Monday, November 2, 2009

climbing the mango tree... and food memories

Climbing the Mango Tree is a delightful memoir of the author’s childhood in mid-twentieth-century Delhi, India. Madhur Jaffrey’s wealthy family lived in an extended-family compound, and her life was rich in cousins, aunts, and uncles. It was also rich in food, and this book links specific memories with lovingly-described meals, from street food to picnic snacks to full-course dinners that boggle the imagination. Because Jaffrey’s family was of the professional class, their lifestyle blended Hindu traditions (their heritage, to which the family’s women gave primary allegiance), Muslim culture (which the men absorbed in their work), and English customs (again from the men, but also from the children, who attended English schools). This blend worked itself seamlessly into their food, dress, and family culture–until the partition of India in the 1940s disrupted their lives. The book provides a fascinating look at a way of life that will be exotic to many Americans, full of memorable characters and delicious recipes.

* * * * *
Madhur Jaffrey was born in 1937 into a well-off family in Delhi, India. When she was 19, she went to London to pursue her interest in acting, studying at the Royal Academy of Dramatic Arts. While there, she missed the food of her youth (she had never done any cooking as a girl), so she wrote to her mother, requesting recipes, and taught herself to cook. After graduating from the RADA, she acted in film, television, and radio productions, marrying an Indian actor. After a move to New York, she began to write food articles, then to host a television program about Indian cooking. She has been the host of three BBC series on Indian food and has published numerous cookbooks. All of her work seeks to put food into the context of regional cultures, educating Westerners about life in India and beyond as she teaches them to cook.

* * * * *
Discussion Questions
1. How does food help Jaffrey’s family negotiate their mixing of cultures? Does it help create an independent identity for the family?

2. The family’s structure is overtly patriarchal, but the women still seem to inspire strong memories in Jaffrey, and she herself is a strong, independent girl who grows into a distinguished woman. What kind of role models does she see among the women in her family that help her? How do these women function in the family? Does food play a role in their roles?

3. What aspects of the elite Delhi culture that she describes surprise you the most? Which would you find most difficult to negotiate? Why?

4. The family seems to have strong unwritten rules about which foods belong in which settings–what it is appropriate, in other words, to eat at particular times and places. Consider your own unwritten rules about such things, and compare them with others in the group, if you’d like. Why do you think that people develop such customs?

5. Jaffrey seems to have a strong sense of her own family and its identity, even within the extended family living situation. What distinguishes her family, in her mind?

6. How does Jaffrey herself blend cultures into her attitudes and personality?

7. At the book’s end, Jaffrey talks about how the “innocent honey” put on her tongue came as she aged to be “mixed with the pungencies of Indian spices.” What does she mean by that? Do you have a parallel food metaphor, from your own cultural setting, to describe the progress and growing complexity of your life?


there is just ONE book left for the IFPL Book Club...
Kindred by Octavia Butler
join us for the meeting on December 14 @ 7pm
see me if you're interested in the last book!!

Monday, October 19, 2009

mysteries of the mistress of spices

The Mistress of Spices is a lyric novel, written in a mixture of prose and poetry, in the style that has been called “magic realism”: while primarily set in this world (specifically, a run-down part of Oakland, California), it includes features which defy natural laws and give it an air of mysticism. The heroine, Tilo, comes to Oakland after she has been trained on a remote, magical island by the priestess-like Old Mistress of Spices for a vocation of ministering to others. Assuming a crone’s body and forbidden to leave her shop, Tilo shares the magic of her spices and her own psychic powers with a variety of Indian immigrants who are alienated, lonely, and/or in danger in their new homeland. Soon, however, her own independent, intense nature leads her to disobey her instructions (and the voices of her spices, which take on animate qualities). She ventures outside the shop; she falls in love with a non-Indian. In the end, Tilo must decide whether she will remain true to her calling or choose an ordinary life of mortal love, knowing that her choice will bring potentially dire effects.
* * * * *

Chitra Banerjee Divakaruni
was born in India (Bengal) and lived there until 1976, when she emigrated to the United States to study. She holds a Ph.D. from the University of California, Berkeley. During her education, her website biography notes, she worked at “many odd jobs, including babysitting, selling merchandise in an Indian boutique, slicing bread in a bakery, and washing instruments in a science lab.” She has published in many anthologies and magazines (including the New Yorker and the Atlantic Monthly) and has won awards for her poetry (a Pushcart Prize, and Alan Ginsberg Award) and for her prose (Arranged Marriage won a National Book Award in 1996). The Mistress of Spices was named to several best-books lists, including the San Francisco Chronicle’s “100 Best Books of the 20th Century” list.

