Cardboard world

It was love at first sight. A beguiling little store tucked into a corner of Como called Gloook where most everything is made from recycled cardboard. (Gloook is just one brand of a small design firm, Alpac.) These furnishings are surprisingly strong and polished and in many cases exactly what you’d want. A tactile person’s haven…I wanted to touch and experience everything. They never said “Don’t touch,” and they even offered us a cup of coffee. Here’s their entire catalog of products. Nice. Human. Unpretentious. I like that.

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How to cook octopus

(OK, Finny, if you are reading this, it is NOT for you. We’re talking fresh-out-of-the-sea, wobbly, squiggly, suckery, floppy, tentacle-y, eight-leggedy edibleness. That said, it does not have a fishy taste at all, so I’m thinking you might actually like it—assuming you were, say, blindfolded—but I’m not holding my breath. I know what you’re muttering to yourself already.)

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Yes, here he (or she—how on earth do you determine the sex of an octopus?) is, fresh out of his—or her—clean, white, paper wrapping from the fishmonger. I rarely buy anything without asking advice about how to cook it. Even if I know, it’s always fun to hear another person’s take. With Octopussy, the advice was as follows:

Place 1 carrot, 1 onion, 1 stick of celery and one dried peperoncino in a large pot of water, along with a spoon of sea salt tossed in for good measure. When the water has just started appena appena to boil with the first tiny bubbles rising from the bottom of the pan, take your cleaned polipo and dip him/her three times into the hot water, while muttering, “There’s no place like home, there’s no place like home.” No wait, that’s the wrong ritual. Just dip three times, muttering nothing, then let the squiggly creature fall unceremoniously into the boiling water for 40 minutes of cooking.

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(Do you see that head sac? It’s been turned inside out with cleaning. To do the ritual dipping, you just place the head of the octopus on the end of your wooden spoon and let it dangle—1, 2, 3 times—into the water. You can see in the second of these last two pictures how, just after the three dips, the octopus has begun to change color and become firm. The tentacles, at first so slimy and formless, spiral into lovely concentric curls.)

Don’t let the water boil hard, but rather encourage it to stay at a persistent simmer for 40 minutes. At the end of that time, turn off the burner, cover the pot and let the octopus sit in his water until he/she, the water and the pot have cooled considerably. The fishmonger explained to me that in the best of all scenarios, I would do as the restaurants do, cook the little sea monster at night, and leave him in the water ’til morning—a method which supposedly renders the tenderest bites possible. I didn’t have that much time. I cooked mine after lunch and we had it for dinner, and I have to say, already, it was super—to the eighth power—yummy.

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I served mine with lentils, but classic preparations include a tepid salad of octopus and boiled potatoes (tossed with olive oil, lemon juice, sea salt and perhaps finely chopped parsley if you like)—my favorite in assoluto, or served over a purée of chick peas. If you are interested in either of these recipes, I will be happy to find them for you! But, believe me, if you take the cooked octopus, slice it, and dress it simply with olive oil, lemon juice and sea salt, it will not disappoint. It’s tender, almost sweet—utterly delectable. Promise.

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When in doubt, I make something…

Years ago, I lived through the death of someone dear to me largely by cleaning house and arranging things in a pleasing way.  I wanted to cast my eye about and see loveliness—everywhere. The therapist I was seeing off and on at the time (y’know, maintenance) remarked that I coped by “weaving the threads of my anxiety and sadness into something beautiful.” For years, I put the emphasis on the word “beauty,” because it is true: I do love beauty and give myself over to its sway willingly.

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I’m not talking about perfect beauty so much as I am referring to an inherent quality in things, events, ephemera and people that speaks directly to the soul and is hard to pin down in the final analysis. Beauty that breaks your heart and puts it back together again. Beauty that gives reason where it seems to be lacking. Beauty that, on sight, makes us feel balanced and is if things are right with the world after all. Beauty that grows out of imperfection. Flawed beauty. Accidental beauty. Spontaneous beauty. Simple beauty. It’s hard to put this into words, of course, because it really defies description even though you all know what I’m talking about.

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So, yes, beauty is important to me. But I’ve realized after many years, that the more significant part of the therapist’s statement wasn’t the beauty bit. It was the part about “weaving”—doing something, making something out of something else—taking all those feelings that are so hard to hold inside yourself, and transforming them through almost any creative act whatsoever into something else. A vase of cut flowers. A quilt. A typographic solution. A crocheted bag. A beautifully clean closet. A new business idea. A blog post. A handwritten letter. A nourishing meal.

