Brogues_Toast

Andie Cusick

As a child, I loved polishing shoes. Every week I would help my dad by buffing his left shoe while he shined the right. I remember prising open tins of Kiwi wax polish; the mustard yellow colour of the polishing cloths; and a couple of well-used wooden brushes that fitted in the palms of my hands. The task instilled in me not only a sense of care for good shoes but pride in them, too.

By the time I started secondary school, Sunday nights staged a shoe ritual and I was no longer polishing my father’s Church’s but my own brown leather brogues. With a strict uniform policy at school, my choices were limited: penny loafers or flat lace-ups. I chose the latter with great consideration. What won out for me was something my father’s shoes lacked: intricate detailing in the form of tiny, perforated holes.

Identified by distinctive patterns punched in the leather and serration to each visible edge, brogues (from the Gaelic word bròg, meaning shoe) were created in the early 20th century as a men’s walking shoe. Originally designed with larger, open holes to allow water to escape when striding through boggy terrain, they were not deemed appropriate for formal occasions, nor were they intended for women. But, aided by Hollywood stars including Katharine Hepburn, Marlene Dietrich and many more in recent years, today the brogue is a unisex classic.

Northamptonshire’s shoe industry, which dates back to the 15th century, took note and women’s brogues are now widely available. As Clive Parnell of heritage shoemakers Joseph Cheaney & Sons notes, “The brogue has become finer and more elegant over the years”.

For many years I abandoned formal blazers and wingtip shoes in favour of a little sartorial rebellion — boy-jeans and old Converse or Birkenstocks. But recently, a less slouchy style increasingly appeals to me. I’ll always elect for flat comfort over extra height, but that too is part of a brogue’s charm — for the more you wear them the more comfortable they become. Marcus Jaye, style writer and author of The Chic Geek’s Fashion, Grooming & Style Guide For Men decrees shoes “need to be comfortable as well as look good. A good men’s shoe is something which is in proportion to the size of the foot and makes it look elegant… and will last, once you’ve broken them in.” Cheaney recommend breaking-in their shoes in dry conditions for the first few wears. “With leather soles this is important… it gets grit into the grain and hardens the sole giving longer life,” explains Parnell.

Handmade in England, each pair of Cheaney brogues takes nine weeks to make, from selecting the calf-skin leather to placing in the box. This level of quality has not gone unnoticed. “As traditional English style has come back into fashion, so too has the complementary footwear,” says Jaye. “English shoes, especially brogues, are usually Goodyear welted, which means they can be repaired over and over using the traditional construction. People have realised it’s worth investing in an English pair,” he adds.

Caring for handmade shoes is not only a necessity but also part of their charm — and, for me, a nostalgic reminder of a father-daughter ritual. As the warm days recede, I’ve put away my Birkenstocks for a pair of lace-up, perforated, leather shoes. And I know just how to keep them shiny.

Click here to browse Toast’s collection of shoes for women – including a selection of English brogues, monks and loafers. Click here to see our range for men.


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by TOAST ( 18.09.14 )

Falafel_Ken Anderson

Orlando Gough

Gaza. O, O, O, O.

I’m working on the production of a piece called The Shouting Fence that I wrote with the composer Richard Chew in 1999. It was inspired by a photograph of a woman in a burqa standing on a hillside shouting through a megaphone. The setting was the Druze village of Majdal Shams in the Golan Heights. The village was, and still is, after an endless series of border changes brought about originally by the Six Days War, divided by 50 metres of no man’s land. The inhabitants would come on Fridays to either side of the fence to – how can one describe it? – converse. Our response to this curious, touching, disturbing ritual was an antiphonal choral piece in which two choirs sing across a divide – only 20 metres, cowardly – with the audience in the middle.

In one section of the piece, two women sing, through megaphones, the passage from the Song of Solomon which begins: Set me as a seal upon your heart, as a seal upon your arm… One woman sings in Hebrew, one in Arabic. It’s impossible not to be struck by the similarity of the two languages. In Hebrew (excuse the iffy transliteration): Sime ni kahotam al libecha, sime ni kahotam al zroecha… In Arabic: Ij’alni kakhatim ‘alaqalbika, ij’alni kakhatim ‘a la sa ‘idika… Of course, it’s not surprising – they’re both Semitic languages, and have the same roots. The word anti-Semitic, habitually used as a synonym for anti-Jewish, or even anti-Israeli, actually means anti-more-or-less-everyone-in-the-Middle-East. Confusing.

