Travelogue XXXII: Inside the Studio

OLYMPUS DIGITAL CAMERAMarch 15, 2015 My family owns a sheep farm and Bed and Breakfast Inn in the backwoods of Vermont. I grew up making beds and serving meals to guests from all around the world who, along with the hundreds of thousands of others who make up Vermont’s tourist industry, travel to the state to look at leaves or ski or learn about sustainable living. The constant presence of The Public on our farm means that the place has to be spic and span during the busy months–flower boxes on the porch, mowed lawn, the rusted-out farm truck banished to some back-40 field drive or another.

Our beautiful studio in the barn, too, is quite presentable during the summer months. It’s the seat of the farm store, where we sell yarn and fiber from our animals, and the space we use to teach classes or host visiting weavers and felters. There’s always something going on–a wine tasting or a children’s camp or an open studio day of some sort. My mother runs a tight ship, and the studio is usually an orderly and welcoming place.

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Photographing yarn for the online store, with the help of Moses.

In the winter, though, that all goes out the window. It’s the off season–no Public, since only the hardiest of guests want to stay on a farm on dirt roads in the middle of winter. That means that the studio no longer has to be orderly. It becomes the workroom for new projects and patterns, a storage space for boxes of yarn and raw fleeces in plastic bags waiting to be sent off to the mill in the spring. It’s half photography studio and half construction zone, full of inventory waiting to be shipped or listed online, and a winter’s worth of odds and ends and new ideas which will be brought to fruition when the weather turns warm again and the guests return.

That’s winter in Vermont, though–taking stock, resting, waiting, planing for the return of the warmth and the work of the summer. And despite the mess, the studio is still an absolutely fascinating place.

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Carding combs.

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Samples knit with patterns designed specifically for our yarn.

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Drop spindles, waiting for the next introduction to fiber arts course.

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A mural from past years’ children’s camps.

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Moses claimed one of the felted purse samples for his own.

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Looms in storage.

…And then back out through the barn, full of grain sacks and lumber and tractor pieces and bikes. Outside, though, everything is clean and white. It has been snowing more or less constantly since I arrived.

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Travelogue XXXI: Home

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Oh rhythm of my heart is beating like a drum
with the words “I love you” rolling off my tongue

No never will I roam for I know my place is home
where the ocean meets the sky
I’ll be sailing

Rod Stewart

It’s almost surreal: two days ago I was drinking chai tea in a cafe across from the Mainzer cathedral, watching the stone turn red in the setting sun and the theater fill up with people. And now I am sitting in front of a fire in a drafty farmhouse in the middle-of-nowhere Vermont, where the air permanently smells like sheep manure and the farmers are just starting to tap the sugar maples. The terms of human existence are different here–dirty rubber boots and vet visits instead of European philosophy and champagne at the opera–but equally as beautiful. And in the end, it’s the life I know best. I was a bare-footed farm girl long before I knew the heady, complicated world of German literature even existed.

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Headed home from the airport in Boston over Route 110–one of the prettiest drives in the state and, actually, in the world.

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The state is full of Covered Bridges….

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Will’s Store in Chelsea, VT, my home town–they make superb homemade ice-cream with a machine that dates back to before the first World War. Also, I saw more flags on the drive home than I saw during 8 months in Germany. America is a patriotic place; Germany is absolutely not.

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South Royalton Food Co-op, twenty minutes down the road. We stopped to pick up some bread to go with dinner.

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The pictures on the wall are of the farmers who stock the store—Buy Local at its best.

Country roads, take me home
To the place I belong.

John Denver

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Home at last: the grand view of Grand View Farm.

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Moses the fat barn cat. (photo: GVF)

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Chore time. (photo: GVF)

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Starting seeds in the Greenhouse. Note the snow drifts on the left-hand side–it’s over two meters in places.

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The view from my bedroom window.

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Wood fires.

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I haven’t seen the stars in months. It is good to be home. (photo: Anna)

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Nota Bene: Photos credited to Anna were taken by my insanely talented sister. 

