Christmas 2018 is upon us, and once again, I would like to share a Christmas Day poem by the 19th-century Scottish poet and essayist, Robert Louis Stevenson reflecting our common humanity:
A Prayer for Christmas Morning
By Robert Louis Stevenson
The day of joy returns, Father in Heaven, and
crowns another year with peace and good will.
Help us rightly to remember the birth of Jesus, that
we may share in the song of the angels, the
gladness of the shepherds, and the worship of the
wise men.
Close the doors of hate and open the doors of
love all over the world.
Let kindness come with every gift and good
desires with every greeting.
Deliver us from evil, by the blessing that Christ
brings, and teach us to be merry with clean hearts.
May the Christmas morning make us happy to
be thy children.
And the Christmas evening bring us to our bed
with grateful thoughts, forgiving and forgiven, for
Jesus's sake.
Amen.
Wishing kind thoughts for a Merry Christmas.
Although we are of many faiths,
it is important that our common humanity
allows us to share a season of peace and goodwill.
Following an evening of enjoyable shopping at the Holiday Market one recent Friday, we happened upon the very lively and fascinating China Chilcano (418 7th Street NW), one of José Andrés’ signature Washington, D.C., restaurants that defines the culinary spectrum of Peru.
“Food is about making an interaction with ingredients,” says Andrés, the celebrity chef and restauranteur – and Nobel Peace Prize nominee – who is a national hero in a city full of political enemies. “If you talk to them, they will always tell you a story.”
What a brilliant story chef Andrés shares night after night. He’s engaging his diners to indulge in a wide range of culinary delights that juxtaposes traditional Peruvian cuisine with Chinese Chifa and Japanese Nikkei – and I’m happy to say that it works. It’s an exciting journey. If you’re lucky, like my wife and I were on the night we dined at China Chilcano, you might even have a chance to say “hi” to chef Andrés and thank him yourself for a wonderful meal.
Why Peru, China and Japan together? According to the menu, the story goes like this: “In the late 19th century, Chinese and Japanese settlers traveled to Peru and made it their home, bringing with them time-honored cooking traditions that sparked the beginning of the rich, multicultural offering that is Peruvian cuisine.”
Our menu selections, which included Chifles Chiferos con Salsa (crispy plantain and taro root chips served with a sweet potato-rocoto sauce and Chinese five spice), Chupe de Camarón (Pacific wild shrimp soup with fresh cheese, chocolate, rice, potato and poached egg), and Chicharrón (a fried pork belly with sweet potato, salsa criollo, and hot sauce sandwich), were bold and flavorful – and all simply superb. We saved room for dessert and ordered the Ponderaciones de Kiwicha (a crispy fried spiral cookie, Fortunato No. 4 chocolate cream, banana, and Algarrobina ice cream). I learned that the Fortunato No. 4 chocolate is made from Pure Nacional Cacao. The name honors the Peruvian farmer, Fortunato, and the mother tree of the rare Pure Nacional Cacao trees that grow in his Marañón Canyon farm.
Recently, chef Andrés and World Central Kitchen, his non-profit organization, have established themselves as a reliable source for feeding the hungry. In the past year, they’ve been to a number of different natural disaster areas such as Houston, Florida, and California as well as to Guatemala and Puerto Rico to provide food and emergency relief. More recently, they’ve fed the hungry and contributed humanitarian relief along the Mexican border town of Tijuana in response to the Trump administration’s hard-line stance on immigration.
In a recent interview with the Washington Post, chef Andrés said showing up in Tijuana was the right thing to do. “In the end, it’s very simple. Our motto comes from John Steinbeck’s ‘The Grapes of Wrath,’” he said. Then, quoting from the author’s Depression-era novel, “Wherever there’s a fight so hungry people may eat, I will be there.”
A Spanish native who became a naturalized U.S. citizen five years ago, chef Andrés continued: “If you are a person of faith, you will argue this is the right thing to do. If you are a person of love and compassion, this is the right thing to do. If you are a person that believes that pain in the world should go away, this is the right thing to do.”
