Author

Felicity LuHill

Browsing

I was an earthy kid. I had no compunction about draining dregs from beer cans thrown into the ditch near my kindergarten bus stop. On warm days, I loved to kneel and feel the gritty, hot asphalt dig into my knees as I scraped the tough air-dried layer off an oozing bubblegum wad that someone had spit out. Once past the top layer, the gum would still be day-glo pink, green, or purple and emit a most luscious aroma. Sour green apple was my favorite.

Five was a rough year. My mother died of brain cancer the same month (January) my legs had been locked into braces to keep me from walking pigeon-toed. It was the year my kindergarten teacher tied down my left hand to keep me from becoming the “spawn of Satan.” Daddy was a state representative, away from home Monday through Thursday in Jefferson City. His small salary meant hiring the cheapest caretaker he could find. Perhaps you can forgive a girl some of the sensory eccentricities that punctuated her early life.

Because the truth of it was, my reality was miserable, save for fleeting magical weekends when Daddy was my own. Weekends when my sister and I would accompany Daddy on his date night over to Cathy Miller’s where we could try out Cathy’s array of false eyelashes, lipsticks, and eyeshadows. It meant falling asleep on Cathy’s Barcalounger while watching soft gobs in the blue-green lava lamp float up and sink down. But most of all, it meant utterly delicious, fun food.

Cathy often indulged us with fondue. We sat cross-legged on her shag carpet in front of the fireplace while we dipped hot dog chunks, bread cubes, asparagus spears, and fat button mushrooms into the fondue pot’s boiling oil, listening to Lou Rawls croon on the eight-track. Or, if not fondue, it would be Daddy bringing over filet mignon to grill out on Cathy’s tiny deck, sometimes even allowing me to eat the bacon off his, when they came sizzling off the grill. Or his newest creation: a fat minced steak patty “doctored up” with Lawry’s Seasoning Salt, perched on an English muffin half. Once the patties registered medium rare under the broiler, Daddy removed the pan and covered the patties with thick beefsteak tomato slices and crowned them with liberal dollops of Marie’s Blue Cheese Salad Dressing. Five more minutes, and the patties emerged as works of art, bubbling, oozing, juicy, with the English muffin sponging up all that glorious fat. Whatever was on the menu, it was delicious, and not only would we have a fantastic dinner with Cathy, but we would also have Saturday lunch and Sunday breakfast before the reality returned Sunday afternoon in the form of our houskeeper-nanny-cook, Dorothy.
 

The patties emerged as works of art, bubbling, oozing, juicy, with the English muffin sponging up all that glorious fat.

 
It was around age ten that I became scared of Dorothy, who took care of my sister and me during the week. I became increasingly disgusted with her, even with my love of beer dregs and the aroma of discarded gum. From a child’s eyes, she was the incarnation of Roald Dahl’s Mrs. Twit. Wiry, greasy, salt-and-pepper hair, a twitching mouth and constantly dripping nose, a dirty bra strap hanging perpetually over her ham hock arm, a fanny that hung over the sides of the kitchen table chairs, a voice that sounded like she ate gravel, and worst of all, an utter lack of skills in the culinary department made Dorothy our daily nightmare.

Sometimes, starvation was better than eating what Dorothy cooked. I dreaded her fried whiting. When I chose this golden brown, flaky gorgeous white fish and a side of baked macaroni and cheese at the Forum Cafeteria after church on Sunday, the meal convinced me that there was a God in heaven. But when confronted with the same dish from Dorothy? It left me identifying with Job and his travails as God and Satan subjected the poor man to a game of faith. Dorothy’s rendition of fried whiting was riddled with bones that stuck in my throat as I tried to get it down, usually burned on one side and raw on the other, and always swimming in a puddle of rancid bacon fat. Inevitably, the burned-raw whiting would be served with my least favorite accompaniment of all, canned peas.

I had few memories of my beloved mother, but sadly the most prominent involved a day when I was around four years old, perched on the kitchen stepping stool and helping Mother cook. She opened a can of peas, and floating lazily on top of the brine was a dead mayfly. The horror of peering at that bloated, drowned insect resulted in immediate nausea. After that, the thought of canned peas made the bile and acid rise up in my throat. Thank goodness for our dachshund Bismarck, stationed as a sentinel underneath the dinner table, eagerly awaiting scraps. With a great show of politeness, I would spoon up a mouthful of Dorothy’s fish along with it some of the puke-colored peas, tip it into my mouth and appear to chew. I would then take my napkin, carefully empty the whole mess from my mouth into it, and take it to my lap where said peas and fish emptied onto the floor and down Bismarck’s gullet. Yes, I would go to bed hungry, but at least I had my insides intact.
 

It left me identifying with Job and his travails as God and Satan subjected the poor man to a game of faith.

 
In Dorothy’s culinary repertoire there was one dish that I could tolerate and if hungry enough, find the wherewithal to actually enjoy: chili. Because it could be thrown together quickly and left to simmer, she made it often, given that her main activity was watching reruns of the Beverly Hillbillies, I Love Lucy, the Dick Van Dyke Show, Green Acres, and Petticoat Junction on Channel 41 while embroidering and eating a candy-like dietary supplement known as Ayds. Throwing a pound of hamburger in the aluminum stockpot, browning it with some sliced onion, adding a can of kidney beans, a couple of cans of tomatoes, and a packet of Williams Chili Seasoning was all there was to it, then back to the La-Z-boy until supper time.

One late afternoon, Dorothy and I found ourselves in an unusually social mood after the ending of Petticoat Junction put us both in good spirits. At any rate, I found myself in the kitchen with Dorothy as she began the process of making chili, asking her if she would show me how it was done. I was still small enough physically that I needed to stand on that same footstool that my mother had used when we opened the can of peas with the dead mayfly. Taking my post, Dorothy showed me how to brown the hamburger, as she nibbled it raw from time to time, how to use all the grease from the hamburger to soften the onion, how to add the Williams Chili Seasoning, which in turn soaked up a lot of the grease, and how to add the cans of beans and tomatoes. I was hungry watching her work, as the pot started to simmer. The pools of remaining grease coalesced on top like an oil slick, and the aroma started to waft through the air.

Then, Dorothy got some chili seasoning up her nose and let out a gigantic sneeze, reaching at the same time for her well-used Kleenex knotted up in her bra shelf where she always kept it. The sneeze caused her to fumble her hold on the Kleenex, just as Bismarck came trotting into the kitchen, causing Dorothy to unwittingly drop the Kleenex into the chili. She kept on stirring with no thought to anything other than the dachshund. The Kleenex got caught in the whirlpool of the motion, sinking out of sight into the depths of the chili and then like a drowning man trying to save himself, popped up to the top of the pot before being dragged down again to the bottom.
 

I found myself in the kitchen with Dorothy as she began the process of making chili, asking her if she would show me how it was done.