What about Semitic food? The signature Semitic dish is falafel, claimed as the national dish of Israel, Egypt and Palestine. The Palestinians accuse the Israelis of having appropriated it; like almost every other point of contention in the area, the origins are murky. Actually, it’s close to becoming the national dish of the world (do I mean the international dish of the world?), amazingly threatening the ubiquitous pizza. MacDonalds have unveiled their MacFalafel. National dish of vegetarians. National dish of the festival world. Consequently, there’s a lot of iffy falafel on offer. Here’s a good recipe, which my wife Jo makes, courtesy of Sam’n’Sam, the Wizards of Moro:

Serves four

Soak 250g chickpeas overnight. Drain them. Put half of them in a saucepan with plenty of water, bring to the boil, and simmer for about 15 minutes until tender. Using a food processor, grind up the uncooked chickpeas, then the cooked ones. Put them all in a bowl with several chopped cloves of garlic, plenty of chopped parsley and coriander, 1tsp ground cumin, 1tsp ground coriander, a grated onion, 50g plain flour and a beaten egg. Mix well, and season with salt and pepper. Shape into small balls and fry in plenty of sunflower oil. Very good with pickled beetroot as well as the usual flatbread and tahini sauce or hummus. Falafel and hummus – chickpeas and chickpeas – slightly tautologous combination.

It would be a mistake to overstate the similarity between Jewish and Arabic cuisine. But consider also the excellent dish mujadarra (megadarra/mejadra/mudardara etc etc). It’s eaten in many parts of the Arab world, and it’s particularly popular with the Palestinians, but the great cookery writer Claudia Roden’s Syrian Jewish aunt Régine used to serve it, and it’s very similar to several Sephardic Jewish dishes involving rice and caramelised onions.

Serves four

First make caramelised onions. Take three onions, cut them in half and then slice as thinly as you possibly can. Heat 200ml sunflower oil in a frying pan, and fry the onions in batches until they are golden brown and crisp. Meanwhile, cook 200g brown or green lentils in plenty of boiling water for 10 minutes, so that they have begun to soften but still have some bite. Drain. Heat a few tbsp of olive oil in a frying pan, add 1 tbsp coriander seeds, 2 tsp cumin seeds and fry for a few seconds. Add the lentils, 200g basmati rice, 1 tsp ground allspice, 1 tsp ground cinnamon and 300ml vegetable stock or water. Season with salt and pepper. Bring to the boil, cover, and simmer gently for 15 minutes. Turn off the heat, slip a tea towel under the lid, and leave for 10 minutes. Mix in half the onions anspicesd put on a serving dish, with the rest of the onions on top. Claudia Roden’s aunt ‘used to present it regularly to guests with the comment: “Excuse the food of the poor!” – to which the unanimous reply always was: “Keep your food of kings and give us megadarra every day!’’’ Serve with a bowl of yoghurt and a relish of finely chopped tomatoes, cucumber, carromujadarrat, mint and parsley, mixed with lemon juice. Very good with burghul instead of rice.

I look forward to MacMujadarra. Actually, that’s a lie, I don’t look forward to MacMujaddara at all.

Meanwhile, the fear and the fury and the recrimination and the revenge go on. A fragile ceasefire is in place in Gaza. But you’d have to be the world’s greatest optimist to believe that it will last.

The Shouting Fence will be performed at the Culture Factory in Limerick on October 17-20.

You can read more of Orlando’s culinary tales in his Recipe Journal. Click here to find out more.

Photo: Ken Anderson.


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Droving hero

Catrina Davies drives cattle along an ancient drovers’ route in Scotland’s Southern Uplands as part of a project exploring the relationship between rural and urban culture

I have always liked cows. Happy cows seem to me the happiest animals on earth. In recent years I have taken myself on silent retreats, just to learn what cows already know: how to take my time, chew the cud, slow down.

It’s November. I’m in a pub in Hackney listening to my friend, Katch, talk about cows. She’s had an idea. She wants to drive a herd of cattle along an old drover’s route from Scotland to London. She wants to drive the cows into the centre of the capital. She wants people to stop what they are doing and stare. She wants them to step in a steaming cowpat. She wants them to look at the cows and think about the burger they ate for lunch. She wants people to remember that they need the land and the fields. That cows matter. That rural culture literally feeds the cities. She wants to question the myth of progress handed down to the countryside by urban politics. She wants to hand something back.

Droving has a long history. Before the railways, cattle were herded on foot from the highlands to London, a journey that lasted months, employed hundreds and ensured cows arrived fat and happy to market. Walking with cows was part of our collective culture, embedded into our island psyche like cowboy culture is embedded into the psyche of North America.

