Love Note – Paris report

We’ll always have Paris.

I have just returned from seven days in Paris and, predictably and gratefully, had a wonderful time. Prior to the trip, I concocted a three page day-by-day itinerary filled with activities, but also consciously carved out some time for some more spontaneous and impulsive things too (anxious traveller, moi? Absolutement).

Sacre Coeur

August is a famously quiet time in the city because many of the locals go away on holiday. However, we found the first week in August to be a pretty excellent time to visit: our Eurostar tickets (booked in November) were £52 each for a return (less expensive than it is to get from Nottingham to London on the train…); certain museums in the city are free to enter on the first Sunday of the month and, because it was quieter, the queues were short (we managed the Musée de l’Orangerie and the Musée d’Orsay for free, but also available were The Louvre, the Musée National d’Art Moderne at the Centre Pompidou and many others); and going later in the summer meant that even with temperature highs of 29°C, we avoided the sweltering and sticky heats of June and July.

The benefit of spending a whole week in Paris is that we left barely any of the city unexplored. From our AirBnB base near the Place de Clichy in the 18th arrondissement, a delightful intersection of four arrondissements and in close proximity to my all-time favourites Montmartre and Pigalle, the whole city was at our fingertips. I would like to share some of my favourite places and moments from the trip. These may be food for thought if you are or intend to go to Paris at any point in the future, or if you just want to while away an afternoon thinking about those cobbled streets, beautiful buildings and all the amazing food. Like I will be.

Vegan food

Virginia Woolf’s old adage ‘One cannot think well, love well, sleep well, if one has not dined well’ is one that I take very personally, seriously and ecstatically live my life by. Therefore, first thing’s first: the food we ate. We did a lot of our own cooking to cut down costs, but we did have some fantastic vegan meals out:

Abattoir végétal

Abattoir Vegetal.jpg

This is a lovely restaurant in the 18th arrondissement with a neon sign outside, fresh-feeling interiors and lots of hanging plants. They specialise in seasonal dishes, organically sourced food and organic wines by the glass and bottle. We went a couple of times to this restaurant and sampled the Green Augustine Buddha bowl of legumes, raw and cooked vegetables, smoky tofu and fresh leaves in a smoky balsamic glaze; the Funky Burger made with beetroot, vegan cheddar, pickles and sweet potato fries on the side; and the Hot without Dog made with falafel, grated carrot, red cabbage, ketchup, mustard and sweet potato fries. For dessert we had chocolate cake, and drank our way through both meals with a bottle of organic red. I couldn’t deal with it then, I can’t deal with it now. So much yumminess.

SO NAT – Notre Dame de Lorette

SO NAT

If I went into this trip sceptical about the tastiness of Buddha bowls and their capacity to actually fill you up, I stand completely surprised and corrected. The large Buddha bowls at this cute little café in the 9th arrondissement, down from Pigalle and just before Opéra, were delicious, hearty and required no emergency snack afterwards. My Buddha bowl contained breaded aubergine, pomegranate seeds, lentil dahl, all sorts of colourful veggies and leaves, vegan sour cream and red quinoa. It was ridiculous. MW’s had ginger, rice, BBQ tofu and, again, veggies on veggies on veggies. It was all fresh, came in big portions, was so healthy and tasted rich and delicious.

Maoz

One of the many amazing things we encountered on our trip to New Zealand last year was the healthy fast food franchise Pita Pit: a Subway of sorts that features meat but also specialises in falafel. Add to that some humus, pitta bread and multiple veggie accompaniments (lettuce, tomatoes, cucumber, red onion, carrot, sweetcorn, jalapenos, olives etc.) and you have the beginnings of an addiction. We visited roughly 15 over the course of six weeks and have no regrets. We have found nothing to compare in Nottingham, so when we found Maoz, a falafel and pitta shop, in the Latin Quarter, we were stupidly excited. The novel difference here? The assortment of Middle Eastern fillings (pickles, fatoush, salads, onions etc.) was presented as self-service. We had a joyful time stuffing our own pita pockets full to bursting with fresh, perfectly seasoned toppings. Maoz is unmistakeably a delicious, quick vegan lunch option, right next to Notre Dame Cathedral and Shakespeare and Company.

Bike Rental

Holland Bikes

In a city like Paris, tours of all shapes and sizes are prolific. We would have loved to have done a tour: I had high ambitions for some form of a champagne booze cruise. Alas, this did not happen but we were very much content to explore on our own. Holland Bikes are a well-reviewed tour and rental service in the city and around France, so we decided to use the Pick and Go service to rent two Dutch bikes from the Arc de Triomphe depot. Renting a bike is so much fun and you can cover so much ground in a short space of time. Plus, Paris has excellent infrastructure for cyclists and e-scooter riders, so despite the heavy traffic in parts (we categorically avoided the wacky races of Place de la Concorde and Étoile de Charles de Gaulle) it felt very safe getting around. We cycled from the Arc de Triomphe down to and around the Bois de Boulogne, then back up and around to Trocadéro, the Champs de Mars, Invalides and along the Seine. We had so much fun.