 
In horror and disgust, I shouted out, “Dorothy! You dropped your Kleenex into the chili!” I was devastated that we would have to throw out the pot and start again, or—God forbid—have to eat the week-old pork chops burned on one side and raw on the other that were lodged in the refrigerator. Startled by my shout, Dorothy turned her attention back to the stove, scooped up the now disintegrating Kleenex and quickly plucked it off the spoon, throwing it, dripping grease and tomato sauce along the way, into the trash.

“No harm done,” she muttered as she continued to stir.

Oh dear lord! Suddenly, even the week-old burned-raw pork chop moldering in the refrigerator seemed appetizing. Feeling like I was going to be sick, I jumped off the stool and ran upstairs to my bedroom.

I sat on my bed holding my stomach, trying to imagine sitting down to supper as if nothing was wrong. Leah was nowhere to be found, or I would have shared my information with her.

Soon enough, it was time for supper. Dorothy liked to organize the meal so that we could watch Bowling for Dollars, which was a huge favorite for all of us.

“Andrea! Leah!” she bellowed. “Time to eat!” Knowing that I had no choice but to go downstairs, and also knowing that if I protested the unsanitary nature of the meal, she would force me to eat two portions as punishment for being too “bloody fine-mouthed,” I started my journey down the hallway. I decided that my only option was to feign the flu. I would enter the kitchen doubled over and complaining of a severe tummy ache.

I came down the stairs and entered the kitchen to see the sleeve of saltines on the table and Dorothy ladling the dinner into our decorative Parkay margarine bowls that we usually ate out of. Leah was already at the table turning on the television.

“Dorothy,” I moaned, clutching my stomach and doing the most important acting job of my young life. “I’m not feeling too good! Is it okay if I skip dinner?” Hungry herself and anxious not to miss Fred Browski’s opening moment on Bowling for Dollars, Dorothy was blessedly distracted. Having entirely forgotten about the Kleenex in the chili, given that it was “no matter,” she muttered, “What’s wrong? You eat a bunch of candy after school? Go on upstairs, and I’ll be up in a while to give you some medicine.” Relieved but anguished that my poor sister, Leah, was going to ingest that chili, I turned from the table and made my way upstairs.

 


'Dorothy's Chili' is The Inquisitive Eater's Essay of the Month for March 2018.

Andrea Broomfield, Ph.D., is Professor of English at Johnson County Community College in Overland Park, Kansas, USA. She is author of Food and Cooking in Victorian England: A History, and Kansas City: A Food Biography. She is currently at work on a new book, “The Atlantic Celts: A Gastronomic Memoir from Ireland to Iberia” with co-author, Beebe Bahrami. This is Andrea’s first foray into creative nonfiction.

Featured image via Flickr.

I.
my fiance is 29.

in an effort to make sure
we live a long life together,

she got me
                taking vitamins
                drinking smoothies
                and eating my fuckin vegetables

she be side eyein me
i always leave those green thangs
                                                                                                                                                on a small corner of my plate
                                                                                and eat them dead last

We find ways to keep costs low,
gentrified neighborhood and all,
so we buy meats and perishables in Long Island
and get all our produce from a CSA

CSA
sounds like one of those alphabet soup
law enforcement agencies that pumped
enough crack into communities
to transform them into a paradise of kale
carrying bodegas

II.

First CSA Order

E-mail from Nexdoorgainics
6/15/2015

Bag contents:

1 lbs Green Beans                                         she’s gonna need to force feed me these
1 head Broccoli                                              i can handle that.
1 each Ginger Carrots                                  never thought to combine those.
1 bunch Rainbow Chard                              these ain’t collards.
1 lbs New Potatoes                                      aight. I can cook these.
1 bunch Bushwick Greens                          the fuck? Do they grow on the J train?
1 each Green Tomato                                  like that old movie with white ladies fryin em?
1 each round Zucchini                                 greaaaat. a giant green veggie dick.
2 each Cucumber                                         make that 3.

they threw in artichoke, beets, and rutabaga
cuz our homie works there and is the plug

She picked up the bag
and left town for a conference the next day

I opened the bag, had no idea
how to cook half of what was in there

So I shoved that bag
in the back of the fridge
and ordered a pizza

The fuck I look like cooking a rutabaga?
I can’t even spell rutabaga.

Purple cabbage. Blue carrots. Sunchokes. Them long tall ass onions (scallions).
It’s a bag of confusion that taunts me from the back of my cold ass fridge
while I eat my pizza watching Narcos.

III.

I fall asleep watching Narcos because I ate a full sicilian pie.
There is no way to stay awake after eating that much food.

My food dream was a story my future father-in-law told me.

I’m in a giant mouse maze running
at one end of the labyrinth is a food dish filled with cocaine

                                                                                                    this is why you shouldn’t overeat and watch Narcos

the ground shakes, a white
sandstorm pounds metal

I run, jittery, ticking
turn corners in a blur and stumble

into another dish, metal,
overflowing with sweet white

IV.

My future father-in-law told me sugar is more addictive than cocaine. The proof is in the Coca-Cola. They took the caine out. We still drink it. The proof is in the Arizona. I know adults who hate the taste of water and prefer iced tea. We be overdosin on sugar, eat sugar till joints swell
and limbs are amputated. If we gotta choose between diabetic shock and eating the Oreos stashed under the couch, it ain’t even a choice.


Timothy Prolific Veit Jones is The Inquisitive Eater's Poet of the Month for March 2018.

Timothy Prolific Veit Jones a poet, educator, and organizer whose creative work operates in the continuum of the Black Arts Movement, using a multi-disciplinary approach rooted in Hip-Hop culture as an African Diasporic folkloric praxis. He has performed his poetry at a diverse variety of venues, from Cornell University to Rikers Island to STooPS in Bed-Stuy. He has been published in African Voices, 12th Street, the graphic novel Gunplay, the Penmanship Book anthology 30/30 Vol. 2, The Ferguson Moment, and YRB Magazine. Through his former publishing company, Andre Maurice Press/Indelible Books, he edited and released Blackout Arts Collective’s One Mic: A Lyrics on Lockdown Anthology and Peuo Tuy’s Khmer Girl. Tim was a Riggio Fellow at The New School, and is a fellow at The Watering Hole. He is the author of Musaic: 40 Days, 40 Nights and the forthcoming ethnographic book of poetry titled Water + Blood. Timothy is the Visioning Partner (VP) for Institutional Culture at PURPOSE Productions, teaches Kuumba/Integrated Arts at Ember Charter Schools, and is the co-founder of the Rebel Waters publishing and performance collaborative. He is from Uniondale (Long Island), and lives in Bed-Stuy.

Featured image via Pixabay.

There is a coarseness to the English language that makes it almost unpalatable for African tongues. These words make us cough up the bones of our indigenous languages. We were told to chew and digest them to become the ideal workforce – cheap and silent. We swallowed them whole with the hope that one day they would emerge from our bellies and live free. Sometimes they escape in fragments. Make no mistake about it, indigenous words are knives. Eyes widen when the new tongues they strangled our old ones with rebel with clicks and sounds they thought were beaten or bred out. Bodies wince when the sound punctures their eardrums. They fear we will slit throats with these fragments, and suspend the carcass of a game named servitude.