Fast forward to August. I’m in the Southern Scottish Uplands, trudging through torrential rain with a fiddle player, a sound recordist, a filmmaker, a photographer, a botanist, two drovers, a vet, three cows and Katch. It’s a test run, tracing a seven-mile route from Katch’s family farm at Knockengorroch, in Dumfries and Galloway, to a village called Bellsbank which sits on the outskirts of an economically depressed ex-mining town in neighbouring Ayrshire.

Our ‘herd’ consists of two shaggy highlands (big horns, bigger hair) and a massive shorthorn cross, know as White Boy. They were all born at Knockengorroch, where Katch’s father has an old-fashioned relationship with his animals. ‘He wants to die up on the hillside with the cows,’ says Katch.

Raised up over the sodden moorland, the ancient drover’s road is comparatively dry. There are small ditches each side and bridges over the worst of the bog. I’m told the green stuff under my feet isn’t grass but dozens of species of moss collectively known as sphagnum. Yesterday it was burnt yellow. Today it’s bright green. Heather, buttercups, willowherb and bog cotton are drinking like pissheads in a late-night bar. The hills and forests of Galloway are blurred, as if I’m looking at them through a broken windscreen. Or that might be the rain in my eyes. We could use an ark.

It’s unclear whether the road we are following was built by drovers or Romans, but it is certain that drovers used it. It’s one of many such roads that criss-cross our nation. The cows move slowly, swinging their heads and looking at us, at each other, at the landscape. They munch and moo and flick their tails and shake their horns.

It’s a good thing the cows are moving slowly, since I am walking backwards holding an umbrella over Stevie’s camera, which he is pointing at their feet. ‘People used to walk at the same pace as their animals,’ he says, wiping his lens.

It’s the sound-recordist’s turn. The rest of us hang back while he aims his microphone. Behind the sudden silence I can hear raindrops hitting the ground, the sound of water in the streams, the sound of cattle chewing. A snipe, easily mistaken for a didgeridoo. A lone beech tree bravely clinging to the side of a steep gulley.

Alice Bellsbank

We make our sodden way to Bellsbank, driving the cows along a track that passes a few feet from a large council estate. This is where the ex-miners live. I pick wild raspberries and watch the cattle move slowly past grey houses. There is a TV in a field. Or maybe it’s a bathtub. Empty lochs and hills stretch into the distance as far as the eye can see. A strange kind of disjunction. The people seem excluded from the land, herded into artificial enclosures, turned into spectators. There is plenty of parking.

But the old drovers’ routes remain. Old paths still link our old settlements and our old thoughts, connecting people and animals with their land and their past in a way that speed and ‘progress’ can never erase.

Photography by Alice Myers. An exhibition of Alice’s images documenting the drove will open on 9 October 2014 at the Doon Valley Museum in Dalmellington.

Catrina Davies is the author of The Ribbons are for Fearlessness and its accompanying Ribbons EP

The Droving Project


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by TOAST ( 03.09.14 )

Mosel with DinosaursNat Lucas

The building of One Canada Square, Canary Wharf, in 1991 toppled the record for the tallest structure in London, a record that had been held by the previous incumbent for over 50 years. I look out across the city from the foot of that deposed structure, the transmitter mast in Crystal Palace Park. Built for the BBC, the mast rose like a phoenix from the ashes of the Crystal Palace that was destroyed by fire after its relocation from Hyde Park. I reflect on the sense of wonder experienced by visitors to the Great Exhibition.

Continuing to walk through the park I find myself in Dinosaur Court. Here, imposing models of dinosaurs and other extinct beasts are arranged around a lake. They are a magnificent memento of the Victorian age of curiosity, collection and discovery. Restored and now basking in their Grade I listed status, the sculptures serve as a perfect counterweight to the ephemeral Crystal Palace. The late afternoon light complements the tableau, ramping up the yellows and lending a hyper-real burr to the fastidious strut of a solitary heron. I am nostalgic for the summer just ending. Ted Hughes described a moment next to water like this in his poem August Evening:

Blue space burned out. Earth’s bronzes cooling.
September
Edges this evening…

The dinosaur models were created by sculptor and natural historian Benjamin Waterhouse Hawkins. On New Year’s Eve 1853, just prior to the opening of Dinosaur Court, Hawkins held a banquet for 20 ‘scientific and literary gentlemen’ inside the mould of the Iguanodon. Records show that the menu included mock turtle soup, raised pigeon pie, pheasant, snipe and macedoine jelly among a vast array of other delicacies. To accompany the feast the guests drank sherry, Madeira, port, Moselle and claret.

