Archives for posts with tag: eating habits
Original watercolor painting shows bowl of fruit salsa and ingredients.

Peach-Plum-Corn Salsa. 6″ x 6″ watercolor pencil on paper. Sharyn Dimmick.

I have my foot in several art camps: I hang out with writers at retreats. I meet regularly with groups of local folk musicians. And this past weekend I had the opportunity to attend to wrap-up party for the July 2012 Caerus Artist Residency in Sonoma County with my best friend (and Caerus co-founder) Suzanne Edminster.

I prepared a dish of fresh peach, plum and corn salsa, inspired by this recipe, and bought some blue and yellow gluten-free corn chips at the Santa Rosa Safeway. When I got to the party, the hostess gave me a bowl for the chips and I put my old, scarred Tupperware container on the table next to them. Other guests arrived, bringing fruit pies, buffalo wings, blackberry-apple crostata, pasta and green salads. The table held napkins, plastic forks and knives and paper plates.

I am used to folk music parties, which go something like this. Each person arrives and plunks something homemade or store-bought on a central table, greeting each other and often asking, “What did you bring?” Once people have dispensed with kitchen chores and stowed their instrument cases we take seats around the table and begin to chat and eat. It is only after we have served ourselves food and talked for awhile that someone will say, “Bill, do you have a song?” Or a late arrival will ask, “Have you been singing?” We say. “No, we’re still eating,” or “We haven’t sung a note.”

Musicians are always hungry. They congregate in kitchens where the acoustics are good, leaning against the counters. Opera singers cannot eat much before a performance, but feast afterwards — it doesn’t feel good to sing on an overly full stomach.  After a performance you are high on music, full of energy and ravenous.

Eventually at music parties everyone has had her fill and we start to sing, often taking turns going around the table. Some of us have tradtitional places or chairs we like to sit in. If it is big party, the tune-players will slip away to other rooms, leaving the singers to themselves. If it is a small gathering we will remain around the table all day.

The Caerus artists behaved differently. They sat their dishes on the table and started looking around. Some looked for places to display their art: an easel, a window seat, the edge of a wall. Most of them did not seem in a hurry to eat: they wanted to wander around and look at the art as though they were at an opening, carrying their small plates and congregating in groups of two or three. They ate alright, but they ate on the fly. My friend Suzanne says artists graze. I say that they are too busy to look around to eat seriously, but they will notice if the food is beautifully presented and admire serving dishes and particular utensils. These may be the people who say, “That looks too pretty to eat.” To a folk musician, there is no such thing as “Too pretty to eat” or “Too ugly to eat” either — if it is edible, someone will eat it.

At the Caerus party I parked myself in a chair next to the table (old habits die hard) and had conversations with whoever happened by. I stood out by not standing.

In case you are wondering what writers do at parties, in my experience they hug the table and yack: telling stories is the next best thing to writing them or reading them. And, in case you are waiting for a recipe, this is how I made the salsa.

Fresh Peach, Plum and Corn Salsa:

Chop 2 medium plums and 1 yellow peach into bite-sized pieces. Place in a medium-sized bowl.

Squeeze juice of 1 lime over the fruit.

Lightly steam two ears of corn and cut the corn from the cobs. Add corn to bowl.

Chop half a bunch of cilantro into mixture

Finely dice a small red onion. Add to bowl.

Cut 1 jalapeno pepper in half. Discard half of the ribs and seeds, reserving the other half. Mince the reserved ribs, seeds and jalapeno flesh. Mix thoroughly and allow several hours for the flavors to blend.

Food notes: I used Santa Rosa plums, a yellow peach and two ears of yellow corn, but you can use any plums, peaches or corn that you like. If jalapenos are too hot for you, discard all of the ribs and seeds before using and up the quantities of fruit and corn. If you freak out at cilantro or are allergic to it, substitute mint or fresh basil. And, of course, you can make it more acid by using more lime, more piquant with more onion. It would be delicious in a corn and cheese quesadilla or served alongside grilled chicken or fish. The original recipe calls for cumin, which I love — I just forgot to put it in this time.

Advertisements
Original ink and acquarelle sketch shows peach on plate with knife and fork.

Peach with Knife and Fork. 5″ x 7″ Ink and Acquarelle. Sharyn Dimmick. Detail of larger work.

Actually, I’m not going to talk about cake in this post, despite the title. I am going to talk about eating like a French person and how I lost weight and built muscle mass on a diet which included croissants, hot chocolate, espresso, wine and plenty of bread and cheese.

Some of you may remember when I came back from an earlier meditation retreat suggesting that you try to chew each bite thirty times to help you slow down and pay attention to the tastes and textures of what you were eating, to be present for your meal and to improve your digestion. Well, the French have another method for making meals slower and more enjoyable: some of it is in the meal service and much of it resides in the use of the knife and fork.