//

the English language
tastes like sandpaper,
embraces speech organ
like a boa constrictor

there is no freedom of tongue,
ability to speak shackled in a ship’s belly
chained to the stench of death

speaking English
smells like surviving
a slaughterhouse

we speak it soaked in bloody remains

every now and then we cough
up a remnant, nouns coated in sinew,
adjectives embraced by tendons,
verbs pulse the phantom arteries
of dismembered language families

this quilt we speak
is sewn with blood
patched memory
born of shea and ceiba trees
as much as pine and mahogany

they call it broken
because their backs
could never endure
welts and scars
and still take weight

they call it broken
because their esophagi
are too sensitive to tolerate
being scraped by bones
with the utterance of every word

we call it survival


Timothy Prolific Veit Jones is The Inquisitive Eater's Poet of the Month for March 2018.

Timothy Prolific Veit Jones a poet, educator, and organizer whose creative work operates in the continuum of the Black Arts Movement, using a multi-disciplinary approach rooted in Hip-Hop culture as an African Diasporic folkloric praxis. He has performed his poetry at a diverse variety of venues, from Cornell University to Rikers Island to STooPS in Bed-Stuy. He has been published in African Voices, 12th Street, the graphic novel Gunplay, the Penmanship Book anthology 30/30 Vol. 2, The Ferguson Moment, and YRB Magazine. Through his former publishing company, Andre Maurice Press/Indelible Books, he edited and released Blackout Arts Collective’s One Mic: A Lyrics on Lockdown Anthology and Peuo Tuy’s Khmer Girl. Tim was a Riggio Fellow at The New School, and is a fellow at The Watering Hole. He is the author of Musaic: 40 Days, 40 Nights and the forthcoming ethnographic book of poetry titled Water + Blood. Timothy is the Visioning Partner (VP) for Institutional Culture at PURPOSE Productions, teaches Kuumba/Integrated Arts at Ember Charter Schools, and is the co-founder of the Rebel Waters publishing and performance collaborative. He is from Uniondale (Long Island), and lives in Bed-Stuy.

Featured image via PublicDomainPictures.net.

Grandmothers, Ancestors, Orishas, Most High God,
please help me read the shells of my fractured lineage to know from whence i/we come

The answers to my/our origin
are not in ether or entropy
but in the shells, in the husks,
in torn skins and seeds
and plants and seasonings and split
infinitives and beats
and rhymes and lives                                                                                                             (RIP Phife)
and movements and lessons

Let the congregation say Amen
            Blessed be Grandma Claire’s greens*
Let the church say Amen
            Blessed be her carved bird
Let the church say Amen
            Blessed be the yams, candied (Grandma Claire’s) or otherwise (Mama Anna’s)
Let the people say Amen
            Blessed be the rice
                                                 and beans
                                                 and peas
                                                             jolof / jambalaya / jolofalaya
                                                                                             arroz con errythang (errybody loves arroz)
Let the saints say Amen
            Blessed be the grits (with butter and cheese and salt or sugar but never ketchup)
                          be the porridge
                          be the fufu

Amen            Amen            Amen            Amen             Amen
        Amein                        Amon                        Amonhetep                        hetep                        hetep

May the peace of the Most High that be everlasting rejoin
this coconut, transfigure it into a chariot to carry we home

 

*The refrain “Blessed be…” is inspired “The Hairmaid’s Tale” from The Rundown with Robin Thede, S1E2


Timothy Prolific Veit Jones is The Inquisitive Eater's Poet of the Month for March 2018.

Timothy Prolific Veit Jones a poet, educator, and organizer whose creative work operates in the continuum of the Black Arts Movement, using a multi-disciplinary approach rooted in Hip-Hop culture as an African Diasporic folkloric praxis. He has performed his poetry at a diverse variety of venues, from Cornell University to Rikers Island to STooPS in Bed-Stuy. He has been published in African Voices, 12th Street, the graphic novel Gunplay, the Penmanship Book anthology 30/30 Vol. 2, The Ferguson Moment, and YRB Magazine. Through his former publishing company, Andre Maurice Press/Indelible Books, he edited and released Blackout Arts Collective’s One Mic: A Lyrics on Lockdown Anthology and Peuo Tuy’s Khmer Girl. Tim was a Riggio Fellow at The New School, and is a fellow at The Watering Hole. He is the author of Musaic: 40 Days, 40 Nights and the forthcoming ethnographic book of poetry titled Water + Blood. Timothy is the Visioning Partner (VP) for Institutional Culture at PURPOSE Productions, teaches Kuumba/Integrated Arts at Ember Charter Schools, and is the co-founder of the Rebel Waters publishing and performance collaborative. He is from Uniondale (Long Island), and lives in Bed-Stuy.

Featured image via Pixabay.

Steam rose from the pot and I inhaled a buttery whiff. I picked up the wooden spoon resting on the stovetop, its handle warm from sitting there for too long. I flicked single grains of rice, moving them around gently to check their doneness. Then I maneuvered the spoon to the bottom of the pot. I brought a single piece of chicken to the top. A drumstick. The meat hung loosely off the bone. Once the woodsy smell of saffron hit me, I felt a nervous flush recede from my cheeks.

After years at trying my hand at various Pakistani dishes, this was my first time cooking the elusive biryani. My husband was working from our dining room table as I cooked. Well, it’s a stretch to call it a dining room table since we don’t have a dining room nor do we use the table for dining. Scraps of paper with his chicken scratch were scattered all over, as were his files and packs of cigarettes. His business was in its infancy, meaning he was usually overwhelmed with work, except when food was in front of him. He was eager to try my dish, not because he knew it would taste good, neither of us was certain of that, but rather to see if I’d even get it remotely close. Were all the ingredients there? Was there the right balance of spices? The spices were essential. They could not be missed or replaced. The integrity of this dish was in its masala.

When I first started cooking Pakistani food, I often got it wrong because I didn’t pay respect to the herbs and spices like turmeric, coriander, clove, cinnamon, cumin, cardamom, star anise, mace. I thought I could leave out the ones that were hard to find, or use the generic curry powder found in any grocery store as a stand in for these spices and their exact proportions. I became discouraged almost instantly. Three or four failed attempts at a basic chicken curry made me give up cooking Pakistani food for months.

Then one evening, we were invited to a family friend’s house for dinner. They lived far out in Queens, over an hour long subway ride. Darakshan was in the kitchen when we arrived, but came out to greet us. I followed Maqsood, Darakshan’s husband, and my husband into the living room. They soon began speaking in Urdu, a language I still don’t understand. They noticed my silence and apologized, but I waved it away. I went to see if Darakshan needed help with dinner. She said no. She picked up a rectangular box from the counter and said, “I just use the premade stuff.” The brand on the box was called National and the label read “Biryani Masala.” There was a packet inside with all the necessary spices to make this dish. She opened a cabinet and showed me an entire collection of these National boxes containing premade masala for all kinds of meals: Keema, haleem, kebabs, karahi, korma, nihari, gosht, and chaat.