Earlier this year, chef Andrés, who has become the face of American natural disaster relief, co-wrote a book, ‘We Fed an Island,’ with veteran British journalist Richard Wolffe, following the Hurricane Maria disaster that struck Puerto Rico. It served as a manifesto that asks governments and nonprofit groups to rethink the way in which they feed people after a natural disaster has struck.
If chef Andrés can feed just one person, he is happy. The bottom line according to him is simple: “We don’t need to be politicizing the suffering of others. What we need to be doing is having more compassion.”
Indeed, putting humanity forward is the right thing to do – especially during the holiday season.
Credits: Photo – Google images. Video – PBS NewsHour/YouTube.
One of the hidden gems among many great landmarks and monuments that dot Washington, D.C., our nation’s federal city, is the National Building Museum. Located at 401 F Street NW near Judiciary Square, the National Building Museum (formerly the Pension Building) inspires curiosity about the world we design and build for ourselves – from our homes, skyscrapers and public buildings to our parks, bridges and cities.
It is through the National Building Museum’s exhibitions, educational programs and publications that it educates us about American achievements in architecture, design, engineering, urban planning and construction.
National Building Museum
The National Building Museum dates back to its construction between 1882 and 1887 to house the U.S. Pension Bureau and as a national memorial to the Union forces who fought in the Civil War from 1861-65. It was designed by Gen. Montgomery C. Meigs, who studied both architectural design and engineering at West Point, then during the Civil War was appointed by President Abraham Lincoln as Quartermaster General of the U.S. Army.
Although the Pension Bureau relocated in 1926, the building continued to serve various government agencies for another 50 years. In the 1960s, an adaptive reuse plan that recommended restoring the structure and creating a museum devoted to building arts was established. In 1980, it became chartered by Congress as a private, nonprofit institution. Today, the National Building Museum is recognized as a National Historic Landmark.
The National Building Museum was designed to provide the nation’s capital with a large interior space for public events, and in 1885, two years before the building’s completion, President Grover Cleveland’s first inaugural ball was held in the building. I learned that elaborate decorations masked an unfinished interior, which was covered by a temporary wooden roof. The building’s Great Hall (which measures 316 feet by 116 feet) has gone on to host 19 inaugural celebrations, the most recent being in 2017.
The National Building Museum’s materials include 15.5 million bricks with brick and terra cotta ornament. Also, the Corinthian columns are among the tallest interior columns in the world at 75 feet high, eight feet in diameter and 25 feet in circumference. Each column was built of 70,000 bricks and painted in 1895 to resemble marble. The columns were re-marbleized in 2000 to reflect their original pattern.
The exterior frieze at the National Building Museum.
Worth noting is the exterior frieze of the building, which is 1,200 feet long by three feet high and was commissioned by Meigs in1882. Designed by the Bohemian-born sculptor Casper Buberl (1834-1889), the terra cotta frieze features a continuous parade of Civil War Union forces, including infantry, cavalry, artillery, naval, quartermaster and medical units.
Among the exhibits currently on display:
• Secret Cities: The Architecure and Planning of the Manhattan Project (through July 28, 2019). This exhibition explores the “Secret Cities” of Oak Ridge, Tennessee; Hanford/Richland, Washington; and Los Alamos, New Mexico, which the U.S. government built during World War II in order to produce an atomic bomb before the Axis powers could do so. It examines these cities as providing grounds for modern ideas about architecture, urban planning, and building technology.
• Flickering Treasures: Rediscovering Baltimore’s Forgotten Movie Theaters (through October 14, 2019). This exhibition explores the architectural and social history of Baltimore’s movie theaters from 1896 to present. Baltimore Sun award-winning photojournalist Amy Davis has contributed to this exhibition and there are also historic images, theater ephemera, furnishings and architectural fragments that will evoke memories of our movie-going past and present and also illuminate themes of loss and preservation.
Learn more: www.nbm.org. Open daily and Sunday except Thanksgiving and Christmas Day.
Jon Meacham is a Pulitzer Prize-winning historian and author of Destiny and Power: The American Odyssey of George Herbert Walker Bush, the definitive biography of the recently deceased 41st President of the United States. Last week, Meacham eulogized Mr. Bush, calling him “America’s last great solider-statesman, a 20th-century founding father.”