I am an American. I grew up in a culture where we eat with our fingers and turn even pieces of meat into unrecognizable finger foods (Chicken McNuggets, anyone?). Fourth of July aka Independence Day just passed: how many of you ate fried chicken, barbecued ribs, corn on the cob with your fingers? Raise those sticky hands and now wipe them on your napkins. But the list goes on. Who eats fruit by picking it up and taking a bite, perhaps over the sink, if it is juicy? How do you eat pizza, French fries, hamburgers?

Original watercolor painting shows old wooden door in stone wall, with green plant.

The Farm at Villefavard. 5″ x 7″ Acquarelle on Paper. Sharyn Dimmick.

At Villefavard, the first thing that appeared at dinner was a cold soup in a narrow glass (My favorite incorporated bacon, melon and cream). Sometimes there was a platter of prosciutto. Lunches began with plates of roasted vegetables, sliced tomatoes or salads and we had food shortages for a few days when the first twenty people through the line thought that that was all they were going to get and filled their plates while those of us further back in the line watched the last roasted peppers, the last tiny green beans, disappear, and saw that we would be eating shredded carrots again. We wrote notes to our teacher and to the administrative team, asking that people be more mindful and moderate in their consumption so that others could eat. I wrote notes.

The problem was a cultural one. Les Américains, not used to eating in courses, assumed that the first food out was all they were going to get and they needed to store up calories for the winter. Our hostess, Justine, spoke to us by the third night. She told us that the French eat in courses, that the chef would put out starters and salads and that later he would bring out the main course, then a cheese course and, finally, dessert. Natalie encouraged us all to try eating the French way — to serve ourselves limited amounts of the first course, go back to our tables, eat that, and then bring our plates back for meat or fish, paella or French lasagna. Meals began to look less like eminent food shortages once everyone realized that there would be more food, but there would not be more salad or crudites after the first service.

I conducted a further experiment beyond eating in courses: I decided that I would carve my food with my knife and fork the way the French did. This led to amusing incidents when we were served roast chicken and I was presented with a piece including a bit of breast, a leg portion and a wing. Only my kitchen skills at disjointing chickens saved me — I knew there was a joint and that I could cut through it to tease the bones apart. Even so, that meal took me a long time to eat, using a knife to remove meat from bones. Because the French method caused me to eat more slowly I had time to fully taste the food I loosed from the carcass and time to notice when I was full. As I cut pears and peaches with a knife and fork, cutting small pieces of goat cheese to eat in between slices of fruit, I remembered that my Irish grandmother always cut apples into slices for me and that apples tasted better that way (We ate the slices with our fingers though in my Grandmother’s kitchen).

St. Paul Pizza: tomatoes, mozzarella, oregano, chorizo, egg.

St. Paul Pizza. Photo by Sharyn Dimmick.

A week of eating this way was enough to convince me that it was beneficial. I still ate clafouti, cheese, fruit tart, but I no longer picked them up and absentmindedly stuffed them into my mouth. When I moved on to Paris the next week, I felt more comfortable with my knife skills and did not feel self-conscious eating pommes frites with a knife and fork. I ate pizza with a knife and fork in the Marais and I enjoyed it more than I would have had I picked it up. Many times, after making my way through an apertif and salad I had no room for further food. Other times I ate three courses and coffee. I did revert to outdoor picnics of bread, cheese, fruit and olives sans knife and fork, but only because airline regulations prohibit travel with a handy Swiss Army knife (I do not like to buy things I already own one of).

Eating French-style allowed me to eat a croissant and a hot chocolate for breakfast each morning. I stayed a few blocks away from the Eric Kayser bakery on the Rue de Bac. Each morning I put on my only pair of pretty shoes, walked to the boulangerie after it opened at seven, sat at a small square table facing a window and ordered my chocolate chaud and un croissant. Un croissant, not deux or trois. Eric Kayser’s croissants are light with an airy interior, stretched strands of yeast dough with the freshest, sweetest butter flavor. The crust shatters slightly, but does not produce a plate full of crumbs. The chocolate is rich and dark, served with optional sugar, which I never added or missed. I looked forward to my petite dejeuner and was sorry to leave Eric Kayser behind when I moved to the Bastille for my last two nights, but I found one other bakery with fabulous croissants by noticing a man carrying a small sack of bakery goods on a Sunday when many boulangeries are closed.

I came back from Paris trimmer and more fit, despite all of the wine, cheese and patisserie. Of course, I walked everywhere, often several hours a day, but that is another story.

P.S. Writing Practice Classes in the San Francisco Bay Area: I am contemplating teaching one of my rare writing practice classes this summer. If you would like to learn writing practice as developed by Natalie Goldberg (set forth in Writing Down the Bones, Wild Mind and many other books), please contact me.