Thirty minutes later, we all sat down to eat with their two young boys. Darakshan’s cooking was homey and good, and we all had second and third helpings. But it seemed to me like the National boxes were like Betty Crocker cake mixes, not the real deal. It wasn’t from scratch, as my mother used to say, almost like she was cursing. My mother looked down on the moms who brought brownies to school bake sales that were so obviously straight from a Costco Ghirardelli box. I figured those National boxes held the same kind of shame.

It wasn’t from scratch, as my mother used to say, almost like she was cursing.

The next time I saw a Pakistani person using the National boxes was in Indiana. My husband and I were visiting another family friend, and I was enamored with the warmth and saltiness of our friend Yasmin’s cooking. Yasmin’s kitchen had a lot of drawers and a big pantry where she had stacks of National and Shaan Masala boxes (similar to National, just a different brand). She also had a clear plastic jug next to the stove filled with ghee and a tub of peeled garlic in the fridge.

Every night after dinner and cleaning up the kitchen, Yasmin took about twenty minutes to replenish her garlic supply. She sat on a stool with her elbows on the kitchen counter, shelling garlic from their sleeves and tossing them into the tub. No Pakistani dish is complete without ginger garlic paste, made by grinding the two ingredients in a mortar and pestle or a food processor. It usually comes in early on in the cooking process, just after the onions have been browned and the salt has been added. It is the earth to many Pakistani recipes, while chopped cilantro and mint are patchy clouds.

I talked to Yasmine while she shelled. I told her that I wanted to learn how to cook desi food better. I said I could never find all of the right ingredients to make masala in the grocery store. Mace isn’t a well-stocked item. She looked at me almost concerned. No, maybe annoyed.

“Just buy the mixes. The National mixes.”
“I can do that?” What I really meant was, that still counts?
“Obviously.”

She even tried to push some of her boxes of masala on me, but I declined. I’d buy my own back in New York.

I started driving out to Jersey City or take the subway to Jackson Heights, Queens (both have extensive desi communities) to stock up on National mixes for chicken curry, kebabs, and keema. It changed everything. The essence of Pakistani food was finally alive in my cooking. The smell was right. Our apartment smelled like Pakistan, my husband told me. I made chicken curry over and over again. It was my favorite thing to make. I used a recipe I found on YouTube. Most of my Pakistani recipes come from there. I watch them three or four times to get the method right.

But something else I learned that elevated my cooking was that I had to stop trying to emulate these cooks on YouTube 100 percent. That realization was the beginning of my effort to stop trying to master Pakistani cooking but instead stay open to learning and experimentation. I ceased trying to “figure out” Pakistan and just be present for individual experiences of enlightenment.

While learning to cook Pakistani food, I had to institute the methods that I had at my disposal in a very tiny New York City kitchen. I accomplished the art of stacking and tessellating the plates, bowls, pots, pans, blender, mixer, whatever, so that I could always fit more and keep pushing the boundaries of my kitchen. Although its size made it appear inefficient, I carved out a way to make it do the work necessary to deliver incredible food. I used my Magic Bullet to whirr tomatoes to a soap bubble consistency and I used it to make the onions into a paste that would disappear into the gravy of a curry. Going less by the book, and traditional cooking methods, actually made my Pakistani food taste more authentic.

Going less by the book, and traditional cooking methods, actually made my Pakistani food taste more authentic.

I made chicken curry about once a week and potato curry on the weekends for breakfast. I made lamb and beef kebabs that we ate with store-bought rotis or leftover naan from a restaurant. More rarely did I make keema, a ground beef dish, one of my least favorite Pakistani dishes, but one of my husband’s favorites.

I had just one box of National brand biryani masala. It was in the back of my cupboard, and I was almost afraid to even touch it. Biryani is the peacemaking food of the Indian subcontinent. It is so rich and delicious; it is a household staple holier than the American hamburger or Brooklyn style pizza. Its flavors are complex, just like all desi food. It is warm, yellowed rice, cooked together with chicken and potato, or any other meat of your choosing, topped with fried onions, cilantro, mint, and lemon slices.

Actually, that last sentence is highly controversial. Everyone, it seems, has a different definition of what biryani is. Cooking, I’ve learned, is a language. It is not straightforward but rather full of dialects. How one person cooks biryani is not how another person would cook it. Hyderabadi biryani is different from the biryani my mother-in-law makes in Karachi. Persians wouldn’t dream of putting some of the ingredients in biryani that Pakistanis use. I even read in the comments section of a YouTube tutorial on how to cook biryani that onions should never be used. Onions? I’ve never made a single desi dish without them. That seemed not only ludicrous, but blasphemous. And blasphemy is usually on the minds of those who see biryani made in a way that is different from what they’re used to, that defies their vision of what this dish is. One can understand my hesitancy towards making biryani.

My husband kept asking for it though. His reasoning wasn’t what you’d expect. He didn’t have complete faith in me that I would get it right. Really, he was just curious to see what would come out of that big Cuisinart stock pot of mine. The night I decided to make biryani, I didn’t tell my husband until I’d begun the process. I didn’t want to get his hopes up or put unnecessary pressure on myself.

I took the container of chicken thighs and drumsticks out of the refrigerator and began separating the skin from the meat, keeping the bones intact. I tossed the washed chicken into a white mixing bowl with four to five hefty spoonfuls of plain yogurt, some salt and pepper, red chili powder, and about four shakes of turmeric powder, before putting it back in the fridge. Then I chopped four red onions, unlike the way I learned from Martha Stewart or Ina Garten. I halved them, and then cut them into long, thin, strips along the cut side, wearing sunglasses. I always put on sunglasses when I chop onions because I’m so sensitive to them. I threw them into the stockpot where I had vegetable oil already sizzling my whole spices (4 cloves, handful of cumin seed, 2 whole cardamoms, a bay leaf, half stick of cinnamon, and some whole peppercorns and coriander).

Cooking, I’ve learned, is a language.

The onions made a loud hiss. I stirred everything with a wooden spoon and shook the pot a little. I added salt, by eyeball. I let the onions cook until they turned barely golden and then added ginger garlic paste. Next is when the masala is added: just after the ginger garlic paste, but before the tomatoes. I’ve seen it done other ways, but this way has always lent me the best results.

I picked up the box of National Biryani Masala*. I removed the silver plastic baggie and snipped off one of its corners. I dumped all of its contents into the pot and stirred to combine.

That’s when things became really fragrant and the dish went from standard ingredients found in lots of cooking to distinctly Pakistani. I let the spices toast and cling to the onion and ginger-garlic mixture, then I added the tomatoes. Instead of throwing them in a food processor like I usually did to save time, I diced them up as small as I could. This way was of course more authentic, but I also wanted to do it so that the red streaks of tomato skin would end up running through the rice when the dish was complete.