On returning home I open a bottle of Mosel Riesling. Its sweet apple and pear flavours somehow serve as a reprimand for all the walks I did not take over recent months. Now the evenings will begin to gather their shadow cloaks and I will have to be content with planning adventures that I will neglect to undertake next year. For now, I roll the supple fruit notes around my tongue, soothing the chilli kick from the accompanying spiced summer salad. Later, and clearly still riding a nostalgic helter skelter, I watch Jurassic Park. I had completely forgotten the inordinate amount of screen time devoted to Jeff Goldblum’s naked and wet torso. I wonder what the dinosaurs in the park would have made of it? They certainly stay in my mind for longer than their animatronic film counterparts.

Pictured: Hawkins’ 1853 banquet in the mould of a dinosaur


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by TOAST ( 29.08.14 )


Penelope Fitzgerald, 1940 © Dooley Archive

This week, Professor Dame Hermione Lee was awarded the James Tait Black biography prize for Penelope Fitzgerald: A Life. Here, she introduces an extract from the book

I’ve written a biography of the English novelist Penelope Fitzgerald because I think she is a great writer, though she would never have described herself in such a resounding way. She was born in 1916 and died in 2000; she started publishing books in 1975, around the age of 60. She won the Booker prize, and, with her last novel, she became famous at 80: so hers is an encouraging story!

My biography explores, for the first time, the life and work of a very private person and a very remarkable writer. Working on her was a challenge and a privilege, and not always straightforward. Her books are short, and hard to pin down. She writes about her own life, but keeps herself carefully concealed. In her first novels she drew intensely on her own experiences – working for the BBC in wartime, living in Suffolk and working in a bookshop there in the late 1950s, teaching child-actors, and living in the 1960s on a leaky Thames barge, which sank. But she gave little away about herself. In her four last novels, published in the 1980s and 1990s, she changed direction. They moved from using the material of her own life to creating astonishingly vivid historical worlds. They are all set at a time when change seemed possible: Russia before the revolution in The Beginning of Spring; post-war Italy in Innocence; pre-First World War Cambridge science in The Gate of Angels; the first stirring of Romanticism in Europe in The Blue Flower. These novels involved vast amounts of historical research, which is buried deep below the surface. She liked economy, and believed that “less is more”. She didn’t like to tell her readers too much: she felt it insulted them to over-explain.

Still, though she resisted explanations, there is a strong morality in her writings. She is a comic writer with a tragic view of life. She was drawn to what she called “exterminatees”, decent, muddled characters who are bullied or exploited. She had strong religious beliefs, though she keeps them implicit in her fiction. She spoke for the underdog, for the vulnerable, for children, and against tyranny.

Fitzgerald’s life-story has strong English roots, though she’s not at all insular. She was interested in the Pre-Raphaelites, the Arts and Crafts movement and the Anglican church. She was passionate about painting, pottery, colours, gardens, flowers, and music. She had an old-fashioned style of dressing which made no concessions to fashion but was very alert to colours and fabrics. Her artistic heroes included Ruskin, William Blake, Burne-Jones and William Morris. She minded about the look of her books. She pays great attention to craftsmanship. There is always a job to be done in her novels: running a bookshop or a school, keeping a barge afloat. And it is often the women who do the jobs.

In this extract, we see her in full flight as a brilliant Oxford undergraduate – known as the Blonde Bombshell – editing and writing for the student magazine Cherwell in the 1930s. She seemed all set to be a writer. But then came the war, and everyone’s lives were thrown up in the air. And she didn’t start publishing for many decades. One of the mysteries my biography pursues is how much she was writing during the thirty or more years between her student days and the mid-1970s, when the brilliant young “Penelope Knox” finally became that extraordinary, original novelist Penelope Fitzgerald.

An extract from Penelope Fitzgerald: A Life – Chapter Three, ‘The Blonde Bombshell’

In ‘The Curse of a Literary Education’, a lover of literature has her visits to the countryside ruined because of all the quotations going round in her head, which she has to apply to everything she sees. ‘Look, Stranger’ is a parody on a sensitive, alienated soul who has quarrelled with Nature, the Brotherhood of Man, and finally with herself: ‘I cut myself dead. I was surrounded by strangers.’ The last of these Cherwell pieces, ‘Wicked Words’, published after she left Oxford, tells her history of being unable to swear, with a caricatured version of her school life, and one or two autobiographical clues: ‘When I fall in love, which happens twice a year, and wish to end a tempestuous quarrel, I usually say “Drat you”. When my heart is broken I say “Cripes”.’ At Somerville, they all knew how to cry, but not how to swear. ‘We should all have liked to do so, because we were young, and wanted to be thought vicious.’