During Meacham’s eulogy, he said, “Abraham Lincoln’s ‘better angels of our nature’ and George H.W. Bush’s ‘thousand points of light’ are companion verses in America’s national hymn. For Lincoln and Bush both called on us to choose the right over the convenient, to hope rather than to fear and to heed not our worst impulses but our best instincts.”
In Meacham’s latest best-selling book, The Soul of America: The Battle for Our Better Angels, a brilliant and fascinating – if not timely work – we are reminded that from our country’s very beginnings, the United States has, in the words of American historian and law professor Annette Gordon-Reed, “struggled to deliver on the promise of the Declaration of Independence and to make our Union ‘more perfect.’ Race has often been at the heart of those struggles, and The Soul of America persuasively argues that the resilient spirit of those who fought throughout our history to overcome that seemingly intractable problem is still with us. It is that spirit that gives us cause to be hopeful in the face of doubts about our country’s future.”
Meacham writes with both clarity and purpose throughout The Soul of America and explains how our current “Trumpian” climate of partisan fury is not new. He explores other contentious periods of our nation’s history – from the Civil War to World War I to the fight for women’s rights to Lyndon Johnson’s crusade against Jim Crow – to show how presidents and ordinary citizens have united to defeat “the forces of anger, intolerance, and extremism.”
Through each of these periods of our nation’s history, Meacham explains, our national life “has been shaped by the contest to lead the country to look forward rather than back, to assert hope over fear – a struggle that continues even now.” As Meacham told Trevor Noah recently on The Daily Show, “every era is a battle between our best impulses and our worst impulses.”
Careful students of history will be familiar with some of these stories, but as Meacham notes, “if we have learned anything in recent years – years in which the president of the United States has taken pride in his deliberate lack of acquaintance with the most essential historical elements of his office – it is that even the most basic facts of our common past repay attention. ‘Eternal vigilance,’ it has been long said, ‘is the price of liberty’ and a consciousness about what has worked – and what hasn’t – in previous eras is surely a useful form of such vigilance.”
Historian Ken Burns, no stranger to the study of our nation’s past, summed his thoughts about The Soul of America by saying, “Rather than curse the darkness, John Meacham, with his usual eloquence and surpassing knowledge of our history, has offered us all the sublime and calming reassurance that, as threatening as so much of the present moment seems, Americans have weathered such storms before and come out on the other side with fresh and progressive horizons. This is a beautifully expressed and convincing prayer to summon our own ‘better angels’ to meet the obvious challenges of today.”
Meacham concludes The Soul of America by writing, “For all of our darker impulses, for all of our shortcomings, and for all of the dreams denied and deferred, the experiment begun so long ago, carried out so imperfectly, is worth the fight. There is, in fact, no struggle more important, and none nobler, than the one we wage in the serve of those better angels who, however besieged, are always ready for battle.”
Photos: Courtesy of Google images. Video: Courtesy of YouTube.com/The Daily Show.
Fashion designers are resourceful types. Often, they’re inspired by the spirit and trends they discover while exploring big urban cities – all the while keeping their focus on enduring styles. Good ones even show respect for our planet while exercising a little bit of social equality.
During a recent, Friday evening visit to the month-long Holiday Market in Washington, D.C., located in front of the Smithsonian National Portrait Gallery (8th St. NW & F St. NW)– and just a quick slap shot from Capital One Arena, where the Stanley Cup champion Washington Capitals were playing – I happened upon the “Naturally Forward” collection from Aria Handmade, an eclectic artisan series of handcrafted apparel inspired by eco-consciousness.
Based in High Point, N.C., Aria Handmade uses hand-harvested seeds from the Amazon rain forest as well as recycled metals and fibers in which to create a variety of apparel, jewelry and recycled handbags. It has designed a line of accessories that incorporate recycled tire tubes into eco-friendly fashion.
As I perused the holiday merchandise displayed in Aria Handmade’s booth, I became smitten by its Optimus Collection men’s wallet. Upon first glance, I realized it’s both fun and practical – and, let’s face it, its urban look definitely gives it a fashion-forward look.