The tomatoes sizzled as they released their water. My husband walked in the door to our apartment at this point and I told him what I was up to. I read excitement in his eyes. I let the mixture sit for about two minutes, and then I took the chicken back out of the fridge. It was tinted yellow from the turmeric. I nestled the chicken pieces into the gravy one by one. Some of the yogurt floated to the top. I also added a good handful of chopped mint and cilantro. I put the flame to medium-low and placed the lid on the pot. I gave it just enough time for the gravy to penetrate the meat and infuse it with its flavors.

Then, I added roughly two cups of water. I replaced the lid and turned the flame to medium. I set the timer for an hour, but I had to set it for another thirty-ish minutes before the chicken was done and the gravy the right consistency. When making a standard curry, you want to get as much of the water evaporated as possible so that it resembles a thick, slightly chunky soup. However, when making biryani, you should leave the curry mixture slightly runny because it will get cooked again with the rice.

When I was happy with the consistency of my gravy, I began to delicately layer on the rice. I put one thin layer of rice on top of the curry and made sure it was spread evenly across the chicken and gravy. Then I added the rest. When I was done with this process, no chicken or curry was visible, nothing was leaking through. Top with fried onions, chopped mint and cilantro, and a few tablespoons of warm milk infused with some saffron threads for color. Some people also sprinkle extra ghee on top. Finally, I replaced the lid and set the flame to medium and cooked for a remaining ten minutes.

When the timer sounded, I didn’t announce to my husband that dinner was ready. I wanted to check it on my own, alone. I was more nervous than I thought I would be. It’s a labor-intensive process, and I would be discouraged if I mucked it up (also we wouldn’t have anything to eat for dinner that night).

Everything smelled right though. When I removed the lid and spooned to the surface that first drumstick, I had a vision of my mother-in-law’s kitchen back in Karachi. It isn’t as small as mine, but still very humble. She rarely uses any kitchen gadgets like I do. Maybe a tiny, outdated food processor and sometimes a peeler, but she often peels things like potato and ginger with just a small paring knife. Her cooking has a simple elegance to it that I envy, and I thought I actually got a whiff of her own homemade biryani when I unveiled my own.

Her cooking has a simple elegance to it that I envy, and I thought I actually got a whiff of her own homemade biryani when I unveiled my own.

Food is one way for my mother-in-law and me to talk to each other without language barriers. We share what foods we like and dislike, we share recipes, we share our methods. I got to know her through her food, and she learned to like me by the interest I displayed in learning to cook Pakistani food. The way I make biryani is imperfect and influenced by my non-Pakistani upbringing, which I can’t help, but it doesn’t diminish my drive to try. It’s all about instinct, I’ve learned, and a person must submit themselves to trial and error. There is no perfect dish, and that certainly applies to biryani.

The biryani I prepared for my husband and I was absolutely delectable. He didn’t ask me how I cut the onions or at what point did I add the masala, he just ate, spooning it into his mouth with his fingertips. I started out with a spoon but then switched to hands. This is traditionally how the Indian subcontinent eats, and learning to eat this way was more difficult than I thought, almost like learning to use chopsticks. One would think eating with your hands is instinctual, but it’s more technical than you’d think. The rice stuck together in a warm clump between the tip of my thumb and the rest of my fingertips. I pushed it into my mouth using my thumb. It was easy to massage the chicken from the bone – the meat was so tender. My husband put his mouth around the top of a bone and sucked off some cartilage. I shivered. Cartilage isn’t my thing.

When we went up to the stove for seconds, we paused to take pictures. My husband held his plate forward so I could get a good shot. I also took a picture of the contents inside the pot. I sent these to my mother-in-law in Pakistan. At 10:43 am her time, 11:43 pm my time, she wrote back, “This is the traditional colour of biryani successfully obtained by you … Savoury.” She was happy for me – happy that I’d tried and it at least looked right. I’ve found that it is the effort that gets the most appreciation, such as when I say a word in Urdu and everyone in the family starts cheering.

I used to go in circles analyzing my husband, his family, his friends, other Pakistani people, in an effort to understand centuries of tradition and culture. But the way to understanding is accepting that total and complete knowledge is unachievable. Rather, there is respect, there is intrigue, there is tasting and trying; there is an effort to find out more and to let yourself be changed. All of my Pakistani cooking forays have led me closer to this realization. All of my instincts to keep trying are a way for me to put emphasis on learning, rather than mastery, which, as I knew all along, does not exist.


* Chicken Biryani Masala: salt, plum, red chilli, ginger, onion, garlic, turmeric, cinnamon, cardamom, mace, nutmeg, mango powder, clove, bay leaf, black pepper.

** Rice instructions: Bring water to boil in large pot. Add one whole bay leaf, a few whole cloves, salt, a couple of whole cardamom, sprinkling of cumin seed, and a little oil if you like. Add the rice and cook for about 7-8 minutes. Then drain the water in a large colander.


'Cooking, Short Cuts, and Biryani' is The Inquisitive Eater's Essay of the Month for February 2018.

Bridget Kiley is a writer and editor based in NYC by way of Vermont. She is a graduate of The New School MFA program in creative nonfiction. Her other work can be found on Fjords Review, The Culture Trip, The New School Blog, and more. Follow her on Twitter @bridget_kiley and Instagram @brightyhiney.

Featured photo via Max Pixel.

A few hours after my father died, the owner of our local deli called and said he was putting a hold on the orders that were coming in. I grew up in a beach town. The winter population is small, with only a few restaurants remaining open.

Everyone knows everyone.
Everyone knew my father.
Everyone was calling the same deli.

So by 11AM that Tuesday morning as we worked through multiple already delivered sandwich platters, the owner of the deli said, “I’m telling people that your family can’t handle anymore hoagies. We’ll credit you for the hoagies you can’t use now. The hoagies will be here when you need them.”

My father lived almost exactly one year past the date of his cancer diagnosis, pancreatic, one of the deadliest. When we received the news, things changed quickly.

Chemotherapy started immediately. I knew enough to know that it made people sick. I wondered how my dad’s appetite would be affected. Would he retain any sense of taste? Would we eat the same things? Follow the same culinary traditions? We had so many.  So much of our time together centered on food, which centered our family overall. How would we as a family continue to enjoy food if he couldn’t?

He lost his taste for alcohol first.  His drink was Kettle One on the rocks, no fruit. My dad was the owner and broker of a real estate agency, and worked seven days a week for years. He’d come home, change his clothes and make a drink. Then he’d sit with my mom and her red wine and talk. In the summer they’d sit on the back patio overlooking the pool in our backyard. It was as serene as it gets. Whenever my sisters and I were home we’d join them. Eventually my mom would sneak inside and come out with an appetizer.  Later she’d cook dinner—sausage and chicken, fillets of beef with shades of pink middles cooked perfectly on the grill. We’d have sides of broccoli and macaroni, zucchini with breadcrumbs, tomatoes topped with fresh mozzarella, drizzled with olive oil and garnished with basil from her garden. And corn on the cob, which without fail, after tasting its sweetness, my dad would always ask, “Is this Jersey corn?”