She couldn’t swear, but she could spell. In January 1938 she was selected as one of two women on the eight-strong Oxford team for the first ‘Spelling Bee’ to be ‘conducted by wireless across the Atlantic’ (as The Times reported it under the title ‘Hard Spells on the Air’). The opponents were from Radcliffe and Harvard, and the spelling had to follow the rules of the Oxford Dictionary (for the Oxford team) and Webster’s (for the American team). They went to the BBC on a freezing cold Sunday train, hung about for ages while the engineers dealt with faulty headphones and microphones, were sent down to the cafeteria (‘Cup of tea and Virginia cigarette, 2d, Cup of tea and Turkish cigarette, 2 ½d’) and then did the forty-five-minute quiz, with thirty seconds allowed for each word, after which the other side had a go. The booby traps were ‘haemorrhage’, ‘pettifoggery’, ‘anonymity’, ‘truncheon’, ‘labyrinthine’, ‘trachea’ and ‘corollary’. The Oxford team lost by four points, but ‘Miss Knox, like her listeners, found her early temerity an attractive pose and retained it throughout the contest with great effect.’ Her spelling of ‘daguerreotype’ was ‘loudly applauded by both teams’. It was her first experience of the BBC, and she enjoyed herself. The Spelling Bee sealed her reputation, in her final year, as an Oxford star. ‘BLONDE BOMBSHELL BEATS THE LOT’, ran the Isis headline, and its annual Valentine competition (‘First Prize, One Hundred Oxford Memory Cigarettes and Two Seats at the Scala Cinema’) listed for its recipients ‘Greto Garbo, Miss Penelope Knox, A Female History Don, or Mistinguett’. The results of the competition largely consisted of verses written to the ‘evidently well-appreciated Penelope Knox’: ‘O Bombshell with the golden thatch’; ‘Penelope, my Busy Bee, I love your voice, you must love me’; ‘Venus, Minerva, Spelling Queen,/All three in thy small Frame are seen;/Fair Goddess, thou hast caught me well,/Wrapped in the magic of thy “Spell”.’

Copyright © Hermione Lee 2013. Extracted from PENELOPE FITZGERALD: A LIFE by Hermione Lee, published by Chatto & Windus at £25.00.

CLICK HERE TO ORDER A SIGNED HARDBACK COPY OF HERMIONE LEE’S PENELOPE FITZGERALD: A LIFE


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by TOAST ( 27.08.14 )


Kate O’Brien

Last month I spent some time sleeping next to Mont Blanc in a friend’s cottage in Chamonix. We were six girls in total, each with fluctuating degrees of breathlessness, bad habits and ideas about endurance. Our host – neat, French and stubborn with the agility of a mountain goat – marked ambitious trails on a map in sharp pencil. The rest of us towed the line. Every morning we set off at daybreak with a packed lunch (cheeses Beauford and Reblochon, nectarines and rich red wine in a bright red flask), our ‘swimmers’ (said host’s charming translation for ‘togs’) and binoculars in the hope of spying kestrel, peregrine falcon or the shy marmot.

It’s impossible to imagine the Alps without its white cloak. In high summer the mountains change outfit and brilliant white snow is replaced by a delicate spray of meadow flowers, shrubs and mossy rock. Our field guide started indoors: the apartment was decorated to the hilt in a down-to-earth seventies style that expressed itself in flowers – burnt orange dandelion print on bed throws, dried petals pressed into books, framed landscapes with pine forests and vases full of dusty silken rose. Most useful was a poster in the toilet helpfully entitled ‘Alpine Flowers’, from which we made notes (snapped on camera phones) as reference for our walks.

Three trails were chosen, bringing with each new day a fresh panorama – though the same cheerful faces showed up to greet us. They were dwarf bellflower, fuzzy cotton grass, and bladder campion (a distant relative of the carnation, though you wouldn’t know it to look at it). Hikers were cordial but exchanged knowing looks about my hiking garb – a city slicker’s take on what alpine trekking should look like, unmatched by heavy Brasher boots some 40 years old. Passing the noble ibex on the ascent, I felt like a city goat. But like the kestrel, marmots and the few fluorescent caterpillars we met along the way, the ibex was unconcerned. The flowers of the Alps were equally as forgiving or just didn’t notice.

