Green and wet

The heart of Central Europe_800

 

As a child and teenager, I did not like gherkins (pickled cucumbers). My parents ate them, but refused to buy them if they were made behind the Iron Curtain, for example in  Bulgaria, Czechoslovakia, Hungary, or Poland. They would only by jars of these green, wet vegetables if they were made in Western Europe, say in West Germany or Holland. You may well wonder why my parents were so fussy about the origin of their gherkins. The answer is simple. They were unwilling to buy anything from Soviet-dominated parts of the world because they felt, rightly or wrongly, that every penny they paid for goods from these areas would help the Soviet Union pay for yet another atomic bomb or some other military equipment that could be used against the West.

I did not worry me where my parent’s gherkins were grown and bottled, as I did not eat them. This was true until the late 1970s when McDonalds opened a branch of their hamburger restaurant chain in London’s Haymarket.

At first, I felt that I was too superior to enter a McDonalds, and developed an irrational prejudice against the company. Eventually, some friends decided to eat at the Haymarket branch andas I was with them and also a little curious about McDonalds, I joined them. I cannot recall which burger I ordered, but whatever it was, it contained slices of gherkin. I did not remove the gherkin as I might have done had I been served it a few years earlier. I bit into the burger and realised that it was the gherkin that made the rest of the burger sandwich delicious. From that moment onwards, I have become a gherkin afficionado.

I am happy eating gherkins anywhere. However, some of the nicest gherkins that I have found are those often served in fish and chips shops. These large, very tasty specimens often come Holland. Served from large glass jars, these gherkins are often known as ‘wallys’ (pronounced ‘wollees’) in London and South-East England.

Finally, here is something that you might not know about gherkins. The south of India, which I visit often, hasbeen a major producer and exporter of gherkins since the early 1990s. The soil condition in that region are perfect for growing the cucumbers that will be pickled. For more information, see: http://igea.in/.  Had these been around in the days before the fall of the Iron Curtain, I wonder whether my parents would have bought them.

Tastes differ

 

food toast meal morning

 

When I was a child, I spent a great deal of time with my aunt and her children. They lived a few minute’s walk from our family home and I enjoyed spending time with them. Often, my sister and I used to spend a whole day at my aunt’s house, sometimes over night especially when my parents were away on a trip.

My aunt fed us. Sometimes she made us fried eggs. Then, I was a very fussy eater. In those far-off days, I only liked the white part of the fried egg, not the central yellow bit. One of my cousins only liked the central yellow part, but disliked the white surrounding it.  My aunt was an extremely down-to-earth individual, laden with more than a fair share of common sense. Her solution to the fried egg situation was that after making the fried egg, she used to carefully dissect the yoke portion of the finished product and serve it to my cousin. I was given the white portion of the egg with a neat hole in it where the yellow had been.

Today, many decades later, I am not keen on any part of a fried egg and do not eat eggs prepared in this way. I much prefer omelettes and hard-boiled eggs. However, I do enjoy making them for other people, The challenge is to avoid breaking the yoke. 

 

 

Photo by Pixabay on Pexels.com

The first time I ate rice

rice

 

I had a difficult birth. Both my mother and I nearly died when I was born. For the first few weeks of my life, I was not a healthy baby; my future was uncertain. Then, as I grew a little, I was a poor eater. My mother, who worried about me greatly, felt that it was best that I only ate what I liked. As a result, I became a fussy and unadventurous eater. My immediate reaction on being offered something that was outside the tiny range of foods that I was prepared to eat, was to refuse it.

Although at an early age, I was happy to eat tomato sauce either with pasta, which I still enjoy, or with baked beans, which I now dislike intensely. I recall eating a fresh (i.e. uncooked) tomato for the first time when I was about 13.

When I was 20, I joined some friends on a camping trip in France. We travelled around the country by car, camping at night. We would eat picnics for lunch and visit restaurants in the evening. One of our camping places was at Banyuls on the Mediterranean coast of France close to the Spanish border. One evening, we drove across the border to Port Bou in Spain. Naturally as we were in Spain, my friends ordered paella.

Paella, as many people know, is a rice based dish. I was a bit skeptical because I had managed to avoid eating rice (and rice pudding) prior to this brief trip to Spain. Something attracted me to the paella, maybe it was hunger or its delicious appearance, and I tried a portion. As for the rice, it was love at first bite. Since then, I have been a great fan of rice, which I had never tried during the first 20 years of my life. I still dislike rice pudding as it is made in the UK. In contrast, I really enjoy phirni, an Indian version of rice pudding.

