Δευτέρα, 5 Νοεμβρίου, 2012
Today I cooked lamb offal.
As it happens most of the time, everything begins with the ingredients. My butcher gave me fresh lamb offal (kidneys, liver, heart, lungs and sweetbread) and I run to the kitchen to cook it.
I marinated the offal in red wine, a bit of salt and pepper, and fresh oregano.
After three hours I dusted the pieces with flour, let them rest for a few minutes, and then fried (to perfection).
In parallel I baked aubergine in the oven, then mashed it with a spoon and mixed it with a spicy fresh tomato and chilly pepeer sauce.
I served the fried offal with sour lamb’s milk yogurt on the side, dusted with crushed red chilli peppers, and the spicy aubergine mix.
For decoration I used chopped green and red peppers and garlic cubes.
The sweetness of the offal married the sour taste of the yogurt and I got a superb sweet and sour dish!
The aubergine mix was hot and assertive, and matched superbly the yogurt. It provided the textural alternative to the offal.
I recommend a merlot with body to accompany the dish. Patrimo dei Feudi di San Gregorio 2001 is a superb choice.
Πέμπτη, 1 Νοεμβρίου, 2012
I recently visited Izmir and toured parts of the Izmir province.
Today I publish some of the photos I took in the small seaside town of Iskele (Skala in Greek).
Iskele is located a short distance away from the city of Urla (Vourla in Greek), built near the site of the ancient Ionian city of Klazomenai (Clazomenae), the birthplace of philosopher Anaxagoras.
The city of Urla is located 40km west of Izmir, on the Rythrean peninsula.
The small port of Iskele in the 19th century and early 20th century was very busy when the famous raisin of the area was shipped abroad. According to some sources, in 1910 more than 1,600 tonnes were exported to Austria alone.
Many wealthy families from Izmir and Urla had their summer residence in Iskele. One of the them, was the family of Stelios Seferiadis, a lawyer, and father of the Greek Nobel Laureate Giorgos Seferis, who was born in Izmir and raised in Urla. The residence is a complex of buildings that has been turned into a hotel and restaurant.
According to the census of 1920, the city of Urla had 50,000 inhabitants; 35,000 Greeks, 5,000 Turks and 10,000 Armenians and Jews. Only 500 of them were living in Iskele.
As I was walking in the small town, a local resident asked me in Greek «where are you from?» And he knew the answer before I gave it to him.
Τετάρτη, 17 Οκτωβρίου, 2012
This post is about a tasty component of the Eastern Road. The Eastern Road is the gateway connecting the Greek civilization with the East.
I confess that I am eternally fascinated by the multivaried taste of sujuk.
A good sujuk is like a door opening to a new world, for you to discover.
(Sujuk is a dry, dark, spicy sausage produced in the Balkans, Turkey and other countries like Armenia. It can be eaten raw, but I prefer to eat it cooked.)
I was lucky to receive a wonderful sujuk the other day, and by association I instinctively decided to create a sujuk borek.
The warmth, the enveloping flavours, the melting texture, make borek one of the all time favourites in my kitchen.
(Borek or Bourek is a baked or fried filled pastry made of thin dough.)
The filling of the sujuk borek comprises in addition to the sujuk: sliced tomatoes, sliced hard yellow cheese (I used Greek gruyere), and mint leaves.
The phyllo for the borek is made with flour, water, salt and a touch of olive oil. It has to be crispy and dry.
I place the sujuk on the phyllo, then the tomato slices, the mint leaves, and on top of everything the cheese.
I prefer to give the borek the shape of a baguette, as it is easier to bake and serve. If you prefer you can fry it, but baking is far superior for this dish.
The borek needs 20 minutes in 250 C and immediate serving, steaming hot.
It can be one of the most satisfying eating experiences.
Crispy crunchy phyllo, the Spartan side of the dish, partnered by the succulent flesh of the sujuk, flavoured by the mint leave, lubricated by the melted cheese and bound by the acidity of the tomato.
Accompany it with a glass of ouzo. Bon appetit!
Δευτέρα, 15 Οκτωβρίου, 2012
I was in London for a few days and had the opportunity to visit the British Museum.
This post is about a crouching Aphrodite in the Museum. All the photos are mine, unless stated otherwise.
The statue’s official description given by the Museum’s web site is:
«Marble statue of a naked Aphrodite crouching at her bath»
Roman, 2nd century AD; a version of an original from Hellenistic Greece
The woman portrayed is a young woman, who literally sits on a jug of water which she presumably used to bathe herself.