When sprung from such a rich and natural setting as this, common field flowers like the daisy can afford to be lighter and at the same time more expressive – in the Alps they are called moon daisies. Here bluebell heads nod a dance rather than droop; buttercup is barely recognisable and endlessly more elegant – pure white on stony ground; lichen is as vibrant as I have ever seen, which of course is a sign of fresh, fresh air.

So taken by the quiet charms of these alpine flowers, I almost forgot my fear of heights (which inevitably returned clinging with jelly legs to an iron ladder, itself pinned to a rock, at a drop of 2,600 feet). The flowers’ soothing effect was almost my undoing. It was so pleasant to descend from the high mountains to the climate of living things that I became a little too carefree. Taking a moment to study up-close the forget-me-not, eritrichium naum, I almost tripped and fell over a precipice hidden in drypis spinosa. As I am the most unfit of all my friends I lagged behind alone, with no witnesses but the flower. Forget me not indeed.

Kate O’Brien is editor of The Plant

Pictured: dwarf bellflower, a cyanotype by Holly Mitchell


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by TOAST ( 21.08.14 )

Richard Cook is a painter who, having trained at St Martin’s School of Art and the Royal College of Art, has been exhibiting for over 40 years. He has work in the Tate Collection, The British Museum and Arts Council Collections and has exhibited at The Royal Academy, the Hayward Gallery and the Tate St Ives, to name but a few. Here, Richard – who paints primarily with his hands (no brushes) – tells us a little about his workspace in Newlyn, Cornwall.

My studio is an integral part of my house in Newlyn. I’ve been here for 30 years. People who visit are struck by the paint on the floors and walls. It’s on two levels and an odd shape; square with a piece cut out of it. It has a skylight, a window with a blanket over it and a larger window overlooking the sea, covered by a painting of moorland. The studio is hermetic, sealed off from too much bright light. It’s a place of work and solitude and, in a way, dreaming. When I work I turn off the phones.

I bring to the studio the drawings I do in nature – West Penwith in Cornwall, Dartmoor and the Black Mountains. The other morning I stepped over a stile into a field and did a drawing in seconds. I brought it back to the studio and that energy became the painting.

My paintings and my studio have a direct relationship with each other. The studio is like an animal’s lair under the roots of a tree – mossy, bits of earth crumbling down and light streaming through the canopy above. The paintings emerge from this half-light.

I’m in the studio every day, but not all day. I go in, I come out. When I was younger I worked all God’s hours but now my painting has its own momentum. It’s like a river that changes in depth, speed, flow and shape.

If a painting is any good it comes out of the studio. The soul of the work that remains contains the soul of the work that I have destroyed.

The muted colours I use are not intentional, they occur. Colour is a song and is one’s own. It changes of it’s own volition, but it is rooted. If you try to control it, to trap or shape it, it dies. That knowledge has taken half a lifetime to trust.

I need silence when I work, my own voice, in the studio, must be dominant – no music, for example. I need to feel lost to the world and not vulnerable, in a physical sense at least.

Soon I am moving into a new studio next door. It’s huge and full of light. When it was offered to me by the Smart Borlase Trust my first reaction was to say no, but that changed to seeing it as a gift and I said yes. In a year or so it might start to look more like this one, but a bit less Spartan, with perhaps a Persian rug and some paintings hanging up, making it easier to show to people who visit. I’m getting used to the idea that I’ve been unearthed.

www.richardcook.me/paintings

Photos: www.mikenewman.photography


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by TOAST ( 15.08.14 )



Orlando Gough

Last week I went to stay in Aldeburgh, on the Suffolk coast, which our friend Robin, with whom I was staying, describes as a Radio 4 gated community. With its bleak beach, quirky medieval town hall, Martello tower, Benjamin Britten obsession, and award-winning fish and chips, it embodies a certain kind of utopia, although the presence of Sizewell A and B (and soon C) up the road is a reminder of the real world. I was particularly delighted to be able to potter down to the shore where from several rather beautiful black wooden sheds it is possible to buy locally caught fish. I walked in on a discussion about how long to keep skate before they are ready to eat. Fish too fresh to eat! Whoa!