Parc Monceau

Park Monceau.jpg

There are so many beautiful and shaded places to relax in Paris, which I am sure were absolutely essential during the 40°C+ heats the residents experienced this summer. The Place de Vosges in Le Marais came highly recommended, and we enjoyed the classic Tuileries gardens and Luxembourg gardens on the Left Bank. Whilst walking home on our last afternoon, we headed for the Parc Monceau which is in the 8th arrondissement, just off the Boulevard de Courcelles. Although the park has stylised elements like a little Venetian bridge, a Classical colonnade to emulate ruins and the most charming old carousel, there was something about more primeval about this park, compared to the more clipped and manicured lawns of the big jardins. We sat on a little green bench people-watching for a good long time in this prettyish wilderness.

Musée Yves Saint Laurent Paris

YSL Museum.jpg

Oh boy. Pour moi, a trip to Paris was never going to be complete without a slice and dice of fashion history. I plan to write a longer post about the YSL Museum, but it’ll summarise it briefly here for now. Yves Saint Laurent never used to be one of my favourite designers; perhaps controversially, I have been more of a fan of the edgier Saint Laurent incarnation of the brand under Hedi Slimane and Anthony Vaccarello. I was, however, aware that he is an inescapable part of fashion history, after being made head of Dior at the age of 26 and for the successful couture house he built in his own right. What became clear to me from the exhibits in the museum was that, like Christian Dior (you can read my analysis here), Saint Laurent’s prime aim in design was to make a woman feel her most confident and beautiful. I find this to be such a validating and comforting thing. Even though fashion is so much to do with comparison, beauty standards, perfectionism, ageism, white and able-washing, what I have noticed is that oftentimes at the centre of a brand is a sensitive, empathic and deeply creative person who just wants to make women feel good. I really appreciate that in Yves Saint Laurent and his contributions to fashion. Furthermore, he was famously one of the first designers to champion the use of non-white models, pioneered the trouser suit and established his Rive Gauche collection to make fashions accessible and affordable to ordinary people.[1]

Mondrian dresses.jpg

The building on the Avenue Marceau is home to his formidable archive, including the epoch-defining Mondrian dresses, the extensive jewellery collection and this absolutely perfect ensemble:

YSL dress

 

I was able to walk through a reconstruction of his study, watch films about his work and his partner Pierre Bergé and soak up the beautifully presented collection pieces. I must also add that the museum is wonderfully air conditioned, was relatively quiet and, all-in-all, a genius way of preserving Saint Laurent’s creative legacy.

Montmartre cemetery

Montmartre Cemetery.jpg

This was a go-to last time we came to Paris and, being so close to our apartment, was definitively on our itinerary again. Cemetery-visiting may seem like quite a morbid activity, but I believe that visiting cemeteries helps to really contextualise a place and the people in it. To really know and understand a city and its different people, to get an insight into what they value, treasure and, ultimately, to understand their approach to living life, a clue can be found in exploring how they treat their dead and the way they design and use their communal and private spaces of remembrance and reflection. Even if we have not visited Paris, many people are aware that it is a city associated most commonly with love, art and revolution. This, I would argue, is reflected in their cemeteries, which are uniquely Gothic and gorgeous. There is a joie de vivre and gravitas evident in the Parisian cemetery, and Montmartre in particular, which makes it a space in which life, family and creativity are celebrated and revered. Of course, I couldn’t help thinking that it is only the wealthy and respectable who could have afforded such exuberant graves. Additionally, in no other cemetery have I felt that the burial of the dead is used to so confirm and validate the people left behind. It is in this capacity that I think gloom seeps into the cemetery: both in the potentiality that the wealthy dead were desperate to be remembered and that the living left behind were so desperate to build something in place of their lost loved ones.

Many famous people are buried in this city, and their resting places are free to visit and open for visitors to pay respects. Whilst Père Lachaise is one of the biggest and most famous- we saw the graves of Edith Piaf, Oscar Wilde, Jim Morrison and the Mauthausen Holocaust memorial- Montmartre cemetery is smaller and nestled into the Western corner of the village. Stretching underneath the Rue Caulincourt bridge, it is easily visible from the road and its fantastical rows of grand crypts and family sepulchres look like something from The Phantom of the Opera. We visited specifically to lay a rose at the grave of Vaslav Nijinksy, the lead dancer of the Ballets Russes, choreographer of The Rite of Spring and, I recently found out, a passionate vegetarian. I have mentioned here before that The Rite of Spring has been a very important piece of music and dance to me, and I wanted to show my gratitude to this extraordinary sensitive and surreally gifted man who helped collaborate on and create such an awe-inspiring piece of cultural history.