Since that trip to Port Bou, my tastes have become quite adventurous. I rarely refuse trying something new, even if only once.

Looking back on my childhood, I now realise that my very conservative tastes deprived me of the delights of many of the gourmet meals, which my parents enjoyed while travelling with me and my sister. They would enjoy fine French or Italian food whilst I stuck to my ham or steak and chips. 

Well, as the French say À chacun son goût. I am glad that mygoût has become more exciting.

 

 

No coriander please

 

I love eating Chinese food. So, do many people in India, where this cuisine is served everywhere from simple, unsophisticated street stalls to dedicated, smart Chinese restaurants.

Indian Chinese food is prepared to suit Indian peoples’ tastes. To people used to eating Chinese food in London or elsewhere in the UK, the Chinese food in India may seem somewhat different, especially its taste. Although I much prefer eating Chinese food in London, where the restaurants serve food to many people of Chinese origin, I also enjoy eating Indian Chinese food, which is prepared mostly for Indian diners. On the whole, the Chinese food in India is less ‘authentic’ than that served in London, where there is a large population of Chinese from Hong Kong and mainland China. 

Once when we were visiting Mangalore on the coast of the Indian State of Karnataka, we entered a Chinese restaurant. Its main entrance was almost hidden in a dingy yard that would have made an excellent setting for a performance of West Side Story. This establishment was staffed mainly by a Chinese  family, rather than people with slanting eyes who had originated in the north eastern states of India. I was delighted to find steamed pork dumplings on the menu amongst the starters. I ordered these, and was told that I would have to wait atleast 45 minutes. I said that was alright, and we ate other dishes whilst we awaited the dumplings. 

When the dumplings arrived, we found them to be as delicious as the best we had eaten in London. They were made without making compromises to satisfy Indian tastebuds. The reason that they had taken so long to arrive was, I believe, that they had been made fresh, from scratch. Of all the Chinese food I have eaten in over 25 years of visiting India, these dumplings are the best Chinese food I have been served in the country. I have eaten other enjoyable Chinese meals in India, but none matched those dumplings in Mangalore.

There is one feature of Indian Chinese food that particularly displeases me: the over use of fresh coriander. I like this herb in some Gujarati vegetarian dishes and some Mexican food, but I do not think it enhances Chinese food. Almost every Chinese dish served in India is tainted with fresh coriander. 

I am fond of Hot and Sour Soup, both in London and in India. However, in India my enjoyment of it is marred by the obligatory addition of fresh coriander. Recently, a friend of mine in Bangalore made the very sensible suggestion that I should ask for this soup to be made without coriander added. So, the next time I ordered the soup I followed his advice. The waiter noted my request and the soup arrived without coriander. I tasted it. To my great surprise, the soup was tinged with a taste I associate with Polish food. The chef had replaced coriander with freshly chopped dill leaves!

Tastes change

Once, long before ‘political correctness’ became fashionable, when my wife was an undergraduate student, she asked two Nigerian students whether they preferred their tea “black or white “. They looked at her indignantly before answering aggresively: “with milk“.

When I was a child, I drank tea without milk. That was the way my parents preferred it. That is what I became accustomed to. If I sipped even a little tea with milk, I felt nauseous. Tea with milk, as served in England, is made by adding brewed tea to milk or vice versa depending on your preference.

My prejudice against tea with milk persisted until I began visiting India in 1994. At first, I was suspicious of the “white” tea on offer, but soon began to enjoy it. I think that this is because it is made differently from that which is served in the UK.

In India, tea leaves are boiled vigorously with milk. Often additives such as sugar, crushed ginger, cardamom, mint, and lemon grass are added to the hot bubbling mixture. After a while, the boiled milky tea is passed through a strainer, often cloth, and served in cups. The resulting drink is a harmonious blend of the flavour of tea and the additives. In my opinion, it tastes quite different from, and much better than what is served in England.

I have visited India many, many times since 1994. Apart from developing a great fondness for the country and its people, my tastes in food have changed for the better as a result of my exposure to life in India.

The lady in blue

What makes for a great work of art? Well, people differ on the answer to this question. Seeing one special painting in the Galleria Regionale della Sicilia in Palermo (Sicily) helped me formulate my answer.

