A Digression on Lofting

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You could blame the Doctor. It’s not entirely his fault, but at an early age I discovered the Dr. Dolittle books and was captivated: talking animals, quirky illustrations, an idyllic-mythical English past without dragons? I’m moving there, please write.

I was reminded of this when Amanda Vickery tweeted about favourite children’s book illustrators and the article in the Guardian, and I thought of how much my son’s drawings have lately reminded me of Lofting’s, and how much he and I love the books. Yes, they’re racist, and they are of their time. They’re mild fantasies, they’re anthropomorphic, they’re silly, and at a certain level, misogynistic (see the treatment of Sarah Dolittle, the doctor’s sister). But really, don’t you want a duck to be your housekeeper?

20121210-184422.jpgLofting, born in England in 1886, studied there before coming to America to study civil engineering at MIT in Cambridge, MA. The clear line of his Puddleby drawings are infused with the drafting he could have learned as an engineer. He served with the Irish Guards on the Western Front during World War I, and the Dr. Dolittle stories grew from the letters he wrote home to his children.

As a child, Dr. Dolittle had all the things I liked: talking animals, adventures, English villages and cities, and a wardrobe from the past.

My son likes Dr. Dolittle because the stories are about things he’d like to doing: “talking to animals, going on wild adventures, doing all this crazy stuff, and going with the flow.” He says the stories inspire him to learn about animals, and “to get out there and be with them..” (I assume he means at Coggeshall Farm). Dumber, beware.

Lofting moved his family to Connecticut after he was wounded in the war, and died there in 1947. Most of the books he wrote were published in the 1920s, though some anthologies of stories were published posthumously. An inveterate (congenital?) literary snob, I considered the posthumous works rather lesser, even as I read them several times.

Whether you approve of him or not, Lofting remains one of the gentle fabulists of the early 20th century, and the fact that my son reads him today is testament to the staying power of gentle, animal-centric fabulist fiction.

Domestic Bliss

Museum of London
Museum of London, John Middleton &tc

I’ll come back another time to John Middleton & His Family, 1797 from the Museum of London, but today, this group portrait represents one of the online galleries at The Geffrye Museum of the Home in London. Their website has some nice features, and while I did get distracted playing the Topsy-Turvy Timeline game, what I really like playing with exploring is the Life in the Living Room 1600-2000 gallery.

The Geffrye Museum

This has proven useful in keeping on (slightly distracted) track as we polish silver and think about lighting, entertaining, and the ways rooms were used in the past. In particular, since we settled on the idea of setting a formal table for the “holiday themed tours,” and on the After Dark tours, I’ve been thinking about lighting.

Not only is it clear that the expansive use of candles represented expense and disposable income, it’s also clear that it was uncommon. Special occasions on high-style homes: yes. Everyday use in middling homes: no. Even the charming and well-dressed lady reads by just one candle (though that is also a composition choice, and not purely documentary).

More hilariously to the point, this satirical engraving from the Lewis Walpole Libary:

The Pantry Apparition
Lewis Walpole Library, The Pantry Apparition

Surprise!

Warning: Museum content ahead.

I found this link in the AASLH.org twitter feed yesterday: a post at The Uncataloged Museum about the Museum of Hunting and Nature in Paris.

CW Peale: The Artist in His Museum

What a great find, a wunderkammer in the 21st century. After this weekend, I was thinking even more about the ways in which museums engage (or fail to engage) their viewers. Working where I do, I can’t light a fire in a fireplace and hearth cook: for one thing, it wasn’t done in that house (and chimneys are all capped now, anyway).

But wait: isn’t there some place other than a living history museum where people have immersive and transformative experiences? Perhaps art museums? The last time I went to the MFA I did have to keep convincing my companion to stay a little longer–but even the 13-year-old was convinced when each gallery led us to a new surprise.

MFA: American Wing, with replicas

Take away lesson: surprise. wonderment. unusual presentations.

My colleague at work said one of the best things we ever did was to install a post-party room with a broken plate on the floor. You don’t see broken things in a museum! You don’t see messes. But that’s normal for a house, so why not for a house museum?

In preparing a room for a display change, we removed the manservant mannequin, and stashed him temporarily outside a storeroom (former bedroom) door. There’s a niche, and he was partially hidden, and looked guilty, as he reached for the door knob. That’s another kind of surprise, the hidden history of of a house–not just the servants, but also the gossip– that could be brought to life.

Consider the Chicken

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Nobody puts Dumber in a pot

With apologies to the late David Foster Wallace

The majority of us do not consider the chicken. We may consider whether the package of chicken we purchase is free range, organic, cage-free, grain fed, cruelty free. But we are unlikely to think about the implications for the physical being, the essence of chicken-ness, that the chicken’s conditions create for it.

And I am here to tell you that the cage-free, organic, free-range chickens and chicken parts that you purchase at Whole Foods or your other large vendors bear little to no relationship to the actual free-range, catch-as-catch can, ne’er-do-well chicken of the historic barn yard. For one thing, living history chicken is ripped.

https://i0.wp.com/farm9.staticflickr.com/8205/8243387583_072e352ff9_n.jpgIt’s well-developed physically, with strong, sturdy bones and robust ligaments. Its musculature is tight: this is not a bird in need of a personal trainer. Its meat, when cooked, is not white. It is dark meat, not so dark meat, and sort-of white meat. Its taste was described to me as gamey, but I disagree. It was chicken, but earthy, sweet and fresh and rich.

But all that came after the meeting of human, knife, and chicken.

Disassembling the chicken fell to me; I declined rubbing butter into flour having prevented a fall down cellar stairs by putting my hand in fresh goose guano, so I after I washed my hands, I addressed the chicken in its bowl, and took up a knife.

Dumber & Friend

By this time, post-carrots, -parsnips, -squash, -string, -tallow and -suet, the knife lacked the purest essence of knife, that is, sharpness. But it functioned well enough for the task, with some persuasion. The skin was much thicker and more resilient than a store-bought chicken, and greasier, though not in an unpleasant way at first. The muscles were well-developed, and pink. Rosy pink, deep pink, dark like wine. There were no large slabs of the shiny, flaccid, pale meat you find on the chickens in the store. Those aren’t chickens any more: those are products.

The process of quartering the chicken took strength and pressure on the knife, and the strength of my hands. I did have to rip joints apart, and break the carcass’s back. All of this had a sound, and a mild smell of chicken, mixed with the melting tallow. But it was the sound that, with the greasy, slick knife, and the grease that soon covered my hands and wrists, that kept bringing me back to what I was doing, and that, when the bird was broken apart and in the pot and my hands washed, again (they itched), send me outside and up the hill for air and sky.

We boiled the chicken in a kettle we’d already boiled crook neck squash in; later, we added sage, thyme, parsnips and carrots. It was delicious. The broth was incredible, and the whole meal very simple. That’s the whole of the recipe: boil a chicken, add herbs and root or fall vegetables, boil until done, serve. Use any uneaten broth and bones/meat for  stew, pie or other dishes. That’s it.

The product chickens from the market are bred to fall apart. They haven’t got what a running, pecking, eating everything chicken’s got in muscle, ligament, and tendon.

On Sunday, after we came home, I looked at the food in our cupboards. There were boxes, cardboard, plastic, layers of packaging. The cheese was square. These things came from the good market, but were they food, or were they products? I felt like a passenger on the ship in Wall*E, and I was appalled.