Divakaruni teaches creative writing at the University of Houston and has judged the National Book Award and the PEN Faulkner Award. She has continued to be active in social justice concerns, working with organizations that help South Asian and South Asian American women who are victims of domestic violence, and with a group that helps educate urban slum children in India. She lives in Houston with her husband and two sons. Her website (www.chitradivakaruni.com) includes biographical details, information on her books and awards, links to interviews, and a page about her writing practice.

* * * * *
Discussion Questions
  • The book shares a great deal of information about the alleged powers of individual spices. Do you believe that spices (or other food) can indeed change people’s ways of thinking? Ways of behaving? Fates?
  • Tilo is clearly an independent, rebellious young woman from her earliest years. Why does she choose to become a Mistress?
  • In writing about her own work on her website, the author says that women’s problems–especially the problems of immigrant women–are among her foremost concerns (she also reveals that she worked at a battered woman’s shelter in Berkeley). Does this novel have things to say about why immigrant women (or any women) suffer? Does it hold out any hope for relief? Are the spices a kind of metaphor in this equation?
  • “I write to unite people . . . to dissolve boundaries,” Divakaruni has said. What kinds of boundaries are being dissolved in this novel, and how? Does food play a role in this dissolution?
  • A New York Times Book Review article called Mistress of Spices’ ending (in which Tilo chooses her lover over her vocation) “predictable”; a more harsh phrase that might be used is “a sell-out to romantic conventions.” How do you respond to Tilo’s choice? Is the author ultimately compromising the theme of women’s power by having her main character deny her vocation?
  • How do you respond to the earthquake at the book’s end?
  • Divakaruni’s poetry has won many prizes, as the biographical sketch above suggests. In what ways is this book “poetic?” Do those components make it a better book? Do poetry and spices go together, somehow? How?

Tuesday, October 13, 2009

thoughts on chocolat...

about... Joanne Harris was born in 1964 to an English father and French mother and has lived her whole life in England. Trained as a linguist at Cambridge, she worked as an elementary school teacher for fifteen years, during which time she published three novels. The last of these was Chocolat, which catapulted her in 1999 to international fame. She then became a full-time writer and has produced five more novels (several of which also use food motifs, including Blackberry Wine and Five Quarters of the Orange) and a collection of short stories, and she has collaborated on two cookbooks (The French Kitchen and The French Market). Her fiction has been termed “gastromance” for the way that it merges exuberant description of food with the conventions of romantic fiction. She lives with her husband and daughter near where she was born, and is a musician as well as an award-winning writer.

Harris’ extensive website includes biographical information, notes on her books, links to interviews with her, and an excellent informal essay entitled “How I Write,” which will interest readers who are themselves aspiring writers.


* * * * *

1. Why do you think that Vianne sets up her chocolate shop in this town? Why has she chosen chocolate in the first place as a means for expressing herself, since her mother wasn’t interested in the craft of cooking? Is luxury chocolate appropriate, given her personality? Her psychic gifts?


2. Why (besides the chocolate’s delicious taste) are the townspeople drawn to Vianne’s shop? What is Vianne expressing through her chocolate, and why do the townspeople need that?


3. In what ways are Vianne and Father Reynaud moral opposites? Harris has said that there are no real heroes or villains in the work–do you agree? Can you see drawbacks to living with Vianne’s values, as well as with Reynaud’s? Can you find pity for him, as well as for her?


