Monthly Archives: November 2012

Routes and roots: a talk by Claudia Roden

This post was contributed by Rebecca Heald, a student on Birkbeck’s MSc Social and Political Theory.

I remember as a child my mother making us falafel as a treat. Whenever she did so, she would tell us the story of a couple in Cairo and how they would order falafel from the place below where they lived and hoist them up to their balcony using a pulley. At the beginning of their time living there they were young and lithe; but slowly, with the falafel and the convenience of obtaining them, they became round. I know now this story came from Claudia Roden’s legendary 1968 A Book of Middle Eastern Food.

Roden is one of Britain’s most revered cookery writers. She was born in Egypt in 1936 into the extensive Sephardic Jewish community living there until the 1956 Suez Crisis. Once propelled into exile, she began to miss the food she grew up with and set about gathering recipes. Subsequently she explored and documented a number of cuisines and she has just published her eleventh book, The Food of Spain.

As in Roden’s other work, recipes become a vehicle for history and emotion. This book, like the others, is an extremely personal offering. Experiences over the five years she spent researching the book triggered memories she didn’t know she had. Roden’s family was descended from Jews who had been expelled from Spain in 1492; her grandmother spoke an old Judeo-Spanish language called Ladino, and once immersed in Spain, traces of the old Muslim presence reminded her of the Arab and Jewish world she grew up in.

The starting point for her research was to ask everyone she met for their favourite recipes, what their parents and grandparents cooked, how they lived and what region they were from. Almost without exception the recipes confirmed that Spain is a country of carnivores. They also belonged to what Roden calls the “rural world”, going against the fact that now 80% of Spain’s population live in cities, not on the land, and seemingly in contrast to Spain’s now fashionable culinary avant-garde. The Catalan writer Josep Pla wrote that cooking is “the landscape in a saucepan”. For Roden, in recipes, there are also ghosts: she sees who was there before.

In the case of Spain, those who were there before include Jews, Muslims, Romans, Visigoths, French, Italians, Belgians, and Germans. In previous books Roden has used recipes to explore the differences between Sephardic and Ashkenazi Jews: history, joys and hostilities. Here in Spain, Roden finds that much of the food tells the story of population movements from north to south, coast to mountain to centre, and also, importantly for Spain, the Spanish Inquisition. Pork is shown to be a tool of the Inquisition. Putting it in everything was proof of being Christian. One never knew when the Inquisition was coming, but it seems it often came at lunchtime.

Now many regions are proudly rediscovering their past, many of those Roden meets declare they are descended from conversos. Every dish has a story, and often this is something to celebrate. Upon eating Santiago cake, made of almonds, sugar, eggs and oranges, Roden declares, that none of the ingredients are local to Galicia and it tastes like a Jewish Passover cake. Her hosts are delighted and push her onto local television to share her observation. The area has been celebrating its Jewish history for tourists and on a local farm they have been reenacting weddings complete with ceremonies under a hoopa. Roden’s culinary analysis was welcome confirmation of the fact that in Galicia there were many Jews who converted rather than leaving.

Roden herself has summarized ‘Spain’s regional dishes are memories and people want to hold on to them,’ a sentiment to which The Food of Spain bears rich and delicious testament.

This event was organised by the Birkbeck Food Group, part of the Birkbeck Institute for Social Research.

The Food of Spain

This post was contributed by Evie, who also blogs at Saffron Strands.

It took Claudia Roden five years to research her most recent book The Food of Spain.  Sixty minutes was never going to be enough for this whistle-stop tour of the country and its cuisine.

Each visit Claudia made to Spain unearthed more food memories than she could have hoped for.  Each contact led to yet another person to meet.  She would talk food favourites, festivals and folk history in kitchens as “people open up in the kitchen, not in the living room”.  Most, be they workers or nobility, spoke of peasant cuisine being central to their food memories.

Claudia’s thesis is that Spain’s history of conquering armies meant a population on the move and tastes were, by necessity, unsophisticated. The aristocrats despised vegetables and ate meats, mostly game, though rabbits were left to the lower orders. In Bourbon and Habsburg times the Spanish nobility ate French cuisine. They followed the lead of King Philip V who employed cooks trained in the French court at Versailles. The current haute cuisine in Spain, she was assured, was a cuisine of “today”, though chefs claim to look to the roots of Spanish food for inspiration.