Photos credited to GVF were filched from our farm website

 

Reading List II: Alice Herdan-Zuckmayer, Die Farm in den Grünen Bergen

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The Zuckmayer’s farm was near Silver Lake in Barnard Vermont–it looks about the same today as it did in 1940.

 Alice Herdan-Zuckmayer: The Farm in the Green Mountains, 1949: part memoir, part diary, part fascinating account of rural life in 1940s Vermont, the state I grew up in. I’ve been slowly reading it since Christmas, mostly on the train between Mainz and Frankfurt. And, check it out–it’s even available in English!

The authoress Alice Herdan-Zuckmayer was an actress in Berlin in the 1920s, where she met her husband. Carl Zuckmayer was a prominent author and playwright from Mainz, where he is still quite a point of pride–I’ve seen his plays at the Mainzer Staatstheater, and gone to an exhibit about his life at the local library. They fled Germany with their two daughters in 1939 and, after a short stint in New York City, acquired a run-down farm in Barnard, Vermont. They were upper-class Europeans and artists, utterly without prior experience in farming or rural life, but they somehow made it all work.

In many ways, minus of course the exile and the upper-class-European-artist part, it’s the story of my parents, who also moved to Vermont decades ago to raise a family and start farming from the ground up, through trial and error and sheer force of will. I spent the first 18 years of my life on our sheep farm and Bed and Breakfast outside of Chelsea, another tiny village not all that far from Barnard. It’s a small world.

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The rams’ shed on our farm after a snowstorm–cosy and picturesque, sure, but not fun if you’re the one who needs to bring them water twice a day.

I can understand so much of what Alice Herdan-Zuckmayer writes in the book–these are things that haven’t changed at all in the last century in Vermont, things I know every time I go back to visit. The sounds an old post-and-beam farmhouse makes when it gets cold, for instance, or the way the snowplow rattles the windowpanes at 4am, the way that all travel slows to a crawl during Mud Season, the vow that you make to yourself every year on slaughtering day to never eat meat again, the way you structure a day around caring for animals, what it means to make a living with your hands on a small piece of land that you own.

We seem to have traversed much of the same ground, too–she spends an entire chapter describing her monthly pilgrimages to the libraries, theater, and art galleries of Dartmouth College in Hannover, New Hampshire, that ivy-league sanctuary in the middle of the sprawling Connecticut River farmlands. I spent my teenage years driving an hour and a half over bad roads to sit in those same libraries, to look at the art and to attend live broadcasts from the Metropolitan Opera in New York City. To me, as to Alice, Dartmouth College was an oasis, a mecca, super-saturated with the sort of refined intellectual and artistic beauty that struggles to find a place in any rural landscape.

Above all, though, it’s the people I recognize most from her descriptions. The Vermonters–they haven’t changed a bit in the past century, and probably never will.  It’s all the same: the liberal politics and tough-as-nails self-sufficiency, the immediate and lasting suspicion of anyone not born in the state, the willingness to impart copious free advice at all hours of the day and night, the fierce devotion to place, tradition, community. She writes, “Vermont is a relatively poor state in comparison with the rest of America, but they do not shy away from their poverty, and they do not love wealth. Their autonomy and sense of balance grants them independence even in the most uncertain times, and gives them their sense of pride and fearlessness.” Indeed.

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Mud Season, Vermont’s fifth season, at its best–the road that runs along side our farm last April.

On the other hand, though, there are many things I do not know at all in the world Alice Herdan-Zuckmayer describes. What it feels like to leave one’s family behind forever, or to live in a land of peace and plenty while one’s homeland is being torn apart by the bombs of the very country in which you have found shelter–I can’t say that I can relate to all that. And yet it was the experience of so many thousands of European intellectuals and artists from Alice’s generation, men and women who left Europe to start new lives in Los Angeles or New York, or on a farm in the backwoods of Barnard, Vermont.