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Making things, or at least trying to, is my drug. It lifts me up when all else will fail. The entire contents of a pharmacy are zero to me compared to creating something where, before, there was nothing. Even if that something is just an idea. A scribble. A plan. I’m good at starting things, but not always good at finishing them.

(I don’t think I’m alone in this. So many of you write beautiful blogs and take stunning pictures. And I know you’re not in it for the self-promotion. There’s something about just doing those two things—isn’t there?—writing and photographing—that helps set us straight. And so many of you make so much else besides…beautiful homes, delicious dishes, chicken houses, gardens, new business plans, mini-empires. Some of you make mockery of disease in the most stunning act of creativity and daring of all!)

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I suppose this is why, in the end, I chose advertising as a way to make a living. I didn’t relish the poverty of being an artist, but I knew that I needed to be called upon to make things. To realize something that sprang from a creative inspiration. It’s why, too, I tried to do it differently, injecting beauty when and where I could, and it’s the reason I was lucky to land in a place that conducted (and still does) this unwieldy and often ugly business with great finesse and relative enlightenment. It helped that there were deadlines, and people standing by to make me meet them. It helped that when one project finished, there were always three more.

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For years now, my husband and I have both freelanced—his projects arriving from all corners of the globe. So our work comes and goes, riding the waves of geopolitical events, constant technological changes and economic crises. This is not a good time. It’s a challenging time. But I’m not complaining. When we’re not making things for pay, we have time to dream up and make other things. Who knows what will grow out of it. Who knows what the sleepless nights, as full of wonder as they are of worry, will weave themselves into.

A new career? A knitted sock? A story to tell you? I don’t know yet. But I will, and when I do, you’ll be among the first to know. Have a lovely day, OK?

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Fall triptych

This morning as I walked,  I was taken by surprise. A deafening orchestra of birds overhead. Thousands of them. Hidden among leaves and branches, they were invisible, until they took flight as one, beating the air and leaving nothing but silence and the patter of debris and small nuts falling to the ground. That silence felt like loneliness, or the absence of someone very dear to me. The birds go, while we stay. This is the nature of things. You can’t help but watch them with a longing melancholy eye as they vanish

into thin air.

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I wasn’t the only one with my eye trained on a departure. As I walked out of the park, I saw these two, just like this, watching a train go by. Father and son, wordless, each with his own mental caption for the scene below. The father, casual, resigned, so in love with his son. The boy tense with excitement and sadness that the churning machine had passed him by. “There will be another one, soon.” My children always asked to be held high, just like this, to watch the trains go by. Just like this. Sometimes the engineer would see them clutching the chain link fence and blow the whistle. Those times are gone, vanished

into thin air.

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From there, I was off to meet a friend, way down Vincenzo Monti, under the arching trees that keep the street dark even as the sun asserts itself overhead. We had coffee, raspberry kipferls. We talked of old times and recent times. It was chilly. The air is changing. Fall is here in so many ways. Fortunately, there are people who have thought of that, draping scarves on each bistro chair so that old friends meeting after so much time can talk, warm, wrapped in scarlet to ward off the chill as the cappucinos’ steam and the stories of yesterday vanish

into thin air.

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Camparisoda: The aperitif of fast, futurist art

I always thought Thursday was really the day to celebrate Happy Hour. Friday seemed so banal, so been-there-done-that. And so today, from my bookshelf to your eye: “Camparisoda: l’aperitivo dell’arte veloce futurista da Fortunato DeperoMatteo Ragni.”*

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* Camparisoda: the aperitif of fast, futurist art from Fortunato Depero to Matteo Ragni. Fortunato Depero was the designer of the 1932 Camparisoda bottle and one of the founders of Italy’s futurist movement. Matteo Ragni is a contemporary designer living and working in Milan, who picks up where the former left off. This book sits near my desk, an inspiration from the past and the present.

Above: images from the book. Everything from the original designs, to wall paper concepts, to an ingenious concept for a glass made out of the empty bottle itself. Cheers and bottoms up!

 

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Go-see

Milan’s a fashion town. I didn’t have to tell you that, but I thought I’d start by stating the obvious. If anyone comes here, somehow miraculously unaware that this is indeed the case, he or she will soon figure it out by bumping into an inordinate number of tall, gangly girls between points A and B or F or Z.

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I have always found this phenomenon simultaneously entertaining and irritating. And let’s be clear (obvious statement #2), I’m not getting any younger, so the inevitable comparison between myself and “them” is getting harsher by the day. I’m not over-weight. I’m not ugly. But when I find myself navigating between the sort of bevy you see pictured above, I feel nothing if not fat, squat and less than attractive.