A quote from the Catalan writer Josep Pia “A country’s cuisine is its landscape in a cooking pot” was apt.  The diversity of the landscape of Spain has led to three styles of cooking: the sea; the plain; and, the mountains.  Claudia pointed out that, unlike Italy, dishes are not contained within regional borders.

The food of the wet, mountainous north was influenced by early French pilgrims walking the pathways of St. James, and by the maize, potatoes, beans and peppers brought back from South America by returning priests. The Visigoths introduced cider apples and pigs leading to dishes such as the Asturian roast pork with apples and cider.  The ebb and flow of religious intolerance can be seen in the foods of Jews who arrived in northern Spain to escape the rule of the Berbers in the 12-13th centuries.  To Claudia’s mind, the famous Tarta di Santiago is a good example.  In this sweet dish of almonds, eggs, sugar, butter and citrus she can see the Jewish Passover cake.

The hot, interior Plain was perfect for ranching and pastoral farming, feeding the rich on roast meats and the poor on “spoon” dishes.  After 1492, the Moriscos (Muslims forced to convert to Christianity) remained in the region until the 17th century leaving a legacy of Moorish dishes which we learnt exceeded that of Andalucia.  The fried breadcrumb dish ‘migas’, now widespread in Spain, came about when the Moors were banned from eating couscous.

The coast and Balearic Islands shared the mild climate and cuisine of other Mediterranean countries.  In Cordoba, on the Ruta de Caliphate, Claudia had enjoyed aubergine soaked in milk, floured, fried and drizzled with honey.  Having eaten a very similar dish in Morocco, it was difficult to argue its origins did not lie in Moorish rule. Later, Catalans re-populated these Arab-taken areas and brought their cuisine to the mix.

In all regions the clergy exerted a powerful influence over food.  The Catholic decree that fish be eaten on Fridays resulted in salt cod being named as the preferred fish of many Spanish people today, even those living near the sea.  Pork was a tool of the inquisition.  This can be seen in some areas of the country where the sheer number of dishes containing a little pork is a clear sign that the Inquisition was active. On Saturdays the clergy would check for smoke from the chimneys of homes to prove both Muslims and Jews were compliant in their conversions.

As in many European countries, the monasteries were famous for the quality of their cooking and in the convents pastries were baked for benefactors.  Attempting to extract recipes, Claudia was frustrated to find the convent visited was that of a ‘closed order’, with only Sister Immaculata having dispensation to speak.  This significant problem was later resolved by an unintended invitation to the Sisters to become Friends on Facebook where they happily ‘conversed’.

Claudia Roden’s talk was enjoyable if a little disjointed.  The time limit left speaker and audience a little breathless.  A bit more time and we could have benefitted much more from her learned yet engaging approach to her subject.

Talk based on The Food of Spain by Claudia Roden
Pubished by Michael Joseph

This event was organised by the Birkbeck Food Group, part of the Birkbeck Institute for Social Research.

‘Riot From Wrong’ Film Screening

This post was contributed by Fraser Alcorn, an LLB Law student and member of the Birkbeck Law Society.

The media coverage of the riots that swept through London last August may have decreased in the past few months, but the realities of many of the social injustices that brought them about are still being felt. ‘Riot from Wrong’ is a documentary film created by a group of 19 young people that intends to get to the underlying issues that led to the widespread social unrest and to challenge the perception and media representation of those involved. Birkbeck Law School and student Law Society hosted a screening of the film and a Q&A with the filmmakers at the Birkbeck Cinema on Saturday 24 November.

Primarily focusing on the local community in Tottenham where Mark Duggan’s shooting at the hands of police began four days of mass civil disobedience, but bringing in stories from across London, Birmingham, Liverpool and Manchester, the documentary is unique in gathering perspectives from those involved in rioting and looting alongside interviews with politicians and journalists. The filmmakers have succeeded in producing a slick and insightful examination of the complex realities behind the riots, moving the focus away from the rhetoric of a ‘feral youth’ and onto the unfair and prejudiced treatment of whole communities. Citing the 75% cuts to Youth Services budget, police mistreatment and stereotyping of young people through ‘stop and search’ procedures, as well as tracing the Thatcherite obsession with the individual to the detriment of society, the film provides a strong condemnation of the short-minded policies that produced and continue to produce a young population with few opportunities. That BBC News had commissioned the young filmmakers to produce a piece for broadcast – the first time this has ever been done – should stand testament to the quality of their work.

L-R: Teddy Nygh, Alex Simpson, Kye Taliana, Philli Glenn, Eddis Ozcelik.