With all that in mind, what has lingered with me the most after reading is the strength of Alice Herdan-Zuckmayer herself. Reading between the lines, it’s clear that she was the driving force in the family, and a vital support system for her husband who would rather have been back in Europe writing books and directing plays. It was because of her great will that her family was able to pull together in a new land, and because of her energy, curiosity, and good humor that they were able to thrive. That’s true heroism, there.

Travelogue XVII: Bonn and Beethoven

bonn_beethovenBeethoven statue on the town square.

2. November, 2014 So many cities here are defined by their connection to specific artists and thinkers in Germany’s past. Mainz, for instance, is the Johannes Gutenberg city–Bayreuth is Richard Wagner’s–Frankfurt (along with Weimar, of course) belongs to Goethe. One has the feeling that these figures are still very much present, as much a part of local rhythms as the marketplace, theater, Rathaus. There are streets and universities and drugstores named after them, statues on every square, museums and memorial associations that hold lectures and concert series in their honor. The past is exceedingly alive.

Bonn, where I was last weekend after the DAAD Conference in Cologne, is the city of Beethoven–he was born there, and spent the first 22 years of his life in the city before moving to Vienna. I was able to visit his house, which was converted to an archival museum in his honor over a century ago.

Surreal, to see Beethoven’s pianos arranged side-by-side, his reading glasses, his viola, the organ he played on as a boy. On his desk, there was a hand-written copy of a poem by Schiller, who had himself taken it from some ancient inscription in Egypt:

Ich Bin, was da ist
Ich Bin alles, was ist,
was war und was sein wird
Kein sterblicher Mensch
hat meinen Schleier
aufgehoben.

I am what is there.
I am everything that is
that was and that will be.
No mortal man
has lifted my veil.

Beethoven had written it out on a slip of paper and it sat on his desk for years. A sort of life-motto, according to the elderly gentleman who worked in the museum.

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Downstairs, there were newsreels from 1945, showing American soldiers entering the house, half-destroyed, and removing furniture and instruments covered in ashes. And there were pages from a guestbook dating back to 1890, containing the signatures and notes of the hundreds of famous men and women who had been there–Heinrich Böll, the Clintons, Isaac Stern, Indira Ghandi, Claudio Abbado, Joachim Gauck, the Dalai Llama. They were humbled, they wrote, and inspired, and grateful. Strange, to be sharing an experience with so many luminaries.

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So there it was: standing in the house of yet another giant.

Beethoven aside, Bonn is a fascinating city. It was the de facto capital of West Germany until the fall of the Berlin wall, and remained the seat of government until 1999. Today, over twenty years later, the main evidence of its former position is the excessively extensive public transportation system–S-Bahn, buses, and subways galore, and a huge Autobahn that cuts right through the middle of the city.

Even during Bonn’s time as capital, the city’s position did not go unquestioned: due to its relatively small size it was referred to, more or less jokingly, as the Bundeshauptstadt ohne nennenswertes Nachtleben (Federal capital without nightlife worthy of the name) or the Bundesdorf (Federal Village). To me, it didn’t seem to fit: after having visited Berlin, the current capital of Germany, it’s hard for me to imagine Germany’s government anywhere else. That restless and crazy city, as I have written about before, seems to me to be supremely suited for the capital of a country like Germany. Bonn just doesn’t make one think in the way that Berlin does.

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All the same, though, it’s a lovely place, especially at this time of year. It’s foliage season in Germany, which is automatically noteworthy to me, since I grew up in the one spot on earth known perhaps above all others for its autumns. Here, the colors are more muted than anything in Vermont, but still grand, especially in the vineyards along the Rhine. In Bonn, the yellow-gold-orange color scheme of many of the buildings complemented the leaves perfectly.

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Of course, though, on the way back to Mainz a fog bank rolled in, and it’s been damp, drippy, and freezing ever since. Welcome to winter in the Pfalz!

Locus Amoenus II: Theater

Locus Amoenus, Latin: the lovely or pleasing place. A common trope in Ancient Roman literature, usually a garden or woodland–a spot of inherent safety, comfort, and striking beauty. The concept features in works by authors as early as Homer, and it was reveled in by the later pastoral poets before being passed on to the writers of the Middle Ages and the Renaissance. Locus amoenus is a place to retreat to, often with overtones of Elysium on earth.

