NATO-RAL SAIMIN
PALPITATING PLANTATION
Pencil sketch, inside Morgan Museum, NYC, ca. 2017 |
Good morning. Sometimes in winter when my nerves are tight and the walls appear to be closing in, I load myself into my vehicle with the dog and get down to the Rockaway Peninsula in Queens, quick as I can. The emptiness of Jacob Riis Park at this time of year, the open vista of sand and sea, with buffleheads diving in the rips and gulls soaring above the clam shells in the surf, combine to offer respite from whatever it is that’s grabbed me in its mitts. It restores my sense of wonder, of possibility. — Sam Sifton, What to Cook this Week, New York Times
Aloha. Sometimes through endless summer where nothing changes in a planetary way on island, when even a short fall of rain doesn’t inconvenience the prolific life of seabirds, or even when I am hand washing laundry in the side yard with fresh pink plumerias, the occasion of the squall deluge precipitated by the mountain’s spat is negligible here, for when the trade breeze is constant the sun is assured hot and dry at once. Quick-pickling cucumbers sliced zebra striped on the outside, I made my lunch without a fuzz for the toast— with a side refreshment of ube roots macadamia milk horchata in a drinking bowl. Life on the island the renewal is an environmental apropos, the swinging of moods an illogic relevance. So I eat to my heart’s content, abundantly I gather, and my inspired appetite never have to be pleased. Even reading is faster here because of all the light. Yet not unlike Mr. Sifton, seasonality is material to preempt the production of creative writing on food. We cook to write (i.e. what we cook is at the tip of the iceberg), and saying least, to let our whole state flow. New York is (like) a stepping stone to Maui. The economy of a tropical clime appropriates tables for de rigueur salads and iced drinks with micro-umbrellas, and your home is your beach hut, if salty sultriness is on your menu. But I tend to a more palatable plantation cuisine menu with foraging wild. Slow-roasting raw cashews under mesquite wood chips. Over a golden sweet potato-thickened eggplant soup, day-old bread-slightly-burnt croutons. Steeping pigeonwings blooms and chervil to make blue tea. And a ginger bake stockpot with haricot beans. I have a peasant’s quiet love for earth-grown cultivars and fruit vines; and as humble I partake. Aldo Leopold wrote A Sand County Almanac about land ethics and careful stewardship of our mother planet. Pablo Neruda described earth a palpitating plantation. A young boy barely four almost died drinking from an untreated water he didn’t know laced with petrol near the farm’s hand pump. His limps inflamed and turned veiny and pale, his baby eyes twitched, his baby body flailed on his mother's arms crying. At the rural clinic an instrumented hose plunged in the baby’s throat and washed him inside out, while enduring gagging and crying with no sound. The mother couldn’t bear the pain as she looked, but held her son with all her love. A miracle baby, the doctor and nurse said afterwards when he lived. All night I read Robert Hass’ Time and Materials book of collected poems. In it he wrote of Basho advising against sensational materials if the horrors of the world is the truth of the world. But it wasn’t nature that hurt me when I was four. It was horror. I don’t remember that fatal day (only I was told what had happened years later). I was born in nature, how could I blame it? I was born like a fawn born in the woods by a protecting mother doe, as Hass would put it. “The mind hungering after likenesses. "Tender sky curves the swallows trace in air.” A father now not unlike Mr. Hass of the poems born after me, no longer a child I grew up writing. I can only learn from poetry as guide what a story can reveal. Take the darkness out, and eat again.
MEET THE FARMER
A DECADE NOW
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