I remember when I came to Milan and I’d yet to see a fashion model, someone warned me. “You’ll see. They’re different,” she said. “They’re like…another species…they’re not like you and me.” It’s true. They’re not.

They come from elsewhere, many from Eastern Europe. They walk around, hunched over their maps in groups of 2 or 3. They speak accented English if they speak it at all. You can tell which of them will be successes. You can tell which ones need to go home. Now that I’m a mother, I often look at them with maternal eyes. I want to take them in, give them a decent meal, ask them how it’s going. Suggest career alternatives. They often seem lost.

Several years ago, I covered a shoot with Juergen Teller for Telecom Italia. He’d just finished compiling the images for his portrait book, Go-Sees. I cannot look at these girls without thinking of him. He’d recently had a little girl, if I remember correctly, and I wonder if that influenced his decision to approach the models at his door with a democratic eye. Here he is, in a tiny movie shot by the Tate Modern, telling you himself about the young women outside his studio, wanting so much to be seen, to be photographed, to be chosen:

I have no idea who the photographer across the street is. All I know is that he’s somewhere behind that brown door, and periodically there’s a gathering such as this one down on the sidewalk. Each one waiting for her name to be called. Far from home, looking for fame and fortune, at least for now, her hair hanging on either side of her face in listless swags, like curtains revealing an as-of-yet blank canvas.

GO SEES bk

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Mozzarella in 16 easy steps: A pictorial how-to

Hello, my friends. I’m back—ecco mi qua—after a weeklong trip to the U.S. plus six days (yes, it takes me that long!) to recuperate from jet lag and re-emersion into the rhythms of life with children-in-school. And what better way to nestle in and readjust then to hit a food fair on a cold, October Sunday? The excuse for the event was the ever-important Grape, but Italian edibles of every description were on hand along with music and abundant allegria. The “prize” of the day, however, goes to the young man who made mozzarella right before our hungry eyes. Here’s how you do it:

1. Advertise: Forget expensive creative teams. Chalk and a blackboard will do.
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2. Check your credentials. Key word: “Pugliese”
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3. Plop the curd into the bowl (the product of milk and caglio or rennet).
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4. Break up the curd vigorously into small shreds.
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5. Add salt. Just enough.
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6. Add boiling water.
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7. Stir with wooden paddle. It’s a steamy job but someone’s gotta do it.
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8. Occasionally test the ever-changing consistency of the cheese. Stir, pull, stir, pull.
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9. Adjust the hot water, ladling out some old, and pouring in some new.
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10. Getting there…
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11. Yep. There.
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12. Make your first “pallone” (big ball).
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13. Dunk it in clean, cold water and deftly shape it…giving just the right pinch…
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14. …pulling off its dimpled sederino (little rear end) and leaving, well, voilà!
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15. There you have it…fresh and ready for sale, bagged in its own salty, milky water.
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16.  All accompanied by the merry tunes of an Italian marching band.
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Hydrangeas and books

The skies are blah today—opaque, not giving away their secrets. The air, though still warmish, sports the first twinges of cold. People bend a bit more into their tasks, irretrievably committed to their autumnal routines of work and school, with the next vacation of any note months away—Christmas. It’s going to be a long haul.

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The Friday market in Via Vincenzo Monti lifted my spirits though. The colors, the freshness, the abundance, the vendors hawking their wares—no room for grumpiness or worry or stress. And what was on sale at the florist’s stall? Branches of autumn leaves and dried hydrangea (ortensia, in Italian, hortensia in French)—the perfect ambassadors for a season I’m not waltzing into willingly.

My memories of hydrangea go way back. When I was small, we had blue ones in our yard on Signal Mountain, Tennessee. An almost impossible blue. (I think even then someone explained to me that the color had to do with the minerals in the soil. I wonder if that’s true. Do you know?) These hydrangeas, abundant and benignly neglected, helped form the barrier between us and the family with “too many children and too many dogs”— the kind of family that spilled out of their own house.

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When I’d been in Italy a short time, I noticed that my mother-in-law made of this plant something altogether different. She harvested the branches when they were in full flower and hung them upside down to dry. Hers were blue, pink, purple, carnelian and leaf green. As they dried, they took on a slightly deeper, shadowier, duskier version of those colors. They remained in her house for years, and were beautiful until the very end.

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In Auxerre, at the end of the summer, these flowers spill out of the florists’ windows, most commonly plopped—beautifully and unceremoniously—in galvanized watering cans and pitchers. And here, in Milan, in the more elegant flower shops, they are doing the same. The bruisy colors match my longing to cocoon in summer’s fading light.