The product details incorporated into the Optimus Collection men’s wallet are impressively cool:
• Made from recycled rubber from truck tire inner tubes and synthetic vinyl from repurposed car seat upholstery.
• Interior water resistant nylon fabric.
• Two interior sleeves for bills.
• Six credit card slots.
• Three multipurpose pockets.
• Zippered coin pocket.
• Clear plastic ID display.
• Snap closure.
According to Aria Handmade’s website, the blending of recycled tire tubes and reclaimed leather together “culminate into stylish, affordable eco-friendly designs that stay true to our commitment of promoting sustainable, eco-friendly accessories that are aesthetically beautiful and functional to use.”
Looking back, it didn’t take much convincing from the very polite and observant salesperson. He picked up on my interest in the wallet as well as a small tote that would be a perfect fit for either my iPad or camera. Let’s face it, the Optimus Collection men’s wallet is just what I had been searching for. After all, for the past half-dozen or so years, I’ve been sporting an Etsy-designed wallet by Prix-Prix created out of fabric from an old men’s necktie mixed with a men’s wool dress coat interior – and lately, it’s started to wear a little thin.
You see, I’ve always had an appreciation for something a little bit different.
In Roma, Academy Award-winning director and writer Alfonso Cuarón (Gravity, Children of Men, and Y Tu Mama Tambien) has delivered an artful love letter to the women who raised him. Presented in Spanish with English subtitles, this immaculately photographed 135-minute film presented in black and white is a beautiful ode to his Mexican childhood. It draws upon Cuarón’s early life experiences growing up in a middle-class family in Mexico City’s Colonia Roma district to create both “a vivid and emotional portrait of domestic strife and social hierarchy amidst political turmoil of the 1970s.” It’s a film about resilience and survival.
As Roma begins, one critic describes its opening as “a mesmerizing four-minute credit sequence – the mopping of a courtyard – the flow of foamy water establishes a rhythm as well as a cleansing metaphor about life and memory.”
The film follows its protagonist Cleo (portrayed by first-time actress Yalitza Aparicio), a young live-in domestic helper, and captures both her devotion to Cuarón’s family as well as detailing her personal problems. She becomes the focal point of the film in what becomes a collection of childhood memories about Cuarón’s family, the house he grew up in, and his neighborhood.
As the film’s writer, Cuarón wrote the script as a stream of consciousness. So, we see a combination of personal and social issues unfold in front of us. It seemed that because Cuarón allowed his emotions to play out, some of the scenes run long without tight editing. However, as the film unfolds it becomes its strength and not a liability.
Roma is meant to make us think. It’s an art film not an entertainment movie. Because Cuarón chose to film it in black and white, we gain more intimate details – and it lends itself toward recalling memory. After all, memory can be subjective – but it can also be objective, too. There is a lot of subtlety, a touch of humor, and plenty of honesty. Several things that are foreshadowed play out later in the movie such as an earthquake, a massive fire and the Corpus Christi massacre of 1971 that is shockingly detailed and restaged by Cuarón.
Roma opens in theaters just in time for the holidays and it’s sure to gain momentum as the awards season comes into full view. It will also be released simultaneously on Netflix, which will allow the film to reach a wider audience. However, Roma is best seen on a large screen and preferably in a classic, single-screen cinema like I saw it on a recent Sunday morning in northwest Washington, D.C. Its directionality of sound is truly amazing. Recently, one critic described Roma’s sound as a “bewilderingly intricate tapestry of distant street sounds, ambient noise and close-up conversations.” It’s a film that you can definitely watch with your ears, but you’ll want to see it with your eyes, too.
Earlier this year, chef Marcus Samuelsson of Food Network Chopped fame took an inspiring journey across the United States in which he explored – and celebrated – the wide-ranging diversity of immigrant traditions and cuisine woven into American food and culture.