My dad never complained about food. In my parents’ years together, my mom avoided the handful of things he wasn’t crazy about. No sweet with his savory. No orange chickens, pineapple salsas, or cranberry chutneys. No breakfast for dinner. But other than a handful of aversions, my mom said in 45 years of marriage there wasn’t one time when he asked what was for dinner and, after she told him, he wouldn’t say, in his truly upbeat nature, “Mmmm, that sounds good.”

But the thing is, my dad never complained about anything—ever. So when he got sick he adapted to his new flavor and texture obstacles with the same level of positivity that he did everything with. So while the vodka was shelved for the time being, one night he asked my sister to make him a mocktail. After a good laugh about his use of the word, my sister filled a glass with ice, added some Fresca, maraschino cherry juice, seltzer and voila! He had found a way to enjoy a drink in the way he could at the time.

Whenever my family was home together my dad would inevitably at some point say, “What do you think? Should we get something to eat?” The answer was always yes.

After my father died, I didn’t expect how viscerally my grief over his loss would connect to food. Everything about food reminds me of my dad.

After work one night in the fall, I called my usual Chinese restaurant and ordered Shrimp Hunan. Back in my apartment, I ate it and cried the whole time. I had never ordered shrimp Hunan and didn’t even know what it was. But it was my dad’s go-to and without fully recognizing it in the moment, I needed to be close to him that night. As it turns out, Shrimp Hunan is delicious; I order it often now.

Towards the end, when my dad was really sick, Swedish Fish and cream puffs ruled.  It’s literally all he could stomach.  I’ll never look at Swedish Fish the same way again. I get the wind knocked out of me every time I see them. I have literal contempt for that candy. But, cream puffs, not so much. They make me feel comforted and reflective. When I pass them in the freezer aisle, I smile. There is no pattern. I have embraced these inexplicable prides and prejudices towards foods as a side effect of grief.

Seasonal reminders are the most difficult as they starkly mark another one without him. Summer is the worst; that was my dad’s season. Oysters and clams on the half-shell with red-wine vinegar, snow cones and water ice, fried seafood platters, soft-shell crabs. Usually once a summer, my dad would come home with several crabs. We’d spread newspapers and he’d re-show me how to crack the crab to get the meatiest bites from their old-bay riddled bodies. Always selfless, he offered up the biggest claws. Crab takes forever to eat. Time well spent, I think. And after what seemed like hours, the crab is done and we’d need something more substantial to eat, because if you’ve ever eaten crab you know they’re not even close to filling.

My dad was a wildcard when it came to ordering at restaurants. He’d look at the menu and say, “The cheesesteak looks good.” When the waiter came he’d say, “I’ll have the salmon and broccoli.” It happened all the time, and I always got such a kick out it. The taste trajectory of how he got from the cheesesteak to the salmon was a mystery.

In 40 years I never ate Mexican food with my dad.
In 40 years I never went out to breakfast with my dad, only lunch and dinner.
In 40 years I never paid for a meal when my dad was present.

My father’s favorite meal growing up was fried bologna sandwiches with mayo on pure white bread. He didn’t like chocolate, but loved popcorn, and for many years Good and Plenty and Juju Fruit candy. The noise of the candy shaking in the box as he opened it to pour some in his palm is a sound I can hear as clearly as if he were next to me.

These memories are cutting, but I crave them.

Food sustains us. It’s a biological fact. We can’t avoid it. We need it to live. I’ve recognized in this year of grief that these memories of my dad connected to food, even the painful ones, are sustaining me.

I don’t want to dodge triggers and avoid memories. I want to gorge on them. These memories are saving me.

The last meal I ever ate with my dad was breaded chicken cutlets, clams and rice, and a Hello Kitty Ice Cream Cake. It was the eve of my 40th birthday.  He was weak. We ate in the TV room. We were never allowed to eat in the TV room. My dad had a decent appetite that night and was loving the clams and rice. Those small doses of joy were everything. Those were the days we couldn’t breathe. Afterwards, my mom brought the cake out and my family sang to me. My dad ate some cake. He went to bed soon after. I gave him a kiss on the cheek and told him I’d see him next week.

I’m so grateful for that dinner.

Breaded chicken cutlets are my favorite.
Clams and rice is my favorite.
Ice cream cake is my favorite.

Reminders everywhere keep my dad fresh in mind. They hit me when I see the string of cheese reach from the crock to the spoon in French onion soup. They hit me when I walk through the West Village and see how many restaurants serve grilled octopus. With more time, we would have tried them all.

I think a lot about the fact that there were too many hoagies. Even measured in sandwiches that’s a lot of love. We never needed more hoagies. Instead, the deli made us sticky buns to serve at the luncheon after my dad’s funeral. This culinary gesture, seemingly small, was not.  It was touching and indicative of everything that makes me proud to be a product of a small town.

My mother asked me to order a decal to put above our kitchen nook, the nook where we spent years together eating and laughing. She wants the decal to read, “Should we get something to eat?”

I miss hearing that question from my dad. It’s shockingly different without him. But, we continue to eat, and as a family we continue to ask the question to each other—often; it’s important. The answer is still always yes.


Leah Iannone is The Inquisitive Eater's Poet of the Month for February 2018.

Leah Iannone received her MFA from The New School’s Creative Writing Program. She currently works as a director of academic planning. Her work has appeared in Newsweek, 12th Street, The Best American Poetry Blog, Alimentum, Redheaded Stepchild, PAX Americana, Barrow Street, Psychic Meatloaf, and The Inquisitive Eater.

Featured image via Good Free Photos.

Liz Von Klemperer and I met back in 2014 when we were interns at PEN America. Four years later, we’re roommates in Brooklyn, trying to make our way as writers.

Liz decided she wanted to cook us breakfast for our interview. We had bacon, eggs and home fries. I chipped in with the cooking, because I’m nosy that way, and we discussed the best ways to cook home fries—steaming them to get them soft on the inside, then frying them so they’re crispy on the outside—before getting into it.

Felicity: What is your writing routine, if you have one?

Liz: I try to write for an hour a day. It doesn’t really matter where. I can’t really write in our apartment for some reason—it depends on the conditions. I just try to do it for an hour and it doesn’t really matter where, but it has to happen.

Felicity: It’s like something that you check off your list.

Liz: Yeah, and if it doesn’t happen I get kind of sweaty and itchy.

Felicity: So you don’t have any rituals that you do to get into it?

Liz: I usually have a couple beverages. You have your tea, you have your juice, you have your water, maybe a little snack on the side. But, yeah, that’s about it. It can happen in a café or a library or sometimes the apartment.