I was working on a piece, The World Encompassed, that I wrote a few years ago for the viol consort Fretwork. The regular members of this brilliant group are two redoubtable English men called Richard and two equally redoubtable Japanese women, not called Richard. The piece is about Francis Drake’s circumnavigation of the world. He sets out from Plymouth late in 1577 with a crew of 164 men, including four viol players, on five tiny ships. The intention is not in fact to circumnavigate the world but to wreak as much havoc as possible on the Spanish Main. This is partly a political move and partly a personal revenge for a setback at the Caribbean port of Nombre de Dios a few years before. He is fuelled by a fierce Protestant piety, obsessed with cleansing South America of the ‘poisonous infection of Popery’. It is said of him that ‘he steals by day and prays at night’. His attitude to the local people he encounters is much more benevolent, if patronising. ‘Neither is any thing more lamentable than that so goodly a people, and so lively creatures of God, should be ignorant of the true and living God’. The expedition returns almost three years after it sets out, with just 58 men and one ship, the Golden Hind, but with enough Spanish loot and East India spices to pay off Queen Elizabeth’s debts and have enough left over to start the Levant company, which becomes the East India Company. This is surely the start of the British Empire, with its familiar mixture of muscular Christianity, thuggery, benevolence, and entrepreneurship.

However much one might disapprove of the piracy, one has to admit that the bravery and stoicism are astonishing. Emerging from the Straights of Magellan into the Pacific, they are caught in a 52-day storm in which two of the ships are wrecked, and another disappears. Almost immediately they are chasing after, and being chased by, the Spaniards; and then they get horribly lost and find themselves stranded half way up the coast of North America. And it’s a constant battle to find food, and, more importantly, fresh water. A crucial stop-off in the Cape Verde Islands, where they find an abundance of figs, grapes, coconuts and plantains, allows them to make the 60-day journey across the Atlantic to Brazil. There are, of course, fish, including ‘one, as strange as any; to wit, the flying fish, a fish of the bigness and proportion of a reasonable or middle sort of pilchard. By the help of his fins, when he is chased by the bonito or great mackerel, he lifteth up himself above the water, and flieth a pretty height, sometimes lighting into our boat as we sail along’. In the Straights of Magellan, they moor up on an island where ‘we found great store of strange birds which could not fly at all, nor yet run so fast, as that they could escape us with their lives. Such was the infinite resort of these birds to these islands, that in the space of one day we killed no less than three thousand’. That’s a lot of penguin meat.

Having walked in on the skate seminar, I inevitably bought some, and the next day we cooked it au beurre noir. Lovely, if rather predictable. How else to cook it?

The Koreans eat fermented skate. I can see this could be useful on a circumnavigation of the world, but I’m too cowardly to try it. Alternatively, try this Japanese-inspired dish:

For two people, grate a knob of ginger, and slice a small red chilli finely. Put into a wok with 1/2 litre fish stock or dashi, and bring to the boil. Put in two skate wings (or, better, two halves of one large wing) and poach for about six minutes, depending on the thickness of the wings. After a couple of minutes, add some sugar snaps. When the fish is ready, drain off the stock. Mix a ladleful of stock with a dessertspoonful of white miso paste and add it back into the wok. Sprinkle over some chopped coriander leaves and the juice of half a lime.

PS. The Japanese use flying fish for making sushi.

Next week: 10 best penguin recipes.

You can read more of Orlando’s culinary tales in his Recipe Journal. Click here to find out more.


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by TOAST ( 08.08.14 )

Michael Smith

As we drove over the water, above Isambard Kingdom Brunel’s rail bridge of 1859, straddling the epic sweep of water that is the border of Devon (or perhaps England) and Cornwall, I felt certain feelings well up, feelings it’s hard to sum up with a word or two.

We were on the way to Port Eliot, a place that means a great deal to me, and even though, if you wanted to be a pedantic killjoy about it, it all only boils down to a handful of weekends in a tent over the years, my memories of those weekends are so treasured and special that I’m always swept along with a feeling of returning, of reconnecting with this enchanted little nook of the world.

I’m not the hugest fan of festivals, but it was love at first sight with Port Eliot, the perfect cocktail of prettiness and naughtiness and cultured fun, where you can disco your way into the wee hours and then wake up to a Fortnum and Mason breakfast, spend the afternoon listening to a debate about Ovid in The Idler’s tent, or field recordings of birdsong in Caught By The River’s tent, nursing the night before with a Hendrick’s gin punch or a plate of delicious oysters, then spend golden hour swimming in a river that’s delightfully warm and muddy underfoot, before the joys of the nighttime roll round again.

I remember one evening, as I stood by the bushes and trees in those small hours, staring up at the starry skies, imagining giant elfin faces in the shapes of the branches and leaves, realising how obvious it must have seemed to our ancestors in those evenings of firelight and magic mushrooms that the land was alive with spirits and sacred energies.

