Tag Archives: Egypt

Passover Seder 2011 – day 1

April rolls around and it’s seder time again, the ritual dinner celebrating the exodus from Egypt. As usual, things have to be done in full Gavin style.

Various ingredients. There are all sorts of traditional requirements to this meal, the most significant of which is an avoidance of any leavening agents, yeast, etc.

Parker 92. “Bachelet’s 2005 Gevrey-Chambertin Vieilles Vignes – from 60- to 70-year-old vines both below the route nationale and north of Gevrey in Brochon – offers lovely black fruit aromas with hints of anise and mint. A truly palate-staining intensity of vividly-fresh, tart but ripe black cherry and blackberry is underlain by firm, fine tannins (not precluding an emerging silkiness of texture) and augmented by bitter-herbal and stony notes. Although palpably dense and abundantly tannic, this outstanding village wine still comes off as juicy, sleek, invigorating and refined. Put it away for at least 5-7 years.”

Parker 94. “The profound 1997 Barolo Bussia boasts intense aromas of molasses, cherry liqueur, melted tar, licorice, and toast. Dense and full-bodied, with enormous quantities of glycerin and fat, this hedonistic, thick, viscous Barolo can be drunk now and over the next 15-16 years.”

And for those who crave the old school sweet and alcohol finish of the classic kosher wine, the Kesser. No vintage listed or needed.

This is a traditional seder plate. It contains each of the ritual elements of the dinner. Starting at the egg on the right and heading clockwise. Egg, horseradish, lamb shank, lettuce, horoset, parsley.

Hard boiled eggs. Dipped in salt water before eating.

A glass of wine is left for Elijah, the prophet. He gets the cool cup.

Parsley, dipped in salt water.

Matzah, or unleavened bread. When the Israelites escaped from the Pharoah Ramses (check out Exodus if you aren’t clued in on that) there was no time to leaven the bread. So matzah, an unleavened cracker, is eaten in symbol remembrance.

More traditional accompaniments. At the top, Horoset (mixture of apples, nuts, and spices — homemade of course), the green is parsley, the pink stuff horseradish with beets, the white atomic horseradish! Mind bendingly potent. The water in front is salt water.

Another seder plate.

Matzah is traditionally eaten with the horseradish and horoset. This is called the Hillel sandwich, for more on that click here.

Gefilte fish. This is housemade from Pico Kosher Deli. It’s various chopped fish, boiled. A sort of unfried chicken McNugget of the fish world. Yummy with horseradish.

A big dinner requires a big pot.

Matzah balls prior to cooking.

The matzah ball soup. A very tasty vegetable/chicken stock with… matzah balls.

Start of the stuffing for the chicken.

The stuffing. Onions, matzah, peppers, etc.

The stuffed chickens.

On the BBQ. The grill is really the best way to cook whole chickens. You do need something like this foil to protect the bird from the direct heat.

The spread.

The plated chicken and stuffing.

Potato kugel.

Carrot fritters and pesto.

The salad and dressing.

My plate. You can compare to the litany of Thanksgiving plates.

The dessert spread.

The sponge cake in its early stages. Because no leavening agents are allowed, sponge cake is traditional. It’s fluffed up with egg.

It’s served with strawberry sauce (basically strawberries and sugar).

Fruit slices, also traditional.

Cookies.

Matzah, coated in chocolate and carmel.

Home toasted almonds.

The flour-less chocolate torte.

Iced.

Iced, decorated with almonds and chocolate dust.

With finished decoration.

Very full!

To see day 2 of passover, click here.

Book and Movie Review: The English Patient

The English PatientTitle: The English Patient

Author: Michael Ondaatje

Genre: Literary Historical Drama

Length: 82,000 words, 300 pages, 162 min

Read: Spring, 2010

Summary: Lyrical.

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I had seen the film when it came out (and several times after) and it’s long been one of my absolute favorites. So to that effect the novel has been sitting on my shelf for over ten years waiting to be read and this spring I finally got around to it. In some ways I’m glad I waited because I wouldn’t have appreciated the prose as much years ago. The voice, told in lightweight third person present, and lacking nearly all mechanical constructs (like dialog quoting or tagging, preamble explanations of scene transitions, etc.) has a breezy lyrical quality to it. It can only be described as delectable. There is a feel of watching a beautiful but flickery film, a series of stuccato images flash through your head as you read it. It’s worth quoting to illustrate:

“She stands up in the garden where she has been working and looks into the distance. She has sensed a shift in the weather. There is another gust of wind, a buckle of noise in the air, and the tall cypresses sway. She turns and moves uphill towards the house, climbing over a low wall, feeling the first drops of rain on her bare arms. She crosses the loggia and quickly enters the house.”

The plot — such as it is — involves a war battered Canadian nurse lingering in Italy at the close of WWII. She has isolated herself in a half destroyed villa and cares for a mysterious burn patient who is dying and too fragile to move. The book focuses on the nurse as its protagonist, concentrating on her relationship with an Indian (via the British army) bomb disposal tech and her efforts to come to terms with the war and loss. The patient slowly unravels his own tale to her. It is his story, set mostly in Egypt before and during the start of the war, which is the primary focus of the movie. In the book it serves more to offset and focus the nurse’s point of view.

I am blown away by the effort of translating this book for the screen. Frankly, although I loved the novel, I like the film better — this is rare. Anthony Minghella managed the near impossible, translating this gorgeous prose into an equally lyrical visual style. It’s less stuccato, more “lush and languid.” Film is a more linear medium, and Minghella focuses the story to create grander more visual arcs. To do this, he expanded the patient’s epic story of love and loss in pre-war Egypt. I’m a sucker for Egypt, the exotic, the British Empire in decay, and worlds that no longer exist. This story feels bigger than the nurse’s, being as it is more tied in with history and international events. But in both you have a powerful sense of people fighting for their passions, both interpersonal and intellectual, despite the baggage of past choices and the buffeting blows delivered by the unstoppable forces of history.

Both variants of this story are inherently complex, ambiguous, and emotional works. Look for no answers here, just gorgeously rendered questions.