Felicity: So, you said tea, juice, snacks. What kind of teas and juices and snacks?

Liz: So, definitely, Chai Roiboos by Yogi Tea.

Felicity: Who sponsored this interview!*

*Note: Yogi Tea did not sponsor this interview

Liz: Just gonna put out there it’s a really great tea. It’s gotten me through some tough times. So I really like that. Or just like any old water bottle, maybe spritz some lemon in there. If I’m feeling really vigorous, I’ll drink like half a cup of coffee, which usually turns me into a little bit of a mess, but I do that. I made Golden Milk recently. That was pretty nuts.

Felicity: What’s Golden Milk?

Liz: You put Tumeric and Coconut Milk and a little bit of coconut oil and maple syrup. So I did that, but it was kind of a lot of effort, so I don’t know if I’ll do that again.

Felicity: Do you have any particular snacks you like to go to when you’re reading or writing?

Liz: Well, I usually do the eating before I write, so I can get more into it. I usually try to eat a meal. Also when I go to the library they don’t let you have food in there so if I do eat something it has to be really discrete. So, although I really like Doritos or Cheetos, it doesn’t really make sense to do that in the library because it’s so loud. If I want to discretely eat something it has to be a bag of nuts or like an apple or something.

Felicity: What’s your favorite cheap meal?

Liz: A good frozen burrito is easy. And you can just shove it in your face and then it keeps you pretty good for a couple of hours.

Felicity: What food do you think is the most fun to write about?

Liz: Writing about meat is fun because it’s gross. So you get to play with how grotesque it inherently is, and then how delicious it is.

Felicity: It’s a fun dichotomy.

Liz: The only way I can write about pleasure is also writing about how kind of repulsive it is at the same time. Sex is the same way. Sexual pleasure can also be awkward. There’s a lot of fluids. Which is similar to the process of cooking meat. You’re like so into it and it’s sustaining and delicious but also you have to just sort of not think about certain things in order to enjoy it.

Felicity: What is your favorite writing that has to do with food?

Liz: The beginning of Mila Jaroniec’s Plastic Vodka Bottle Sleepover. The first scene starts off in a kitchen and it’s a New York City apartment kitchen, so it’s really small and it’s very dirty, and there’s flies buzzing around, and this girl goes into the kitchen to get vodka out of the freezer but she has to go past all these flies. I mean it’s not really food, but it’s about the after effects of food, and what happens when you don’t manage it properly. Things will overtake you. It’s the absence of food because there isn’t any food there. And then she opens the fridge and I think all that’s in the fridge is one moldy lemon, and the vodka. But the whole chaos of the kitchen is because of the mismanagement of food.

Felicity: That’s very Inquisitive Eater-ey. What would your ideal meal be, finances put aside?

Liz: I’d start with mini quiches that have been baked until crispy. I’m also all about fancy steak. Nothing too complicated, a little thing of mashed potatoes and then some fried onions on top the mashed potatoes to give it a little crunch.

Felicity: Like an American steakhouse.

Liz: Maybe this is just what I want right now. And then some sort of buttery green food, like broccoli rabe.

Felicity: Do you have a dessert?

Liz: You know what’s really good? A crepe cake. Simply because it’s so absurd and hard to make, because it’s like fifty individual crepes on top of each other, and then in between all the crepes is a little layer of cream. My sister made it once for me for my birthday and it took her all day. It’s just a really absurd way to make a cake.

Felicity: Yeah, it must take a lot of devotion to make it.

Liz: Yeah and then when you bite into it’s really fluffy. Once I had one that was matcha flavored.

Felicity: It’s like the deliciousness of a crepe without being like, “Oh it’s just a really thin small thing,” like, “No, we’re going to make it decadent.”

Liz: Yeah, it’s so pointless. There’s no reason to make it that way.

Felicity: If you had to live off one food for the rest of your life what would it be?

Liz: It would be some kind of casserole because casseroles are one food that is actually a bunch of other foods but smushed together. I’d choose a chicken, rice, broccoli casserole. Those are good, just to be able to, you know, sustain yourself.

Felicity: Who is your favorite author and what food would you associate with them?

Liz: I love Jeanette Winterson. She’s so cool and weird because every one of her books is so different. Sexing the Cherry is inspired by fairytales. Oranges are Not the Only Fruit is a tragic and classic coming out fictional memoir. Written on the Body is lyrical and sexy and playful. I associate her writing with this Vice TV Series with this celebrity chef Action Bronson. They basically just cook glorified stoner food. He’ll make a sandwich with pulled pork and then he’ll put maple syrup on it and then he’ll roast a marshmallow and put it on top and then sprinkle it with bacon bits and it’s really confusing but looks really good. If you look at Jeanette Winterson’s work as a whole you can’t really piece it together but then you read all of it and you’re like, “That’s really delicious.” But it doesn’t mean you can figure it out.

Felicity: What do you think is the most writerly food or drink?

Liz: The drink that I hear the most about when I’m reading books is coffee. Writers have such a romantic relationship with coffee and I don’t really like coffee. Bad things usually happen when I drink coffee. I always feel a little sad about that, because when I was younger I’d read On The Road and Kerouac is always stopping at a rest stop and having a cup of coffee. Or I read Imogen Binnie’s Nevada recently and she’s always on the road drinking shitty gas station coffee. That’s part of how punk she is. They’re using this substance to fuel themselves, and sometimes they’re using it as a crutch. I guess any substance can be a crutch. For me that crutch is, again, this chai rooibos herbal tea. The function of coffee is to wake someone up, but I have the opposite problem. I have a lot of pent up energy that’s knotted inside of me so in order to relieve that I have to drink some herbal tea with maybe a little bit of ginger in it.

Felicity: What is a food that you’ve read about, you can also do a movie or some art form, that you wish you could actually experience?

Liz: In a lot of cartoons, including Rugrats, they eat popcorn, and the popcorn looks so fluffy. The people who are designing it don’t draw each individual kernel of popcorn. They just draw it as this delicious fluffy lump. And then the character just puts their hand in and takes it but, again, it’s not made up into little kernels, it’s a lump. And to me it just seemed like such a supreme way of eating popcorn but it’s impossible to replicate, because popcorn isn’t like that. They weren’t trying to make the food look accurate but in doing that they made it look better than what it actually is.

Felicity: In that cartoon, Oliver & Company, there’s a part where the little girl is making food for Oliver, the cat. It looks like cookie dough but fluffy. You don’t know how she does it. She mixes it up and it almost looks like peanut butter but randomly fluffy, it has this perfect texture to it. But it’s not clear what it actually is, like what she’s feeding the cat. And it looks so delicious! My sister and I have been striving for that perfect texture our whole lives. When we’re eating certain things we’re like, “This is almost like the Oliver & Company cat food.”

For food associations in this installment, I decided to do breakfast foods and books. Rather than associating by aesthetic, Liz associated food with books by the way they made her feel, which was fun. “That’s mainly my relationship with food,” Liz said. “Whenever I eat something I’m mainly thinking about what’s going to happen afterwards.”