Staatstheater_Wiesbaden_foyer028Foyer of the Staatstheater in Wiesbaden, just over the Rhein. 

Like the farm kitchen, the first of my personal loci amoeni I wrote about, the theater is no Vergilian garden–but a spot for me equally as transfixing, equally as bound up with memory and childhood and beauty. Like the kitchen, the theater is something that transcends all cultural boundaries: the moment before the curtain goes up or the conductor comes on stage is always the same, whether one is in Munich or in some drafty town hall in Vermont.

My love of the theater started when I turned 15, and began working as an usher in the next tiny town over. The Barre Opera House–certainly no Baroque jewel, but it had white molding and red velvet curtains and four box seats (no one sat in them anymore, but they existed!). To me, it was an entirely enchanting place. I would always work the balcony so I could use the secret spiral staircase in the wings, and lean out over the polished wooden railings, and pretend that I was in Vienna in 1791 for the premiere of Mozart’s Magic Flute. I loved the audiences, too–the aging, tenacious contingent of small-town Vermonters who could talk with equal ease about the local milk prices and the symphony on the program. Most evenings I had the feeling I was the only one in the place younger than 75, and I collected compliments from old men wearing immaculately pressed suits that must have been new sometime in the late sixties. There where two operas a year, and I remember driving home after Le Nozze di Figaro through the worst blizzard of 2008, drunk on Mozart for the first time in my life.

Writing of his own childhood, Thomas Mann says, “I can never forget the hours of deep, solitary happiness in the midst of the theater crowd–hours full of horror and delight of the nerves and intellect, of insight into things of the most vast and moving significance, such as only this art affords.” He, as always, gets it just right.

6758627-Staatstheater_Mainz_MainzStaatstheater in Mainz, with weekly market. 

Still, America–and small-town New England above all–isn’t really made for theater-goers. Once we got older, my sister and I went to a handful of operas and plays a year, usually traveling over an hour and paying 35$ or more for a spot in the cheap seats. I called up the opera houses every year to ask about student discounts, but never got anywhere.

The difficulties come in large part from the  infrastructure behind the arts in America, which has a distinct air of precariousness. Funding usually comes from audiences and donors alone: if no one buys the tickets, the theater closes its doors. On one hand, such a close relationship between the audience and stage is good–on the other, however, the entire set-up keeps ticket prices high and stifles the creativity of directors and actors. One need only look at the Metropolitan Opera, currently on the verge of bankruptcy due in large part to the “risky new productions” (read: non-traditional, moderately avant-garde) brought in by the new manager Peter Gelb.

IMG_0725The Alte Oper in Frankfurt. The inscription reads, “To the True, the Beautiful, and the Good.”

In Germany, the entire system runs on different terms, and better ones, I think. This is truly the land of theater: every small town has at least one, and an opera house, and a symphony to boot. The amount of productions even the smallest of theaters is able to put on over the course of a season is staggering to me. For instance: at the Staatstheater in Mainz, certainly no metropolis, there will 78 performances of some 30 different works in December alone, spread between several different stages and often performing simultaneously with one another. In America, such a vast program would be inconceivable anywhere other than a very large city. Here, between Wiesbaden and Mainz, two small towns within ten minutes of each other, I could go to the theater every night for the next two years.

The financial precariousness is entirely removed, too: even the smallest theaters in Germany receive hefty funding at the state or municipal level. It’s part of the mentality–being able to go to the theater in one’s own town is a point of pride, a vitally important facet of local culture and identity. At an artistic level, this financial situation means that almost anything goes on stage, for better or for worse (mostly for better, in my opinion). Directors can be as trashy or shocking or ground-breaking as they wish, without worrying about offending the sensibilities of a conservative audience. And for students, it’s an absolute windfall. With my card from the University I can see anything in Mainz for free, and get front-row tickets at pretty much any other theater in Germany for 4-8 €.