Aphrodite or not, the woman is ordinary. There is nothing exceptional about here.
There is a very strong sense of motion in her body.
The body is turned to the left, but the face is looking at something to her right.
There is a sense of surprise in her look.
Her right hand is almost touching her hair on the left.
The overall posture of the body seems to be unusual by today’s strandards, and this is not only because of the jug.
Why did she assume this highly uncomfortable position?
What was the reason she turned her head to her right?
Was her name Aphrodite? Or the artist named the model in such a way due to commercial reasons?
This statue is sometimes known as ‘Lely’s Venus’ since it once belonged to the baroque portrait painter Sir Peter Lely (1618-80). It was subsequently acquired by King Charles I (reigned 1625-49).
(Source: British Museum’s website)
The three-dimensionality of the statue is typical of Hellenistic sculpture, as is the hairstyle with its elaborate top-knot. (Source: British Museum’s website)
Other versions of the crouching Aphrodite are known: some have an additional figure of Eros, the god of love, while others show the goddess kneeling on a water jar to indicate that she is bathing. (Source: British Museum’s website)
The way of expressing the human figure is realistic. The idealization of the classical period has gone.
Another classical feature that is absent is the focused sexuality of the female body.
I look at this body and it has strength, it has tension, it stands solidly on earth, but is not the body that invites to sexual pleasures by its posture or disposition.
Compare and contrast with this statue, which stands next to the crouching Aphrodite.
It is this unique ability of the artist to portray a normal woman taken by surprise after taking her bath that moved me. It is real, it is strong, it is right in front of you and makes a statement: «I exist». The nakedness of the body is not shocking, or arousing. It comes naturally. This simplicity and directness and total respect for the unadulterated human body, makes this statue special.
Παρασκευή, 28 Σεπτεμβρίου, 2012
Ο ποιητης Νικος Καρουζος ταξιδεψε στον αλλο κοσμο την 28η Σεπτεμβριου 1990.
The Greek poet Nikos Karouzos died twenty two years ago this day.
Σχεδον δυο χρονια πριν, στα τελειωματα του 2010 ειχα γραψει ενα αρθρο για τον μεγαλο Ελληνα ποιητη.
Almost two years ago, at the end of 2010, I wrote an article about the great Greek poet.
Σημερα, τιμωντας την μνημη του για μια ακομη φορα, παραθετω ενα εκτενες αποσπασμα απο ενα κειμενο του που ξεκινησε να καμει κριτικη στον Καζαντζακη, αλλα επικεντρωθηκε στην «αγωνια κατάντικρυ στο μηδεν» (Νικος Καρουζος, Πεζα Κειμενα, Ικαρος Εκδοτικη Εταιρεια, 1998).
Today in his memory I publish an extract from an article he wrote criticizing Nikos Kazantzakis. The article is focused on the «agony in front of nothingness». It goes like this:
«…. Ας παρουμε λοιπον, αν οχι τιποτ’ αλλο, το Ταο τε κινγκ, το περιφημο βιβλιο του Λαο-τσε, την πιο αμυθοποιητη μεταφυσικη διδασκαλια της Αρχαιας Ασιας. Την αγωνια που μας βαζει συστηθους απεναντι στο μηδεν – απ’ τη χαμηλοτερη βαθμιδα της ως την υψηλοτερη, εκεινη που φανερωνει μ’ αλλα λογια την αγωνια ως υψωτικη μεριμνα – την κανει να υπαρχει, κατα τη διδασκαλια τουτη, το κτητικο-προσκολλητικο στοιχειο της υπαρξεως: η ατομικοτητα.
«… Let us then take, if nothing else, Tao te Ching, Lao Tse’s masterpiece, the most metaphysical teaching of Anceint Asia that is not prone to Myth. According to Lao Tse, the agony we experience in front of nothingness – from its lowest degree to the highest, where it is experienced as redemption anxiety – emerges out of the posessive – attachment attribute of our existence: individuality.
Εκεινος που δινεται στην μελετη
γινεται πιοτερος μερα με τη μερα.
Εκεινος που αφιερωνεται στο Ταο
ελαττωνεται μερα με τη μερα.
He who devotes himself to learning
(seeks) from day to day to increase (his knowledge);
he who devotes himself to the Tao
(seeks) from day to day to diminish (his doing).
Ελατωσου κι ακομη ελαττωσου
για να φτασεις καποτε στην απραξια.
Με την απραξια
τιποτα δεν υπαρχει που να μη γινεται.
(Ταο τε κινγκ, 48)
He diminishes it and again diminishes it,
till he arrives at doing nothing (on purpose).