ARTGREAT 1

The painting that literally caught my eye and grabbed my full attention is “The Virgin Annunciate”. It was painted sometime between 1474 and ’77 by the Sicilian artist Antonello da Messina (c. 1430-79). It depicts a woman in a blue veil seated at a small wooden desk on which there is an open book. The fingers of her right hand spread forwards towards the viewer. Her left hand holds her veil closed. She appears to be gazing towards her right.  Simple, really, if described like this, but it is not.

The painting grabbed my attention long before my brain had time to analyse what was reaching my eyes’ retinas. It was an intense visceral attraction to the image that made me stop and look at it carefully, an attraction that few other works of art have had for me.

When I had recovered from the initial pleasurable shock of seeing such beauty, I began to notice its subject matter, and with the help of an explanatory note next to the painting, I learnt some of the artist’s deeper intentions.

ARTGREAT 1a

For example, there is a sharp crease in the cloth of the veil  just above the mid-point of the lady’s forehead. This tells the informed viewer that the Virgin is wearing a special treasured, rarely worn, veil that is usually kept neatly folded in a closet or wardrobe. No doubt, art historians would be able to point out many other meaningful details that the artist has depicted. Despite these aspects of symbolic meaning, despite its subject matter and context, this picture is primarily an object of enormous beauty and graciousness that appeals greatly to something in the deep recesses of my subconscious.

For me, a work of art must first seize the seat, the very source of my emotions in a positive way. If it can do that, then whether or not the artist has imbued it with layers of meaning, the work is in my view a great one. Lest you think that it is only the works of long dead masters that fall into my definition of ‘great art’, let me refer to someone who created more recently, Constantin Brâncuși (1856-1957). Some of his sculptures depict birds or humans as simple, almost abstract, forms, almost devoid of detail. These works evoke the same deep sensations of visceral attraction as the painting by Da Messina, yet they could hardly be more different in all respects from that.

ARTGREAT 2 bookdepository do com

A work by Brancusi [Source: bookdepository.com]

I am unable to formulate why the Da Messina and Brancusi works chime (and even some extremely abstract works such as those by Modriaan or Sean Scully) with my deepest emotional chords, when others, undoubtedly masterful in many ways like the works of Caravaggio and Barbara Hepworth, do not. I suppose this is what folk call ‘taste’. And, tastes differ greatly.

ARTGREAT 3

Sean Scully

For me, a great work of art must first appeal to me emotionally, viscerally if you like, rather than intellectually. If I can only begin to appreciate a work of art after it has been explained, as is the case with much so-called ‘conceptual art’, then, for me, it is not ‘great art’.

Chicken 65

HAMPI 2a

The state-run Mayura Hotel at Hampi is conveniently located in the midst of the extensive, picturesque ruins of the once very prosperous city of Vijayanagara. The former city was once the world’s second largest metropolis, but it was destroyed in 1565. I have stayed at the hotel on at least three occasions despite its shortcomings, some of which I will describe below. It is only fair to point out that the last time I stayed at this hotel was at least nine years ago. Things might well have improved by then.

On one occasion, we were driving to Hampi from Bangalore, and were running late. We rang the hotel to tell them that we would be likely to turn up by 6 pm. They replied that it would not be a problem: our room was waiting. And, so it should have been because check-out time was 12 noon. Whoever had occupied the room on the previous day should have vacated their room by noon.

When we turned up at the hotel, we were told that the room we had booked was still occupied. We were not pleased. The receptionist explained that the occupants of our room, who should have vacated it by noon, were still using it. We remonstrated and asked for an explanation. We were told that the family that was overstaying in our promised room had also arrived late the day before, and the hotel was kindly letting them extend their stay at our expense.  We were tired and not amused.

The receptionist and another member of staff settled us temporarily in a small bedroom while we waited for our room to become vacant and cleaned up. After a couple of hours, we were shifted to our allotted family room. There were several workmen in the bathroom. They were trying to turn off a jet of water, like a geyser, that was shooting up from the floor. They managed after about an hour.

There were no towels in our accommodation. By now it was well after dark. We asked for towels and were told that we could not have them because the person with the (presumably only) key to the linen cupboard had gone home.