Four of the team involved in making the film kindly joined us for a Q&A after the screening; Alex Simpson, Kye Taliana, Eddis Ozcelik, and Philli Glenn, along with director Teddy Nygh. Feedback from the audience was resoundingly positive and the team proved to be an engaging and thoughtful bunch to talk with. Considering that they experienced the beginning of the riots first-hand while filming, and put the film together as blame was being piled upon an unfairly demonised youth, their level-headed and considered opinions were heartening. That’s not to say they shied away from demanding that the powers that be need to take responsibility for their actions, and with around 30 screenings under their collective belts, including one at the Houses of Parliament, their direct approach is making waves in the right places. Far from resting on their laurels though, they talked about their desire to get more young people motivated in their cause with their ‘Million Youth Movement’, together with plans to shoot a new film explaining how to get involved in local politics with the intention of giving more voice to young people in Britain.

The ‘Big Society’ is a horrible term that suggests that people need to be reminded to care about our own communities. It too easily takes ownership of the positive work of a few and claims it as proof of the value of a valueless government initiative, where in fact that work has happened despite the absence of state support. This film is the product of a group of young people coming together in the most positive way possible to create something truly informative and perceptive, and it would be quite wrong for it to be held up by government as an example of how the young ‘should’ behave; Britain’s youth should hold it up to government to demand to know why they are having to address and resolve issues they had no hand in creating.

The next public screening is at The Salisbury in Tottenham on Sun Dec 9th. For more information follow the team on Twitter @UKFullyFocused & @RiotFromWrong . Watch the trailer here.

Follow Birkbeck Law Society @BirkbeckLawSoc or contact us at birkbecklawsociety@gmail.com

New short fiction from Birkbeck’s writers

This post was contributed by Sarah Cumming, a student on Birkbeck’s MA Creative Writing and editor of this year’s Mechanics’ Institute Review.

The book

Mechanics' Institute Review Issue 9Annual short fiction anthology, The Mechanics’ Institute Review (MIR), has truly excelled this year. Now in its ninth edition, the anthology, which is produced and edited by student’s on Birkbeck’s MA programmes, is a compilation of short stories from talented students on Birkbeck’s Creative Writing programmes.

There’s been a real buzz about this year’s issue, with its striking cover and exceptional array of stories. I may be slightly biased as I was one of this year’s editors but I’m definitely not the only one who can see the high quality – the anthology has been reviewed in the Guardian and DIVA magazine, and several of the writers have been approached by literary agents. Last week, the growing interest in MIR was demonstrated when the MIR editorial team hosted a packed out reading event at Foyles bookshop in Charing Cross.

The readings

As well as selecting students’ work from almost a hundred submissions, the team also commissioned several stories from well-known authors and three of them were able to come along to Foyles to share their stories and their wisdom.

The first to captivate the audience was Nick Alexander who, despite having published nine novels, admitted to a great fear of reading his work aloud. But he quickly had the audience chuckling away at his story, One man’s poison, about the trials of phone App dating.

Alison MacLeod, the author of two novels and a lecturer on the Creative Writing MA at University College Chichester, read an extract from her story, The Thaw. Her expressive and slightly hypnotic reading style had me on the edge of my seat and, despite already knowing what happens in the story, I was devastated when she finished at what would be the crucial moment. Phoebe Blatton, currently a Creative Writing MA student, was up next with an extract of her sinister and discomforting story, Paul and Emma and Paul.

Finally, Julia Bell, author of two young adult novels and Senior Lecturer on Birkbeck’s Creative Writing MA, skipped straight to the main action of her story, The Wilds, where two neighbours find themselves at the violent hands of teenage ‘terrorists’ while on an afternoon stroll along the beach.

Writing

After the readings, there was plenty of time for mingling and drinking the free wine. Common themes of my conversations with other writers were unread manuscripts, mounting piles of books to read and, inevitably, ‘getting that book published’.

A few times recently I’ve been asked about my experience of studying on the writing MA and whether it’s made me a better writer. The on-going debate about whether creative writing can be taught will continue but the experience of helping to edit this collection has been invaluable; reading and editing other writers’ work can provide an insight you can’t get from your own writing. Not only that, but I now have a much greater knowledge of the book industry and this will certainly help when deciding what I want to do with my writing.

You can grab a copy a copy of MIR9 on Amazon – but hurry, the first print run in almost sold out!