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Speaking of cocooning…

My last post was about Mom’s move to assisted living, and how graciously she was facing the change. I once asked her what gave her such stability in life, how she managed to approach life’s ups and downs with so much healthy curiosity and positivity. And she answered, “I’ve read a lot of books.”

When the mover came to give her an estimate on moving her things, he was left jaw-dropped at the amount of books she owned. Her cheerful comment, “I am books.”

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I’ve never read Moby Dick. This year’s Fall resolution is to read it. When I was in junior high and high school, I couldn’t imagine anything duller than a book about a man obsessed with a whale. Now, like Ahab’s fixation on Moby, I am fixated on adding this great novel to my arsenal. Mom tipped me off on a beautiful illustrated edition. Pictures help. I’ll let you know how it goes!

Have a beautiful day, Charlotte

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The title-less post

This week, my mother is moving to an assisted living facility in Atlanta, Georgia to live closer to my brother. She’s going with an open mind and a good, healthy sense of adventure. She knows that my brother and I would like her closer, and she knows, too, that maybe it’s a good time for her, also, to be closer to us. There have been some health scares, which are luckily resolved. And there’s that pesky memory-stuff, that can’t be denied. She’s leaving New York City, which has fed her heart, body and soul for many years. I know she’ll miss it. I will miss going there to be with her, and it will always be “her City” as far as I’m concerned.

But I also know that if anyone has the capacity for happiness inside four walls, or out of them, it’s my mother. She’s intellectually curious. She’s open. She’s observant. And best of all, she’s rarely—I believe I can say “almost never” here without lying—scared. In a world that’s full of stuff to be feared, she doesn’t. She approaches newness as an adventure, and you can include in that gaping category the big unknown, Death. She’s not scared of it. She’s philosophical about it. And because she is, we talk about it openly and honestly. I hope her courage will one day rub off on me. It would serve me well.

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“Courage, hard work, self mastery and intelligent effort are all essential to a successful life. Character in the long run is the decisive factor in the life of an individual and of nations alike.” —Theorore Roosevelt

You don’t participate in the moving of a parent without going through a lot of thinking, worrying and sleepless nights. Is it right for them? Is the timing what it should be? Is it the right place? Am I treating this person with love? You go around and around…and in my case, you do it while spending a great deal of time talking, laughing, crying and querying with the very person involved. We talk almost every day, she and I, and while I’m aware of the challenges of aging that are upon her, I’m most often aware of what her body and her mind continue to do really well. When she’s having good days, she’s brilliantly observant, critical (in the best sense of the word), funny. And while I’m being myself and she’s being herself…our ages slip away and disappear, and we snuggle into the comfortable slippers of biological and age-indifferent roles, mother and daughter. I may do a lot for her administratively, but she is still the one who gives hope. Her maternal supremacy reigns on, whether she knows it or not.

Take away the hierarchy implied by familial relationship (i.e., she is older by nature of being the parent), and you have two people who are still the people they were a long time ago in many senses. She still “plays well by herself” (a comment made by one of her elementary school teachers). I still have difficulty finishing projects I’ve started. She still wields a vast and accurate vocabulary. I still love illustrated children’s books. She still gets dressed every morning with a singular and somewhat dramatic sense of style. I still throw my hair thoughtlessly into a clip and say, “Let’s go!” I think we both look in the mirrors and feel slightly disconnected from what we see, our inner voices and selves not matching up perfectly with the ever new arrangement of flesh. We just feel like ourselves. She tells me how young and beautiful I look, and I tell her the same, and our mutual, unspoken inner response to that statement is: “Well, that’s because you love me.”

Age falls away—means little—does nothing but get in the way of the critical business of living the instant. Of listening, sharing, laughing, witnessing, attending, participating…giving comfort where you can.

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So when I think about how old I am, the question falls dumb on even dumber ears. I am what I am. I am the daughter of my mother. I am advancing in years as we all are. I am a product of my times, past and present. I feel changed in some ways, and essentially immutable and untouched in others. My spirit shines next to hers, as it does next to my husband’s and my daughters’. I will one day be dust, just like my father and my grandfathers, and unbelievably the offspring of my offspring. But, so what? Now is now. And here we are. And we were all lucky enough to meet and spend this amazing time together.

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Boy you gotta carry that weight

I don’t know if it’s the sucky economy and the do-nothing-about-it-Italian government or the fact that it’s Friday and it’s been one helluva long week or if it’s just that I’m sort of tired in an autumnal, why-did-summer-have-to-end way. But I saw this on my morning walk-about and thought: Well, yep. That pretty much sums it up! It made me feel distinctly not-alone and in a much better mood. We’re all toting around something. Baggage. Difficulty. Too many possessions. It’s a human thing.

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