Sugary cerealNevada by Imogen Binnie, “The narrator’s voice is so colloquial and fun. It feels someone talking to you, like someone’s just confiding in you about something. I feel this way about Cool For You or Chelsea Girls by Eileen Myles. It’s tasty and approachable.”

BaconHunger by Roxanne Gay, “The smell of crispy bacon takes over everything when you’re cooking it. It takes over the smell of the whole room. It makes everything smoky. It gets in your clothes. Hunger is a book where, after you read it, you can’t get it off of you. Bacon is delicious and so is Roxanne Gay’s writing. When you’re reading that book you compulsively want to keep going and then by the time you’re done with it, it’s stuck to you and you need to go outside or take a shower. Not in a bad way. It just takes hold of you. It colors how you see the world outside of yourself for a long time.”

GrapefruitWhat Happens When a Man Falls From the Sky by Leslie Necca Arima, “Most of her subject matter is about girlhood, adolescence, or marriage, but a lot of the subtext of it is about integration and immigration. Grapefruits always take me by surprise. They shock your mouth. In the title story, for example, it is one woman’s job to remove bad memories from people’s brains. In the end, she realizes that all the memories she’s taken have been stored inside her. They overtake her, and ultimately kill her. So initially you think ‘Ok this is an alternate society with bureaucracy in place to control the otherworldly,’ but in reality there’s uncertainty bubbling under the surface. The plot twist comes up and bites you, which to me is what a grapefruit is. You can’t smell it when it’s in its skin, and then you peel it open and it squirts in your face.”

Morning cocktailMarbled Swarm by Dennis Cooper, “Morning cocktails mess you up for the rest of the day. Similarly, Marbled Swarm is over the top graphic and upsetting. It’s about incest, rape, disemboweling, pretty much every upsetting thing you could ever think of. If you drink too many cocktails at breakfast, you’re going to feel pretty sick for the rest of the day. After I read that book I felt sick for the rest of the day. Your body rejects the substance because it’s toxic. Some people find value in it, though. Some people find value in day drinking, which is fine, but it isn’t for me.”

ToastThe Argonauts by Maggie Nelson, “I love toast. I love toast so much. Toast is my go-to. Go-to if I’m having a good day, go-to if I’m having a bad day, doesn’t matter what’s happening. I’m always down for a piece of toast, which is how I feel about Maggie Nelson and The Argonauts. It’s just comforting. You can just open it up and get a little chunk and it’ll be reliably tasty. I think it’s partially because I’ve just read it so many times. Like the first time I read it, it felt like a weird dish I’d never had before but now it’s like a nice warm piece of toast. Because sometimes you feel like no one understands you, and then you just go home, put the toast in the toaster. Part of me always wants to find a writer who I feel like has lived through some of the things I’ve lived through. She understands me like toast.”


Liz von Klemperer is a Brooklyn based writer and succulent fosterer. Her reviews have appeared in Electric Literature, The Rumpus, Lambda Literary, and beyond. Find more at lizvk.com.

 

 


Felicity is a Second Year Creative Writing MFA Candidate at The New School. She is also the Deputy Editor for The Inquisitive Eater. Along with The Inquisitive Eater and The New School Creative Writing Blog, her writing has been published with Barbershop Books, Healthy Materials Lab, and Enchantress Magazine, where she was also an editor. Felicity enjoys writing in all forms. You can find her on Twitter @charmingfelic

 

Featured image via Pxhere.

I need a man
willing to split an appetizer
a man who takes a stance on condiments
just a thin spread man is not for me

if you know me
and know me well
you know that I’m in conflict
not cahoots with mayo

note to my future husband
we’re gonna fry things sometimes
this is non-negotiable

in the spirit of sweet confessions
understand upfront
that I’m sprinkled like salt
in mixed genre scars
I will not cover them
they are part of me

if you’re willing
to dedicate
certain afternoons
to thinking about nothing but white frosting
then this can work

I’m not opposed to communicating
via conversation hearts
hot stuff
be mine
marry me
that’ll be the quirk in us
I hope you feel the same

I believe in this next part very strongly
there is never going to never be seltzer in my apartment

have I mentioned my girl refrigerator?
we’re pretty close
she won’t come between us

just as I assume a position in my body
something always shifts me
but I think with a cake
on a cake plate
waiting the wings
ready to conquer a problem
I can finally start to balance

so if you’re ready
let’s do this
but don’t ever neglect me
and kiss these splendid goodbye


Leah Iannone is The Inquisitive Eater's Poet of the Month for February 2018.

Leah Iannone received her MFA from The New School’s Creative Writing Program. She currently works as a director of academic planning. Her work has appeared in Newsweek, 12th Street, The Best American Poetry Blog, Alimentum, Redheaded Stepchild, PAX Americana, Barrow Street, Psychic Meatloaf, and The Inquisitive Eater.

Featured image via Pixabay.

But you don’t have an accent
I’m told repeatedly by urban
speech even in feeling or tone
sometimes too reflective of my
own sound that my origin simply
can’t be the south or upper
identity might question its ability
to situate itself north of my head
brimming with the congealed roux
of shame I should be showcasing
thickly from my tongue.
 
Do they mean how dare I shed
the dirt-laden dialect of my father
whose worn hands don’t hold
books but skin deer carcasses
hung from the swingset an acre
back from our home?
 
Or that it’s not enough to wear
inferiority as a cross beneath
my coat I must coat my words
with butter and bake ignorant
sentences voluminous as biscuits?
 
To them I sincerely apologize
with this poem in hopes it’s local-
ized enough for my speech
to be let alone but to myself
I allow the conflict of y’all
and fixing and supper to coat
my gums and bloom ulcers
within my mouth.
 
I take the time to swallow
my Southerness for the self
judgement of my stomach so to
you I can exude the smoothness
a digested history can belie.


Sarah Renee Beach received an MFA in Poetry from The New School where she was a reader for LIT. Follow her on twitter @sarahreneebeach.

Featured image via Pixabay.

sometimes it’s important
to say to yourself, out loud
people don’t eat their doggy bags
five minutes in the door

I have a loner’s knack
I know dinners for one
that’s the bland lesson
I’m skittish and sensitive
one day it’ll all come together
I’ll claim my flavor
teach my emotions
not to be ashamed about themselves

but then again
if I want my doggy bag in an instant
who cares
there’s macaroni in there!
sure, it’s sad
but also sweet to the point


Leah Iannone is The Inquisitive Eater's Poet of the Month for February 2018.

Leah Iannone received her MFA from The New School’s Creative Writing Program. She currently works as a director of academic planning. Her work has appeared in Newsweek, 12th Street, The Best American Poetry Blog, Alimentum, Redheaded Stepchild, PAX Americana, Barrow Street, Psychic Meatloaf, and The Inquisitive Eater.

Featured image via Pixabay.