On “No Passport Required,” a six-episode PBS/Eater series which first aired across the U.S. during the summer months, Samuelsson visited Detroit, New Orleans, Chicago, New York City, Miami and Washington, D.C. An immigrant himself, who was born in Ethiopia and raised in Sweden, Samuelsson discovered dynamic and creative ways in which a particular community thrives – making its mark, so to speak. He spoke to poets and musicians, business owners and community leaders, as well as artists and home cooks – each who have contributed to enhancing our nation’s culture and its cuisine.
In Detroit, Samuelsson gathered with Middle Eastern immigrants who call the Motor City home and in New Orleans, he learned how the culinary traditions of the Vietnamese have been fully integrated into the fabric of the Big Easy, which has its long-established French and Creole influences. Samuelsson gathered with Ethiopians in Washington, D.C., and with the Indo-Guyanese in Queens, New York. He discovered how Chicago’s Mexican neighborhoods have impacted that area’s food and culture, and in Miami, he was welcomed by the city’s proud Haitian community.
The bottom line in Samuelsson’s adventures – and what I learned from watching – is this: there are many wondrous global food traditions that are waiting to be discovered throughout the United States. Sometimes, we just need a little bit of encouragement. After all, as the title of Samuelsson’s show reinforces, there’s No Passport Required.
• • •
There’s a great back story about chef Samuelsson I blogged about six years ago that's worth sharing, again. Back in July 2012, he wrote a memoir, Yes, Chef – an incomparable story – about what it means to be an American. Through his cooking, he told a story that in the words of former President Bill Clinton, “reached past racial and national divides to the foundations of family, hope and downright good food.” Gabrielle Hamilton, the bestselling author of Blood, Bones & Butter said that Samuelsson exudes “a quiet bravery, and a lyrical and discreetly glittering style – in the kitchen and on the page.”
Thus, an opportunity to meet chef Samuelsson in person, hear him wax poetically on his life’s passion and get a signed copy of his memoir was too good an opportunity to pass up.
“It begins with a simple ritual: Every Saturday afternoon, a boy who loves to cook walks to his grandmother’s house and helps her prepare a roast chicken for dinner. The grandmother is Swedish, a retired domestic. The boy is Ethiopian and adopted, and he will grow up to become the world-renowned chef Marcus Samuelsson.” His memoir, Yes, Chef, became his love letter to food and family in all its manifestations.
As Samuelsson shared his fascinating life’s story at Book Passage’s intimate San Francisco Ferry Building store, he said, “Sometimes, the worst situation can become the best situation.”
In a chapter of Yes, Chef devoted to his grandmother, Helga, Samuelsson wrote: “Mormor (the Swedish word for mother’s mother) treated her house like it was her own little food factory. She made everything herself: jams, pickles, and breads. She bought large cuts of meat or whole chickens and game animals from the butcher and then broke them down into chops and roasts at home. It’s so funny to me how, today, we celebrate braising as some refined, elegant approach, when it’s the same slow cooking method Mormor used. Her menus followed a simple logic:
“You have bread today because it’s fresh. You have toast tomorrow because the bread has gone stale. You make croutons the next day, and whatever bread is left after that gets ground into crumbs that you’ll use to batter fish.
“I don’t think I saw a rib-eye steak until my late teens when I started working in restaurants. At home, we ate mostly ground meat that was rolled into balls and stretched even further by ample additions of breadcrumbs. We ate our own Swedish version of a hamburger: pan beef, a patty topped with caramel iced onions. Sometimes we ate beef Lindstrom: a hamburger patty mixed with onions, capers, and pickled beets before being seared in butter. That’s comfort food where I come from, and it’s damn good.”
• • •
At times, it’s been a struggle for Samuelsson to find his place, both in the kitchen and in the world. At least now, he has the appearance of a man who’s found peace in all the right places – and he’s always with a smile on his face.
“I am an immigrant, not a refugee,” Samuelsson reminds us. “There is a big difference. I am as a patriotic as any American. I am determined and grateful.”
As a chef, Samuelsson states that inside the kitchen or out, “it’s a matter of luck and the belief in others.
“Cooking has changed, but the core values remain the same. It’s about expressing a journey and culture. What better way than through food,” he says. And, besides, as Samuelsson playfully shared with his San Francisco audience on that summer night six years ago, “My fried chicken is better than yours!”