IMG_0741Schedules for the next month, hanging above my desk…

And so I go to the theater. There’s a sort of rhythm to it all–dress up, look at train schedules, run to the station and read on the train, wait in line at the box office, look around the city a bit during intermission (intermissions in Germany are long, because EVERYONE has to drink a glass of Sekt [champagne] and eat a Brezel!), rant about the whole thing on the way home. It’s exciting, and utterly new.

Staatstheater_Kaskadenbrunnen0106Staatstheater in Wiesbaden by night.

Some highlights of the past two weeks:

Henrik Ibsen’s A Doll’s House (or Nora in German, because Puppenheim just sounds weird). In Frankfurt, where we gawked at the sky scrapers and tried without success to find Goethe’s house. The production: shattering, minimalistic, with spotlights shone directly into the audience and rock music turned up too loud. It’s Germany; everything’s designed to make you uncomfortable. It’s astonishing to me how a work some 150 years old can be so relevant.

Gustav Mahler’s Das Lied von der Erde, performed in the local museum in a room full of frescoes and statues from ancient Greece. Mahler is absolutely wrenching live.

Elfriede Jelinek’s brand-new Rein Gold in Wiesbaden. Jelinek is insane; I’ve been obsessed with her ever since my professor told me I must on no account, read her novels, because they were borderline pornographic filth. She’s everything I love about German literature: edgy and hard-hitting, willing to ask the hardest of questions. Rein Gold was a Bühnenessay (Stage-essay; the first of its genre according to the authoress)–a witty, often disturbing meditation on Richard Wagner’s Ring, taking up the themes of capitalism and heroism in modern Germany. Lots of references to the current political situation that I didn’t understand, lots of references to Wagner that I did.

Travelogue XVI: Mainz and Wiesbaden

4.Mainz_Looking back at Mainz from Wiesbaden’s side of the river.

If there’s one thing I’ve learned in the past two months, it’s that Germany does small-town rivalry like nobody’s business. Sure, America does it too, but there it mostly takes place between entire states or geographical areas: the North says the South is full of Bible-and-gun-toting rednecks, the South thinks the North contains nothing but inhospitable, cold-blooded yankees. The Midwesterners live in the fly-over states, California is full of yuppies and ex-hippies, etc. In Germany, everything takes place at a super-micro level–the rivalries start between even the tiniest of neighboring Dorfs, between regions separated by only a few kilometers.

Take Mainz and Wiesbaden, for instance, the two small cities I’ve come to know rather well in the past couple months. The way most people describe the differences between them, one would think they are worlds apart geographically, and separated even further by the vastest of cultural, linguistic, and ideological differences. In reality, however, the cities sit directly across from each other on the Rhein–some ten minutes apart by train or bike, connected by a half-dozen bridges. To any outsider, they appear quite similar: two lovely mid-sized German towns in the heart of wine-country, both with a fascinating history and vibrant cultural scene.

IMG_0580One of the lovely bridges connecting the two cities, seen from Mainz’s side of the river.

Amongst the locals, however, pithy commentary abounds. Here’s just a sampling of remarks about Wiesbaden (good natured, I think?) from the past few weeks:

A friend’s host-father, from Mainz: “Die Sonne lacht über Mainz, die ganze Welt über Wiesbaden! The sun smiles upon Mainz, and the entire world laughs at Wiesbaden!”

Oberbürgermeister (the Mayor of Mainz), at a reception for international students: “We Mainzers inherited two things from the Romans: good wine and the fact that we keep the barbarians shut up on the other side of the river.”

Little old lady from Mainz at the bus stop: “Das Beste an Wiesbaden ist der Bus nach Mainz! The best part about Wiesbaden is the bus back to Mainz!”

The article Dos and Don’ts in Mainz from an apartment-search website: “Don’t: think Wiesbaden is cool.”

Host-father again, on the topic of local history: “Mainz was around first. Back in the days of the Romans, Wiesbaden was just a collection of dirty little huts in a field. But then the old Mainzers started getting interested in the hot springs in the area, and turned Wiesbaden into the city it is today.”

