I’ve been reading Ruth Reichl’s glorious cookbook-cum-memoir, My Kitchen Year. The book includes 136 recipes spread over four seasons, and each recipe is accompanied by a short essay. Most of the essay/recipe combinations begin with one of Reichl’s tweets, which are almost haiku-like: brief, clear, vivid renderings of her moods, meals, and where she finds herself at that precise moment.
My Kitchen Year was born out of a difficult time in Reichl’s life: the year after Gourmet magazine closed down, suddenly and unexpectedly. Reichl, the magazine’s longtime editor, found herself jobless, unmoored and totally unsure of where to go next. (I nodded my head as I read those passages: my layoff last spring induced similar feelings.)
She took refuge, perhaps unsurprisingly, in her kitchen, and the resulting book contains many mouthwatering recipes. But I loved it most for its simple, lyrical record of her journey through that year. Reichl writes with grace and honesty about feeling lonely and uncertain, about trying new ingredients and projects, and retreating to comforting familiar favorites. Her prose evokes quiet mornings at her house in upstate New York; afternoons spent browsing cheese and butcher shops amid the colorful bustle of New York City; reuniting with Gourmet colleagues for long evening meals and spending hours by herself, in cafes or on city sidewalks.
My Kitchen Year is about food, certainly, but it’s also grounded in a particular place and time: field notes from a year when food and a few key relationships were Reichl’s only anchors.
Ten years ago (!) this month, for my college graduation, I received a copy of Julia Cameron’s The Sound of Paper. My then-boyfriend (now my husband) plucked it off the shelf at our local Books-a-Million, knowing I loved books about writing and thinking perhaps I’d enjoy this one. He could not have known – nor could I – how powerfully Julia’s short essays, about writing and living and beginning again, would resonate with me.
Like Reichl, Cameron (though I call her “Julia” in my head) writes in first person, grounding her ideas in a specific place and context. She begins many of her essays with a note about the weather: a “gray, dreary, socked-in day” or a morning of blue skies and budding trees. She writes about her New York City apartment overlooking the Hudson River; the house she loves in Taos, New Mexico; the music and books that inspire her. Her ideas about building a life conducive to creativity, a rich and artful life, are broadly appealing, but they are also field notes, full of crisp sensory details. She invites us to notice each day along with her.
I think that’s how blogging and social media began: as a way to share field notes from our lives, a way to reach out to one another across the vast spaces of modern life and say, “Here I am. This is what I’m noticing today.” I have met so many wonderful people (some of whom I’ve eventually met in person) this way: through the small, quotidian details we’ve shared online, the ways we have chosen to record and remember the stuff of our lives.
I have an ongoing text conversation with a dear friend that functions in a similar way. We share small notes on of our days: traffic and commutes and weather, lunch and errands, meetings with friends and colleagues. We talk about big ideas too, and what’s making us laugh, and sometimes we share what is saving our lives. Some of it probably is universal. But much of it is blessedly particular: field notes from these specific, mundane, glorious days.
I write sometimes here about the Big Things: the struggles of the job hunt; the prickly ache of missing my family; the quiet glory of my marriage; what it means to be a person of faith. But I am just as likely, on any given day, to be writing about the small, vivid, particular things. To be sharing field notes from right where I am.
Thanks for reading. As Lindsey noted recently, there is a lot of kindness that shows up online, and I’m grateful for every bit of it here in this space.
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