At the end of one of our stays at the Mayura, we asked to have breakfast at 7 am, when the dining area was supposed to open. When we arrived promptly at 7 am, there was no staff too be seen. Apart from us, the dining area was empty. After a few minutes, I walked into the kitchen: it was empty. All of the kitchen and serving staff were standing in a crowd in a nearby room, their eyes glued to a television screen. We learned the reason when, eventually, someone came to look after us. The television was showing the funeral of the much-loved Kannada film star Vishnuvardhan, who died on the 30th December 2009. Vishnuvardhan’s family were dismayed because his loss was not so greatly mourned as that of another star Rajkumar, who had died three years earlier. People had committed suicide on hearing of Rajkumar’s demise. Nevertheless, our driver thought it would be safer if we drove with a photo of Vishnuvardhan attached to the window as a mark of respect. Without it, we might have been attacked!

During one of our stays, we were curious to taste what appears on many South Indian restaurant menus. It is something called ‘Chicken 65’. What appeared resembled breaded chicken nuggets. They were bland and tasteless – very disappointing. 

Some days later, we had dinner with an elderly Dutch couple, who were back-packing around India. It was clear to us that they had had enough of spicy food. We suggested that they ordered French fries (finger chips in Indian English), which, like omelettes and tomato soup, are almost always available wherever you are in India. Their eyes lit up at this suggestion. Also, we recommended that they order Chicken 65, which we assured them was not at all spicy. 

After a while, the chips were served along with a plate of chicken pieces that did not resemble the Chicken 65, which we had ordered a couple of days earlier. Our new friends tasted this dish, and their eyes nearly popped out of their sockets. What had been served to them as Chicken 65 was far from bland; it was fiery hot. It seemed to us that the chefs in the kitchen paid little attention to what was ordered by the customers. We later learned that Chicken 65 is supposed to be hot and spicy. What we had been served before we met the Dutch people, was definitely not that dish.

The spicy dish was originally created at Buhari’s Hotel in Madras in 1965, hence the 65 in the name (see: https://www.thehindu.com/news/cities/chennai/the-hows-whys-of-our-chicken-65/article5042658.ece).

While we were staying in the hotel one visit, a tour group of Italians had dinner one evening. One man, who had had enough of spicy food, shouted out in a hysterical voice: “I want chicken, plain chicken with salt, nothing else, just chicken and salt, no spices, just chicken and salt.” He kept repeatng this, and we thought: “He should be so lucky in this eatery”.

Despite its elements of “Fawlty Towers” hospitality, the Mayura is a lovely place to base a few days of exploration of the substantial  ruins of a once great city.

HAMPI 3

Learning by teaching

DOC 1

‘Doc’ mending a toaster in a friend’s home near Paris in 1978

Although my PhD supervisor was a full university professor of physiology, most people called him ‘Doc’. He was the pre-clinical tutor of the dental students, who undertook courses in academic rather than clinical departments of University College London (‘UCL’) during their first year of study. Doc’s PhD students were asked to volunteer to help teaching the basics of mammalian physiology to the dental students. I did this willingly. Once a week, I conducted tutorials for a group of six to eight dental students. Although I learnt a lot – teaching is the best was to learn, it was a case of the blind leading the blind. It was while doing this teaching that I met two of the people, who were to become owners of practices where I worked. They remembered me, but I did not remember them.

Once a week, the dental students carried out experiments in the physiology teaching lab. I assisted in the supervision of these classes. One of the experiments that the students undertook was pedalling on a bicycle rigged up to an electrical generator, which in turn was wired to a domestic lamp. The youngsters had to pedal furiously to get the lamp to glow, and while they did this their pulse rate and blood pressure was monitored.

Another experiment was connected with taste. The students had to prepare different dilutions of a chemical and used this to determine taste thresholds. The chemical used was phenylthiourea.  Some of the students could not taste this at any dilution. These people were lacking a certain dominant gene that allows people to taste this substance. The point of the experiment was to teach the students both about taste and, also, about genetic variation. Doc was keen for the future practitioners to learn that we are not all ‘built’ the same way.

Another experiment was examining the effects of various chemicals on the strength and frequency of contractions of short lengths of rodent gut in oxygenated tissue media. When we did this experiment and ones like it during our BSc physiology course, we attached the contracting gut too electronic force transducers which sent electric signals to an electronic graph drawing machine.