4. What does the character of Anouk add to the book? How would your sense of Vianne, or of the symbolism of the chocolate itself, be different if she weren’t there? Does knowing that Harris based the character on her own young daughter influence your take on the novel? Knowing that the character of Armande was based on Harris’ beloved great grandmother, a fine cook and powerful matriarch?


5. The battle over chocolate in Lansquenet takes place during Lent, a time when people traditionally deny themselves things to focus their spiritual energy. Harris seems to be suggesting that such self-denial is inevitably repressive–do you agree? Or, do you think that there is a time and place for such discipline?


6. Chocolat has a great deal to say about insiders and outsiders (in both social terms and in terms of institutionalized religion). What do you think that Harris is ultimately suggesting about the costs and benefits of being one or the other?


7. Do you think that the ending (both what happens to Reynaud and what happens to Vianne) is plausible? Why or why not?


8. Harris has suggested that the book demonstrates that “love, not faith is the key to salvation.” How does this theme play out in Chocolat? Why might Harris have chosen chocolate, per se (vs., say, garlic or cheese or lobster) as the central metaphor, given this thematic intention?

choice cuts... thoughts to ponder

about... Mark Kurlansky wrote the best-selling books Cod: A Biography of the Fish that Changes the World, Salt: A World History, and The Basque History of the World. He worked as a professional chef and pastry maker in New York and New England and writes a column about food history for the magazine Food and Wine. He has won the James Beard Award for Excellence in Food Writing. He has also written for 25 years about international affairs, particularly European and Latin American subjects, and has recently written a collection of short stories and a novel based on his experiences in the Caribbean. He lives in New York with his wife and daughter.



* * * * *
1. How do the approaches and attitudes toward specific foods (chocolate, spices, meat) voiced by writers in this collection compare/contrast to those put forth in other books that you’ve read in this series?

2. Within any given chapter in this book, you’ll see a range of ideas about the properties of a particular food group, the best way to prepare it, and what it symbolizes culturally. Look at some of the writers who voice attitudes less familiar to you. What can you learn about their culture/time period from what they say about food?

3. Many of the writers in this book are extremely opinionated. What is it about food, in particular, that tends to bring out such strong feelings? Choose a few writers for your discussion.
4. Can you identify historical changes overall in the way that people think about food? What are those? Are the more recent writers necessarily more “right” than the earlier ones? Why or why not?

5. Can you identify any constants in the way that people think about food that transcend the historical and cultural contrasts chronicled in this book? What are they?

6. Which selections here do you particularly like? Why? Do those writers express attitudes toward food that you share?

Monday, September 14, 2009

Let's Talk About It Book-Clubs-In-a-Box and an IFPL Book Club

this is what's going on...

Let's Talk About It
  • get your books today
  • discussions begin next Monday--the 21st of September
  • discussions will continue every other Monday

Book Clubs in a Box

  • we're talking nominations for the 2010 collection until this Friday--the 18th of September
  • vote on the titles you'd like see in the 2010 collection

IFPL Book Club

  • I've invited all of you who let me know you were interested in a book club here at the library to LTAI... my hope is that some seeds will be planted here, and a group will grow!!

Tuesday, March 10, 2009

Snow Falling on Cedars, week one

historical background
Between 1901 and 1907, almost 110,000 Japanese immigrated to the United States. They were drawn by promises of ready work--American railroads actually sent recruiters to Japanese port cities, offering laborers three to five times their customary wages--and by worsening economic conditions in their homeland, which was undergoing social upheaval in the aftermath of the Meiji Restoration. Although many originally came as dekaseginin--temporary sojourners--work was plentiful, not only on the railroads, but in the lumber camps, salmon fisheries, and fruit orchards of Oregon and Washington. Increasingly, the newcomers stayed on. Many purchased their own farms. In time, these issei--first-generation Japanese--started families.

The Japanese government actively encouraged emigration, and although the Gentleman's Agreement of 1908 curbed the flow of Japanese men, it allowed unrestricted entry to their wives and children. Many women were "picture brides," who came to join husbands they knew only through photographs and letters and whom they had "married" by proxy in ceremonies in their native villages.