Bobbing along in the river the next lazy afternoon, I hit a shallow bank; once I’d righted myself, I pulled my hands out of the water, which were covered in rich, dark, warm mud, and looking out onto beautiful rolling straw-coloured pastures and pearly English skies, listening to a story floating over the water from a nearby tent about mythical giants with names like Gog and Magog, giants who were somehow the embodiment of the ancient spirits of these lands. I thought of this island of ours, and all the places I love in it, from the soft, warm, rolling Cornish hills in front of me to the sharp, magnificent, enormous skies of Scotland, and its rivers as clear as ice, and I felt a sense of belonging to all of it, and then a thought struck me: more than likely I’ll die on this island that birthed me, and there was something lovely about thinking this.

Humans have a deep-seated need to belong, an instinct to love their land, and a sense of the profundity of this welled up so strongly in me it was almost overwhelming. But before it puffed me up with that foolish sense that we were somehow the best place, more special than the rest, I realised there was probably an overly romantic bloke in Germany or France who was floating around in some Alpine lake who was overwhelmed by exactly the same feelings for his land and its magic at exactly the same time as the thought struck me.

Pictured: Port Eliot Festival 2014, with thanks to Michael Bowles.


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by TOAST ( 01.08.14 )

Nat Lucas

“Good symphonies are often in some ways an unfolding sequence of miniatures,” says composer Thomas Adès. This prompts me to discover whether it is possible to create a symphony from a sequence of bar miniatures. In preparation I select two different 50cl bottles each of gin, vodka, rum, brandy and whisky.

A friend arrives and I explain my mission. We open the miniatures and test for pitch by blowing across the neck of each bottle. All except two sound an F sharp. The Vecchia Romagna brandy sounds an ‘A’ and there is one non-starter – the Flora de Cana rum is presented in plastic instead of glass. We tune them using half sips and arrive at a range of five notes. The difficulty of the undertaking begins to dawn on me. Even if scored for two players, all of the intended five symphonic movements will need to be molto adagio (very slow), to allow time for raising each bottle to the lips for blowing. I experiment with a percussive rather than melodic approach. However, only the note of the beater in the form of a knife, chopstick or pencil, is sounded as each bottle is struck. This results in either resonant bell tones or dull clicks of little sustainable interest. In fact, there is now so little interest that my friend departs.

I try suspending the bottles using string over the frame of a chair. They chime against one another like a 1980s executive toy. My two cats become anxious and circle the room. All imaginings of my opus turn to ashes in my mind’s ear. Clearly, this has to become a miniature symphony of silence in the tradition of John Cage. I work my way through the movements tasting the spirits in pairs.

1st movement ‘Gin’ – the inspiration here stems from Tchaikovsky’s setting of Eugene Onegin, the story of a battle for love. For the ‘Symphony of Miniatures’ this becomes ‘two gins,’ Miller’s and Hayman’s sloe gin. The citrus bursts out of the botanicals in the Miller’s while the plums sing fruit crumble in the sloe gin. A bold exposition of themes in a major key.

2nd movement ‘Vodka’ – when discussing musical form, Schoenberg stated, “Contrast presupposes coherence”. This movement sets the resinous Russian Tovaritch against the baritone smoothness of Dutch Ketel One. The grain of the Tovaritch ripples in the mouth like a sound that one becomes less aware of through repetition. The movement trickles away pianissimo.

3rd movement ‘Rum’ – this heralds pleasant surprises. Not only does the Rhum J.M dance around the tip of the tongue, but the Flora de Cana tastes exactly like the sound of a bassoon. Specifically, it tastes like the opening of the Rite of Spring, rather than the bubbling use of the instrument in The Sorcerer’s Apprentice. Wistful and melodic.

4th movement ‘Brandy’ – by now it is fair to say that tastes and themes from previous movements are mingling with the current notes. The Vecchia Romagna ushers in wonderful burnt toffee flavours. These burst the constraints of the Courvoisier Cognac and nudge it into French horn territory. By this I mean that it acts as egg yolk upon the imagined orchestra, binding together the strings, wind and brass. At least, at this point, I think that is what I mean.

5th movement ‘Whisky’ – a bottle of Macallan Gold and another of Laphroaig 10 Years Old remain. Unfortunately I am now defeated and wish to invoke the example of Schubert who left his Eighth Symphony ‘Unfinished.’ On reflection, given that he was interrupted in his composition by death, perhaps it would be better to consider the fifth movement of the ‘Symphony of Miniatures’ as ‘implied.’


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by TOAST ( 25.07.14 )
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