DOC 2

A kymograph attached to a pressure-measuring tube

Doc did not use this simple method when his dental students performed the experiment. The contractile tissue was tied to a long delicate metal lever which had a sharp point at the end of it furthest away from the fulcrum to which it was attached. Movements of the tissue caused the lever to move up and down. These movements were recorded on the smoked paper tightly attached to the cylinder (or drum) of an old-fashioned kymograph. As the lever moved in response to the contractions, the fine point at its end moved up and down and displaced the charcoal attached to the smoked paper producing a white tracing where the carbon had been removed.

Handling the kymograph drum was a tricky business. First the special plain white paper had to be tightly attached to the metal drum. Next, the drum was rotated above burning paraffin so that it became completely coated with the black particles in the smoke coming from the paraffin. When blackened, the drum and paper had to be removed from the smoking area and placed carefully on the spindle of the kymograph without touching the blackened paper so as to avoid removing the carbon coating. Attaching the gut to the kymograph lever was also tricky.

After the experiment, the paper covered with tracings had to be removed from the drum, again taking great care not to smudge the delicate layer of carbon and thereby obliterate parts of the tracings. Finally, the tracings had to be immersed briefly in a liquid lacquer that later evaporated and fixed the tracings (i.e made them immune to smudging). Only then could the students begin to make measurements of the amplitudes and frequencies of the contractions of the experimental material.

Doc had an ulterior motive in making his dental students use this highly obsolete measuring device. It was, he decided, an excellent way for future dentists to develop their manual dexterity.

As part of the pre-clinical course, Doc required that each of his students carry out a practical research project. He preferred simple projects such as measuring the blink rates of people sitting on Underground trains or assessing the rates at which peoples’ jaws moved whilst they were chewing gum. One group of students tested the theory (which has been proven) that people’s height was shorter at the end of the day than at the beginning. The main thing that concerned Doc was that his students were learning how to observe scientifically and systematically. It is most important, he felt strongly, for a clinician to be observant. He hoped that these projects would help to make these future dentists into skilled observers and therefore better clinicians.

Another reason for this project was for the students’ more immediate benefit. In the end of year physiology examination paper that he set for the dental students, he always inserted a question, which asked the student to write an essay about any aspect of physiology that interested him or her. Thus, simply by writing about the project undertaken, the student was guaranteed up to 25% of the marks.

Doc and his wife were perfect guides and became great friends during the time I was working on my PhD. I saw them socially often  for many years afterwards until their deaths. It was meeting and getting to know the dental student whom I attempted to teach that was one of the reasons that I strayed into dentistry.

The tests of time and taste

CONTR 0

Is it fair to juxtapose works of modern or contemporary art with great masterpieces, which have stood the test of time?

CONTR 6

We were fortunate to have been given (by our daughter) complimentary tickets to the 2018 Frieze Masters exhibition held in Regents Park. It is part of a larger art fair, Frieze, held in London annually.

CONTR 4 Lowry

The Frieze Masters show contains stalls set up by art dealers, displaying only works made no later than the year 2000 AD. I must admit that I was expecting to see works of art only made during the 19th and 20th centuries. To my great delight, the artworks on display were made anytime between ancient times (several centuries BC) and 2000 AD.

CONTR 2

Although the more recently made (i.e. 20th century) artworks are of the highest quality, they are often on display close to artworks made many centuries earlier. Some of the gallery stalls contain a mix of modern art and much older works. Placing some 20th century works (e.g. Calder) near to older classical works (e.g. Brueghel and Cranach) is not fair to the newer works.

CONTR 5

The older artworks, which have stood the test of time and satisfied the tastes of many generations of viewers, make the nearby contemporary works seem weak in comparison. This is not always the case. Some small sculptures by Barbara Hepworth seemed very comfortable next to their far more venerable neighbours. Also, to my surprise some ancient classical carvings stood harmoniously close to some abstract art works made in the second half of the 20th century.

CONTR 1 Calder

The older works of art on display have been treasured for many centuries. Probably, what we see today is the best of what was produced long ago. Even at the time when they were made, their excellence must have been obvious when seen beside other works, now lost and long-forgotten, which were created at the same time.

CONTR 3 hepworth

I question how many of the more recent (19th and, especially, 20th century) works of art, which I saw at Frieze Masters, will still attract both interest and high prices in, say, fifty or a hundred years’ time. And, I also ask myself how many of the newer works will be able to evoke the feelings of aesthetic wonder that, say, a Brueghel or a Cycladic sculpture have been able to do for so many centuries.  

CONTR 7