Very quickly the newcomers encountered antagonism. Although Japanese constituted less than two percent of all immigrants to the U.S., newspapers trumpeted an "invasion." The mayor of San Francisco proclaimed that "the Japanese are not the stuff of which American citizens can be made." The Sacramento Bee warned that "the Japs...will increase like rats" if allowed to settle down. The Asiatic Exclusion League agitated for legislation to halt all Japanese immigration. Politicians ran for office on anti-Japanese platforms. In 1923, the state of Oregon prohibited issei from legally buying land. A year later, Congress passed the National Origins Act, which banned all immigration from Japan.

In spite of this, the newcomers thrived. They found ways of getting around some laws (under Oregon's Alien Land Law, first-generation Japanese could legalize their land purchases by registering them in the names of their American-born-or nisei-children). They tolerated other laws. Meanwhile, the immigrants preserved the ceremonies and values of Japan even as they encouraged their children to acculturate and, particularly, to educate themselves. "You must outperform your detractors," one issei counseled his children. Typically, the nisei grew up thinking of themselves as Americans, yet were reminded of their difference every time they encountered the taunts and ostracism of their white neighbors.

Following the Japanese surprise attack on Pearl Harbor on December 7, 1941, hostility turned into paranoia--and paranoia became law. Japanese who had lived in America for thirty years were accused of spying for their native land. The day after Pearl Harbor, the U.S. Treasury Department ordered all Japanese-owned businesses closed and all issei bank accounts frozen. The U.S. government had already compiled lists of Japanese whose loyalties might be suspect, and more than 1,000 businessmen, community leaders, priests, and educators were arrested up and down the West Coast.

The restrictions escalated. Japanese homes were searched for contraband. Telephone service was cut off. One newspaper columnist wrote: "I am for the immediate removal of every Japanese on the West Coast to a point deep in the interior....Herd 'em up, pack 'em off and give 'em the inside room in the badlands...let 'em be pinched, hurt, and hungry." In February 1942, President Franklin Roosevelt signed Executive Order 9066, which empowered the government to remove "any and all" persons of Japanese ancestry from sensitive military areas in four western states. Japanese residents had only days in which to evacuate. They were compelled to sell their land and businesses for a fraction of their value, or to lease them to neighbors who would later refuse to pay their rent. All told, some 110,000 Japanese Americans were deported from their homes to hastily built camps such as Tule Lake and Manzanar, where they lived behind barbed wire for the duration of the war.

Neither Germans nor Italians living in this country were subject to similar restrictions**, and recently declassified documents reveal that the Japanese population was never considered a serious threat to American security. In all of World War II, no person of Japanese ancestry living in the United States, Alaska, or Hawaii was ever charged with any act of espionage or sabotage. As one nisei later wrote, the victims of Executive Order 9066 were people whose "only crime was their face."

In 1988, the U.S. government formally apologized to Japanese citizens who had been deprived of their civil liberties during World War II.

This information was gathered from Lauren Kessler, Stubborn Twig: Three Generations in the Life of a Japanese-American Family. New York, Random House, 1993.

**this isn't absolutely true. about 20,000 german-american and italian-americans were interned throuhgout the united states.

background for the book
The place is the fictional island of San Piedro off the coast of Washington, a community of "five thousand damp souls" [p. 5] who support themselves through salmon fishing and berry farming. The time is 1954, eight years after the end of World War II, in which some of San Piedro's young men lost their lives and many others were irreparably injured, physically as well as emotionally.

Now one of those survivors--a gill-netter named Carl Heine--has drowned under mysterious circumstances and another fisherman is on trial for his murder. The fact that the accused, Kabuo Miyamoto, is a first-generation Japanese American is not mere coincidence. To the local coroner, Heine's injuries suggested that the sheriff look for "a Jap with a bloody gun butt" [p. 59]. And among San Piedro's Anglos, hostility against Japanese still runs high, even if, like Kabuo, those Japanese were born and raised on the island and fought for the United States during the war. Kabuo's trial, in a sense, is a continuation of the white community's quarrel with its Asian neighbors.

