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by Christina Szalinski

The scent of bubbling chicken stock permeates my small old home. I inhale the memories of childhood holidays; my father simmering the leftover turkey carcass the morning after a day of feasting; a heartwarming broth of bones, onions, carrots and vegetable scraps. But I have a different reverence for the chicken simmering in my pot, because I sliced off its head.

I have attempted to make my home a rural patch of Pittsburgh. However, urban farming has proved to be more difficult than my Urban Farm subscription makes it seem. My shady city yard barely manages to produce scrawny herbs and a few stubs of kale. The city dashed my hopes for a few little egg layers by making them illegal on my lot just as I was drawing plans for a coop.

I fantasize about my future backyard: a garden brimming with vegetables, rows of fruit-bearing trees and shrubs, chickens pecking and scratching at the ground, perhaps a goat whose udders are heavy with milk. The earth’s bounty will be visible, audible, and smellable. Abundant fresh food will be a few feet away.

However, a backyard is not requisite for every aspect of hobby-farmer training. During my stint in the city there is plenty to learn; seasonal cooking, cheese making, canning, fermenting, rendering, composting, charcuterie, and most recently, butchering.

The sun streams in through my kitchen window, avoiding my garden, and I stand at the sink looking down at my work. I pick every edible morsel of the chicken’s boiled body so nothing is wasted. I think about the last moments of his free-roaming life and how he came to be in my kitchen.

Whenever possible, I interrogate a hobby-farming coworker, Andy. I search him for bits of experienced hobby-farmer wisdom. What chicken varieties are your best layers? Why do you prefer oxen to draft horses for plowing? Do you have chickens available for meat? Andy eventually invites me to his hobby-farm to help him process chickens.

I drive an hour north of the city to Andy’s home on a wet weekend morning, astonished at the length of his daily commute. His driveway is lined by a fence enclosing geese on the left and goats on the right. Behind the goats is a studio-sized chicken coop. Striped, black, red, white, and iridescent chickens strut freely all over the property, softly murmuring between quick attacks on insects and seeds.

I usually see Andy in blue scrubs, but here he is dressed in a stained white shirt and splotchy denim overalls tucked into rubber boots. Farmer Andy introduces me to his wife then shows me around his ten-acre farm. I breathe in fresh country air laced with scents of mud and fresh cut grass. I study the detailed and practical construction of his large coop. A large rectangle box protrudes from the side of the coop. I lift the hinged roof and a black hen, busy laying an egg, twists her head to peer at me with one round eye.

Andy takes me into a pasture with two giant red oxen. I pretend not to be fearful of the potentially disemboweling long horns while I rub the sleek coat of an ox. I watch the ox curl its smooth tongue into its nostril as it stomps and shakes away flies. We leave the pasture, walk past the untamed sunflower field, and meet the unlucky birds quarantined in an animal carrier.

Deftly, Andy reaches into the cage and grabs a young rooster by the legs, hanging it upside down. He ties orange synthetic bailing twine above its scaly yellow feet and strings it to a white and blue spiral-striped swingset frame. The upside-down bird is remarkably calm and still, its hanging wings resemble a wide W.

Andy holds the chicken’s head with one hand and quickly slices through its neck with a sharp knife. The headless fowl suddenly becomes animated, flapping wildly, spraying blood from the writhing stump all over the grass. Andy repeats the process with two more birds. With one rooster remaining I ask, “Do you mind if I do it?”

Creases form in Andy’s forehead as his eyebrows rise. He expected help with plucking and cleaning the birds, not with butchering. Having never killed a land animal before, I am nervous that I might cause the rooster more pain than necessary. But for the sake of my future farm, I believe this is something I need to learn.

Andy hands me the weapon. The tranquil rooster sees an inverted, lanky, virgin-butcher approaching it with a dagger. I put my left hand around the rooster’s thin neck. His dark red feathers are downy and soft. The bird remains completely motionless despite my contact. The misty rain feels cool on my face and hands.

I position the knife at his neck, take a deep breath, and silently thank him for his life. With full force I slide the knife into his flesh, meeting resistance at the spine. My heart pounds, not wanting him to suffer. I grit my teeth and push the knife though the dense cartilage of his vertebrae. Severing the spine feels like cutting through wet rope.

I let the head fall to the ground and step back from the spewing blood. I expect to feel sadness and grief for having taken an animal’s life. Instead I feel grateful; grateful for the rooster providing food, grateful for Andy giving him a good life, grateful for the opportunity to experience the sacrifice of eating meat.

Once the rooster’s flailing subsides, Andy takes him down and dunks the body in a tub of boiling water on an outdoor propane burner. The drenched bird shrinks instantly as the puffy feathers become heavy and wet. Big raindrops smack my head and shoulders. Andy suggests we complete the process in the kitchen.

We set the birds on the granite island. I glance around the recently built home. There is hardly any furniture or objects, the walls are naked and neutral, and there are no appliances on the countertops. The few objects I notice are intended for the baby on the way. Evidently, Andy and his wife take more interest in their outdoor activities.