On posters, handbags, and doormats for sale in downtown Mainz: “Mainz is better than Wiesbaden.” Short and sweet.

Reaction from a group of local students, when I said that I was thinking about going over to Wiesbaden for the day because I had heard it was beautiful: “Why on earth do you want to go there??!”

Whatever, Mainzers. (MEENZER, sorry!) All I’m saying is, all those old Vermonters from my home town who stand around the Creemie machine making pithy remarks about flatlanders, cityslickers, and people from New Hampshire–they could pick up a few tips around here.

Although everything they say about New Hampshire is perfectly justified.

😉

Locus Amoenus I: Farm Kitchen

In ancient Roman literature, one common trope is the locus amoenus–the lovely or pleasing place. Usually a garden or woodland, the locus amoenus is a spot of inherent safety, comfort, and natural beauty. The concept features in works by authors as early as Homer, and it was reveled in by the later pastoral poets before being passed on to the writers of the Middle Ages and the Renaissance. Locus amoenus is a place to retreat to, often with overtones of Elysium on earth.

IMG_0367The kitchen in Kulmbach.

It’s no Virgilian garden, and certainly not beautiful in any classical sense of the word, but one of my most treasured loci amoeni is the farm kitchen in August. Some of my earliest memories are of our kitchen at home, during harvest season–standing on a chair at the sink and pushing zucchini through the food processor, steam billowing off the pots of sterilizing jars on the stove. The whole process was somehow magical, my mother some sort of goddess of cooking. How does she know how to do all that, to transform hundreds of pounds of vegetables into something we can eat for the next six months?

There was a rhythm to it all which I found comforting and intimate. Harvest, wash, snap, cut, boil, strain, can, bag, label, freeze–after so many Augusts, I have the feeling that I could do it almost in my sleep. And when the garden is at its peak, it’s a race against time. Put up the food or lose it.

IMG_0365Pesto-making station–fresh basil, garlic cloves, roasted hazelnuts, olive oil. 

Here on the farm in Kulmbach, in August and therefore at the height of harvest season, I’ve worked in the kitchen nine hours a day for the past three weeks. It’s the same locus amoenus from my childhood, now thousands of miles from home. I have all the recipes from my mother, the same laundry baskets full of beans or squash or apples, the same damp cutting boards and buckets of peels and pits left over afterwards. It’s so strange, to be doing this in a foreign country, alone, without my family, in someone else’s kitchen–and even more strange, how familiar it all is. It seems like there is nothing separating me from all those past Augusts, or from the current harvest season at home in Vermont, where my mom and sister are standing in the kitchen doing the exact same thing I am.

Last week, though, I wasn’t alone. There was a little girl here from France, Sofia, who spoke fluent German and Italian and babbled on for hours about her recent vacation in Sicily. She helped me make apple sauce, and I gave her the pot to lick when we were finished. “When you were little and helped your mom in the kitchen, did she let you have the pot when everything was done?” she asked. “Yes,” I said, “Yes, she did.”

IMG_0417The all-important Speisekammer, with everything that has already been canned or preserved–almost full and it’s only mid-August!

Travelogue VI: WWOOFing in Kulmbach

kulmbach st. petriKulmbach. With castle, of course. 

8. August, 2014. The amount of contrast this life affords is astonishing to me. Just a week ago I was drinking champagne, trying to figure out which fork to use in the cafe after the opera. And now I have dirt permanently stuck under my fingernails and have just spent the last eight hours cutting up cucumbers and stuffing them in jars. Wahnsinn.  

I’m currently in the tiny town of Kulmbach in Bavaria, working on a farm as a part of WWOOF (Worldwide Opportunities on Organic Farms). It’s an exchange program of sorts, where people travel all over the world and work for their keep on farms, gaining skills and networking and learning languages. We’ve had WWOOFers on and off at our place for years, and when it works it is an absolutely fantastic experience.