But the Japanese--and particularly Kabuo and his wife, Hatsue--have their own grounds for resentment, stemming from years of bigotry that culminated during World War II, when thousands of Japanese Americans were interned in government relocation camps and Kabuo was effectively robbed of land that his father had worked and paid for. Even as the state presents its case against Kabuo Miyamoto, the reader is compelled to recognize the Miyamotos' case against their white neighbors, the best of whom stood by as an entire community was driven into exile. Their case never receives a public hearing: it can only be prosecuted in the courtrooms of memory and conscience.

It is not only the Japanese who remember. Among the trial's observers is Ishmael Chambers, the embittered war veteran who runs the San Piedro Review. Ishmael is not an objective witness. He grew up with Carl and Kabuo. He lost an arm on Tarawa to Japanese machinegun fire. Most important, Hatsue was Ishmael's boyhood love and he has never come to terms with losing her. In the course of the trial he will find himself torn between rancor and conscience, loath to forgive Hatsue yet unable to condemn her husband. To a large extent, Snow Falling on Cedars is about the ways in which Ishmael, Kabuo, and Hatsue at last acknowledge their respective losses and recognize the sense of mutual indebtedness and need that may survive even the gravest injuries and betrayals--the way in which loss itself may become a kind of kinship. In a place as isolated as San Piedro, "identity was geography instead of blood" [p. 206] and people make enemies reluctantly, knowing that "an enemy on an island is an enemy forever" [p. 439]. The snow that falls on David Guterson's hauntingly imagined world falls on everyone who lives in it.


hope to see you tonight at the library!

Tuesday, November 18, 2008

The Wind in the Willows

1. Why is Mole lucky to have met Rat on his first trip out into the world? What might have happened to Mole if Rat hadn’t found him?

2. What was Mole’s first impression of Toad? How did it change after the trip in the gypsy caravan?

3. Do you think it was brave or foolish of Mole to go off into the Wild Wood by himself? Explain your answer.

4. How did Rat show his friendship to Mole when they both got lost in the wild Wood?
5. What problems do you think Toad, Mole and Rat may have with their friendship in the future?

6. If Mr. Toad lived today, what new craze or fad would he take up?

7. Whose house do you find most appealing – that of Badger, Mole, Rat, or Toad – and why?

8. Do you think friendship was the same in 1908 as it is today?

9. Would you have liked to live in the English countryside in 1908, in the setting of this book? Why or why not? How does the time period influence the way the four main characters speak.

10. What secret message do you think Rat and Mole heard in the wind in the willows?

11. How does Toad’s strong sense of dignity create a serious danger for him?

12. Do you think Toad will return to Toad Hall without being found by the police? Why or why not?

13. If Rat and the Sea Rat were humans, would this part of the story still be a fantasy?

14. How does the way Toad acts with the barge-woman show that prison didn’t change him?

15. How did the battle for Toad Hall help unite Rat, Mole, Badger, and Toad and make them forget their conflicts with each other?

16. What conflict did Toad have with himself after Toad Hall was regained?

17. Do you think the four friends will continue to live peacefully together? IF not, what might happen?

18. What lessons about friendship did you learn from this book?

about Ray Bradbury

Ray Bradbury is one of those rare individuals whose writing has changed the way people think. His more than five hundred published works -- short stories, novels, plays, screenplays, television scripts, and verse -- exemplify the American imagination at its most creative. Once read, his words are never forgotten.

His best-known and most beloved books, THE MARTIAN CHRONICLES, THE ILLUSTRATED MAN, FAHRENHEIT 451 and SOMETHING WICKED THIS WAY COMES, are masterworks that readers carry with them over a lifetime. His timeless, constant appeal to audiences young and old has proven him to be one of the truly classic authors of the 20th Century -- and the 21st.

In recognition of his stature in the world of literature and the impact he has had on so many for so many years, Bradbury was awarded the National Book Foundation's 2000 Medal for Distinguished Contribution to American Letters, an the National Medal of Arts in 2004.