deadline, selling by giving, mastering personal energy, the necessary elements of ambition, and more.

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18 APRIL, 2013

E. B. White on Egoism and the Art of the Essay

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“Only a person who is congenitally self-centered has the effrontery and the stamina to write essays.”

The question of what makes a great essay is an inexhaustible source of fascination, and there is hardly a greater master virtuoso at it than E. B. Whitechampion of literary style, defender of the writer’s responsibility, custodian of the free press, little-known New Yorker cover artist, lover of New York.

In April of 1977, in the foreword to the indispensable anthology Essays of E. B. White (public library), the beloved author examines the very form he had so mesmerizingly mastered, with equal parts irreverence and love:

The essayist is a self-liberated man, sustained by the childish belief that everything he thinks about, everything that happens to him, is of general interest. He is a fellow who thoroughly enjoys his work, just as people who take bird walks enjoy theirs. Each new excursion of the essayist, each new “attempt,” differs from the last and takes him into new country. This delights him. Only a person who is congenitally self-centered has the effrontery and the stamina to write essays.

White offers a morphology of essayistic dispositions:

There are as many kinds of essays as there are human attitudes or poses, as many essay flavors as there are Howard Johnson ice creams. The essayist arises in the morning and, if he has work to do, selects his garb from an unusually extensive wardrobe:he can pull on any sort of shirt, be any sort of person, according to his mood or his subject matter — philosopher, scold, jester, raconteur, confidant, pundit, devil’s advocate, enthusiast. I like the essay, have always liked it, and even as a child was at work, attempting to inflict my young thoughts and experiences on others by putting them on paper.

While he professes to “fall back on the essay form” whenever an idea strikes, White, with the characteristic self-consciousness and self-deprecation of a proper essayist, puts the essay in its place on the literary ladder:

I am not fooled about the place of the essay in twentieth-century American letters — it stands a short distance down the line. The essayist, unlike the novelist, the poet, and the playwright, must be content in his self-imposed role of second-class citizen. A writer who has his sights trained on the Nobel Prize or other earthly triumphs had best write a novel, a poem, or a play, and leave the essayist to ramble about, content with living a free life and enjoying the satisfactions of a somewhat undisciplined existence.

Little did White know that a mere year later, he’d be awarded an honorary Pulitzer Prize for the full body of his work, which consisted — per his self-professed preference — largely of essays.

More so than any other writing form, White argues, the essay requires a unique commitment to truth and discipline:

There is one thing that the essayist cannot do, though — he cannot indulge himself in deceit or in concealment, for he will be found out in no time. Desmond MacCarthy, in his introductory remarks to the 1928 E. P. Dutton & Company edition of Montaigne, observes that Montaigne “had the gift of natural candour. . . .” It is the basic ingredient. And even the essayist’s escape from discipline is only a partial escape: the essay, although a relaxed form, imposes its own disciplines, raises is own problems, and these disciplines and problems soon become apparent and (we all home) act as a deterrent to anyone wielding a pen merely because he entertains random thoughts or is in a happy or wandering mood.

Echoing Joan Didion’s conception of writing as access to one’s self and George Orwell’s contention that the first universal motive for writing is “sheer egotism,” White returns to the solipsism of the essayist:

I think some people find the essay the last resort of the egotist, a much too self-conscious and self-serving form for their taste; they feel that it is presumptuous of a writer to assume that his little excursions or his small observations will interest the reader. There is some justice in their complaint. I have always been aware that I am by nature self-absorbed and egoistical; to write of myself to the extent I have done indicates a too great attention to my own life, not enough to the lives of others. I have worn many shirts, and not all of them have been a good fit. But when I am discouraged or downcast I need only fling open the door of my closet, and there, hidden behind everything else, hangs the mantle of Michel de Montaigne, smelling slightly of camphor.

White goes on to discuss his choice of essays for the anthology and their order, noting of his most famous masterpiece — the exquisite Here Is New York:

Some, like “Here Is New York,” have been seriously affected by the passage of time and now stand as period pieces. I wrote about new York in the summer of 1948, during a hot spell. The city I described has disappeared, and another city has emerged in its place — one that I’ not familiar with. … The last time I visited New York, it seemed to have suffered a personality change, as though it had a brain tumor as yet undetected.

Place has played an important role in White’s relationship with the written word, as becomes evident in the selected essays. He notes:

I spent a large part of the first half of my life as a city dweller, a large part of the second half as a countryman. In between, there were periods when nobody, including myself, quite knew (or cared) where I was: I thrashed back and forth between Maine and New York for reasons that seemed compelling at the time. Money entered into it, affection for The New Yorker entered in. And affection for the city.

I have finally come to rest.

White spent the remaining years of his life at his home in North Brooklin, Maine.

Essays of E. B. White is required reading, a pinnacle of the form from one of its greatest masters. Complement it with White on the role and responsibility of the writer and why brevity isn’t the gold standard for style.

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