The couple I am staying with now spent the last five years WWOOFing themselves, in Japan and Serbia and Africa and Switzerland, and have just begun their own farm. They have a little of everything, and of course too much work to do–huge sprawling garden, orchard with plums and apples and pears, four pigs, fifty chickens, two donkeys, geese, dogs. When they moved in, the barn was falling in from decades of neglect, the garden hadn’t been tended in years, there were no fences or watering systems or cleared trails. They, along with a seemingly constant stream of WWOOFers from around the world, are just starting to take things back.

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I’m thrilled to be here. I loved my month with the Wuerzburg program–dress up every evening, go to concerts and modern art museums, talk about Musil and Nietzsche while drinking wine on some gorgeous terrace somewhere, be refined and intellectual and decadent. But I love this too–dirt and animals everywhere, the electric fencer half taken apart on the kitchen table, neighbors dropping in with a basket of dill to talk in broad dialect about the excess of cucumbers.

And honestly, it’s what I know best. I’ve spent my Augusts in a farm kitchen since before I could walk. I can snap beans in my sleep.

IMG_0363Heinrich and Henrietta, plus a friend. Animals that have names don’t get eaten. 

Differences in atmosphere aside, though, here there is still this internationality that I find so staggering. Right now, we are four or five countries all together, all with drastically different worldviews and upbringings. That’s the wonderful thing about good people, though–that somehow it all works out in the end and the household runs smoothly and we have fun. I love the dynamism of it all, the fluid approach to language, where the conversation at dinner flows back and forth between English and High German and Finnish and Bavarian depending on who is trying to make themselves understood. Last night we sat around the fire and sang–I taught them all Irish drinking songs, and learned German folk tunes and a bunch of mournful dirges from Finnland. I explained to my hosts that a cruise and a crusade are not the same thing, and learned the difference between Teig and Teich and Lärche and Lerche. Tricky stuff, that.

IMG_0315Getting ready for dinner in front of the fire, sitting on sheepskins–eat with your hands. 

IMG_0335Afterwards, singing until midnight because tomorrow is a rest day and we don’t have to get up early. 

At this time of year on a farm, everything revolves around food. Breakfast is after chores at 8:30, with two loaves of fresh bread (wheat ground on the farm), one with raisins and one with pumpkin seeds–also cheese and pickles and blackberries and juniper syrup in tea. Then everyone leaves and I make 25 pounds of pesto while the bread-and-butter pickles started last night heat up to be canned. At 1pm it’s time for lunch, and the girl from Finnland fries carrots and beets while I make a cucumber salad–yoghurt, fresh mint, salt and pepper. There’s also chocolate zucchini cake and an apple pie with the first of the apples from the orchard. After lunch, someone brings an entire laundry basket of beans in from the garden, and we wash and snap and boil and freeze until 6pm, when it is time to get ready for dinner.  I make two platters of tomato, mozzarella, and basil leaves, with calendula blossoms on top for a garnish. My host’s little brother  shows me how to make Zwetschgenknödel for dessert, which are a sort of Austrian plum dumplings and absolutely delicious. We spread a feast in front of the fireplace, and eat the tomatoes with chicken roasted over the flames.

IMG_0309Vegetables everywhere–there’s even pumpkins, tomatoes, and basil growing in front of the farmhouse, as if the huge garden out back wasn’t enough.

IMG_0361Apple orchard. There’s almost too much fruit for the branches to support. 

The sheer abundance and richness of it all is staggering. Inside, baskets and barrels and cans upon cans of food, and outside a jungle of greenery and vines and fruit. The Garden of Eden.

IMG_0338The colors are brilliant. 

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….And the infamous Zwetschgenknödel. Suuuuper lecker!!!

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Deutsches Essen I

Würzburg is full of tiny food shops that open onto the street, from bakeries and butchers to gelati and tea. Most popular, however, seem to be Döner, which ironically are not actually German, but Turkish. The main item is a sort of very large sandwich, which is composed of lamb, veal, cacik sauce (yoghurt base with garlic, mint, dill, and cucumber), tomato, onion, lettuce, spices, and optional chili sauce. Pretty amazing, actually, and not even three Euros!