I grab a handful of wet feathers and pull. Dark red quills poke out between my fingers. I repeat the motion until the fowl is nearly stripped. Then I tweeze the last stubborn feathers with my thumb and index finger. The bare bird looks nothing like its relatives at the grocery store. It’s lean and covered with dark fuzz from the downy feather shards that won’t wash off.

Andy shows me how to delicately cut around the anus and loosen the entrails. The greenish ribbons of intestine fall from the cavity. The guts reek, not surprisingly, like chicken shit. Andy’s hand disappears in the carcass and comes out with tiny organs. With Andy’s guidance it’s my turn to eviscerate a chicken.

The warmth of the carcass is startling, having always handled meat straight from the refrigerator. The firm folds of intestines come out easily. My fingertips probe to detach the dense and slippery kidneys. I penetrate the thin diaphragm to remove the spongy lungs and almond sized heart. The esophagus, slick and membranous, separates from the body with the force required to unplug a toaster. I rinse the hollow carcass, put it in a bag, and drive home.

Back in the city I roast the rooster and baste him with Amish butter, rosemary, and garlic. I purée the cooked heart, liver and gizzard with cream, shallots and sherry and enjoy the bold and pungent flavor of the pâté on a baguette. I eat my meal slowly, letting each bite linger in my mouth, appreciating the full flavor his life provided. The meat is moist and rich from his diet of sunflower seeds and insects. The leftovers of the chicken become fragrant stock with onions and carrots from farmer friends, Jane and Jeff, and herbs from my garden. I have never felt more connected to my dinner.

 

Christina Szalinski is a science writer for the American Society for Cell Biology and recently earned her Ph.D. in cell biology. She also writes about eating local on her blog, Locavore for Life.  

by Kunal Chandra

Photo Courtesy of Richard Rayner

There are two kinds of people when it comes to tattoos: those who have them and those who don’t. It’s that simple. Those who don’t have tattoos either don’t want one or can’t decide on their chosen ink. Some are reluctant because of the impending pain, some fear social repercussions and a majority are just unsure of the design that would become a permanent feature. I was a member of this group until a humble porcine being became an integral part of my life in Italy.

The pig plays a fundamental role in Italian gastronomic culture. The country, perhaps, makes the widest range of products from a single culling. Every part is revered, evident in the sheer variety of cured meats turned out by artisanal and large scale producers; culatello from the hind leg, capocallo from the shoulder, pancetta from the belly and guanciale from the cheeks. Pork fat, called lardo, derived from the back, effuses a meaty richness to any frugal dish transforming it instantly into a symphony on the palate. Then there are the ubiquitous ribs and loin or peculiar feet (zampone) cooked on the grill or in stews and braises. Every portion tastes better than the other.

These cuts support my belief in using the whole pig. With an increase in household incomes, consumers are buying costlier cuts of meat, typically found in top restaurants. The rate at which my friends consume tenderloin is both alarming and disturbing. But I question, isn’t it disrespectful to slay an animal just for a single need? It’s a similar perspective with ivory to elephants and fins to sharks. A few of my favourite chefs share a similar affinity for pigs.  Chef Fergus Henderson of St. John’s restaurant in London and Chef Andreas Dahlberg of the Bastard restaurant in Malmo are tireless crusaders of the nose to tail culinary philosophy, currently inspiring a new generation of carnivores to indulge in offal and entrails.

The location of my tattoo, on the lower rib cage, raised a few eyebrows and even more questions. Did it hurt? Are you crazy? Didn’t the needles sting you every time they reverberated over your ribs? The answer to all of the above is yes. But pain can be viewed as a positive feeling. Pain, in this context reminded me of how fragile life is, a part of being mortal just like the animals we enjoy eating. Call it sadistic or a triumph of empathy, but I wanted to feel a smidgen of the suffering felt by a pig as its death knell resounds midst its squeals. And the location close to my food friendly stomach was quite serendipitous.

The parts of the pig were written in Italian on the tattoo. This would ensure a lasting memory of the wonderful country – its language, the culture, the people, an incredible family of friends and life I have enjoyed. The words remind me of every slice of focaccia I have savoured with a cup of steaming espresso, each glass of prosecco had post work at aperitivo and platefuls of risotto with rivulets of unfiltered olive oil and an abundance of parmiggiano reggiano.

The tattoo was also an endeavour to help support local farmers, artisans and entrepreneurs. This piece of art was created by a local artist Elia (post consultation with a local butcher called Marco) who in the process of creating a customised work of food art has now reached out to over 500 students of my former university and even more gastronomes.

Lastly, every time I see myself in the mirror, the tattoo is a reminder of the moment I made a decision and stood by it. It resurrects the strength I have, the pain I can endure, the endless possibilities and beauty that lies beyond.

The humble pig may not be able to speak like Babe but it shows me the path to stay inspired each day and speak on its behalf to the food generation of today… or maybe until my next food tattoo.

Kunal Chandra is a recovering spice addict who has recently received a Masters in Food Culture and Communications in Italy and traversed the gastronomic pathways of Europe. He is back in India now on his latest culinary adventure. View his work at www.kunalchandra.com