Having arrived at this point of non-action,
there is nothing which he does not do. ((chap. 48)
Θυμιζουμε την οντολογικη θεμελιωση της ταοϊκης διδασκαλιας:
Let us be reminded of the ontological foundation of taoism:
Ο γυρισμος ειν’ η κινηση του Ταο.
Τουτο φανερωνεται στο να’ ναι κανεις εξω απ’ τη δυναμη.
Ολα τα οντα πηγαζουν απ’το Ειναι
το Ειναι πηγαζει απ’ το Μη-Ειναι
(Ταο τε κινγκ, 40)
In Tao the only motion is returning;
The only useful quality, weakness.
For though all creatures under heaven are the products of Being,
Being itself is the product of Not-being. » (chap. 40, tr. Waley)
Το Ταο ειν’ ο δρομος προς το αδειασμα της ατομικοτητας, πηγης της κτητικοτητας και του εξουσιαζειν.
Tao is the way to get rid of individuality, which is the source of posessiveness and power.
Το Ταο ειν’ ο δρομος προς την απραξια, που σημαινει βασικα την μη προσκολληση στ’ αποτελεσματα του πραττειν, ειτε αυτα ειν’ αγαθα ειτε αυτα ειν’ ασχημα.
Tao is the road to doing nothing, which means non attachment to the results of acting, good or bad.
Το Ταο ειν’ η κινηση προς την καθαρα πνευματικη χρηση του Ειναι, προς το μη-εγω που ειναι τα αταραχτο εγω της μη-ατομικοτητας, του μη-κτητικου-προσκολλητικου στοιχειου της υπαρξεως, προς την εξουδετερωση της αγωνιας, προς την μεταμορφωση σε πνευμα της υλης: την αταραξια.
Tao is the movement to the actualization of Being, to the non-Being, which is the undisturbed nucleus of non-individuality, of the non-posessive, non-aatached element of existence, to the neutralization of anxiety, to stillness.
Φτασε στην κενοτητα την υψιστη
και σ’ αταραξια διατηρησου…(16)
The (state of) vacancy should be brought to the utmost degree, and that of stillness guarded with unwearying vigour. (16)
Γιατι το ειναι και το μηδεν γεννιουνται το εν’ απ’ τ’ αλλο.(2)
So it is that existence and non-existence give birth the one to (the idea of) the other (2)
Σ’ αυτο το σημειο το ειναι και το μηδεν ειν’ ακριβως ο,τι ο Ηρακλειτος ονομαζει «ζων» και «τεθνηκος» που ειναι «ταυτο».
Ειν’ η παντοδεχτρα ζωη κι ο παντοδεχτης θανατος, οπου αγωνια κι ο Καζαντζακης…
It is at this point that being and nothingness is exactly what Heracletus calls «living» and «decesaed» that are «the same».
It is the all encompassing life and the all encomapssing death, where Kazantzakis’ anxiety originates.
ταὐτὸ ζῶν καὶ τεθνηκὸς καὶ ἐγρηγορὸς καὶ καθεῦδον καὶ νέον καὶ γηραιόν· τάδε γὰρ μεταπεσόντα ἐκεῖνά ἐστι κἀκεῖνα πάλιν μεταπεσόντα ταῦτα.
Ηρακλειτος (αποσπασμα 88)
And it is the same thing in us that is quick and dead, awake and asleep, young and old; the former are shifted and become the latter, and the latter in turn are shifted and become the former.
Heracletus (fragmentum 88)
Τρίτη, 25 Σεπτεμβρίου, 2012
“In certain places, at certain hours, gazing at the sea is dangerous.
It is what looking at a woman sometimes is.”
«I looked at Pauline and asked her if she felt she had the courage to bear the pounding brilliance of the sun and the strength to walk on the sand»
Honore de Balzac
«I was nearly sixteen when I met Simone, a girl my own age, at the beach in X. Our families being distantly related, we quickly grew intimate.»
«I am most useful when I am not needed»
My personal self
«what is in life that is not an enigma riddle?
isn’t life itself a riddle enigma»
“Like all texts, the beach has an author – not, admittedly, a named individual, but a historically determined set of community practices that have produced material objects or signs.”
«The sea washes away and cleanses every human stain»
Euripides, Iphigenia in Tauris
Notes: 1.The phrase in the title is quoted by Roland Barthes as being «Gidean», ie belonging to Andre Gide.
2. I took the photographs in Marathon Beach, Attica, Greece, in mid September 2012.