Nijinsky

 

 

[1] https://www.nytimes.com/interactive/projects/cp/obituaries/archives/yves-saint-laurent-models-couture [accessed 14:41, 13th August 2019].

Love Note – Chia Breakfast Pots

Whilst I am a huge advocate for Marmite and nutritional yeast on wholegrain toast as a weekday breakfast, multiple barbecues over the past few days and weeks, whilst fun, have left me slightly bloated and ick. I can normally eat bread until kingdom come, but with the current state of things, tummy says no. Coupled with the tropical heat that has descended, I find myself in need of foodstuffs that are and feel as fresh and light as possible. I want to feel full, but I don’t want to be weighed down from the very beginning of my day.

Enter: chia breakfast pots. This easy, yummy breakfast idea was spawned after a conversation with a dear friend who is currently doing a diploma in nutritional therapy, and because I have about a million GU ramekins that need to be put to use.

When I get asked about my health and nutrition by kindly concerned non-vegetarians, a lack of omega-3 and protein are the most common worries. Omega-3 is, of course, most commonly known to be found in oily fish such as salmon and mackerel. However, chia seeds contain omega-3 in plant form (alpha linolenic acid, or ALA), providing the same kind of anti-inflammatory benefits and nutrients to facilitate a healthy brain and heart as the traditionally meat-derived omega-3.[1] Similarly, chia seeds are full of fibre and protein, and can be used in a number of absorbent ways (including sugar-free jam making, which is another excellent story). Jumbled up with oats, yoghurt, fresh fruit and a hint of almond and vanilla if you’re feeling cheeky, chia seeds are a great food to have in your light, fresh and healthy arsenal, particularly if you are vegetarian, vegan, or want to cut-down on meat.

Important – this is an overnight recipe, so make sure you prepare the night before you plan to eat

Ingredients (enough for six GU ramekins)

70g chia seeds

200g plain porridge oats

500 ml non-dairy milk (I used soy, but you can use oat, almond, rice milk, or cashew milk if you want it really creamy)

A healthy tablespoon-sized blob of yoghurt (I used Alpro almond yoghurt, but you can also use plain, vanilla or coconut)

A punnet of raspberries

Optional sweeteners: almonds, golden syrup or vanilla extract

 

Method

  1. Take a bowl out of your cupboard
  2. Combine chia seeds, oats and milk
  3. Leave to soak for about 5 minutes
  4. Put some raspberries into the bowl and stir
  5. Split mixture between ramekins
  6. Add a blob of yoghurt on top
  7. Add one last raspberry to garnish
  8. Cover up and pop into fridge
  9. Leave over night
  10. Retrieve in the morning
  11. Add a pinch of your optional sweetener
  12. Eat

 

Chia pot 2

 

 

[1] ‘The health benefits of chia seeds’ https://www.bbcgoodfood.com/howto/guide/health-benefits-chia-seeds [accessed 11:45, 24th July 2019].

Love Note – Beach Books Reviews

Whilst on holiday, I managed to get through three books out of the stack of four that I took with me and, as you can probably imagine, I took great pleasure in spending the majority of my day reading. I was helped along by the books themselves, and what started off as me playing catch up with the most popular contemporary literature from the past few years became an interesting immersion in literary bingeing. Thanks to a combination of formal and linguistic trickery, the novels I read signalled to me that binge-culture has made one giant leap from television to literature. Of course, there have been many page-turners that people have read at record speeds, with many others being described as un-put-downable, I’m thinking Gone Girl, The Da Vinci Code, every murder mystery or thriller ever published. But, there is something to be said for the novels currently trending that have a swept-away-in-one-sitting quality to them that is immensely enjoyable, but also indicates that we are, perhaps, as bad as ever at taking our time to enjoy our media and entertainment, allowing the experience of enjoying them to mature and mellow over the course of days or weeks. This is not a criticism per se, but something I became quite aware of.

Here are my reviews of the novels I managed to read, and I would love to hear your thoughts!

Normal People – Sally Rooney

Normal People

I enjoyed reading this novel more than I actually enjoyed the novel itself. The lack of speech marks is one of the most discussed and obviously experimental aspects of the novel and there are a number of reasons why I think Rooney opted for removing formal punctuation. Primarily, its absence helped to propel the pace along as quickly as possible. Speech, internal dialogue and description in the novel melt into one another seamlessly, and before I knew it I was flying through the novel at electric speed. The subtle mingling among and between Connell and Marianne’s internal and external worlds is compelling, and perhaps goes some way to perform the confusion and fluidity of their romantic entanglements. These were powerful, to an extent: Connell’s struggles with social status, class and privilege combined with Marianne’s abusive family trauma form a murky, disorientating bedrock to their sexual and emotional relationship. Yet, whilst they were immersive, these entanglements began to wear thin for me. Of course, culturally and artistically we are rarely given an insight into healthy, responsible relationships to aspire to, but Connell and Marianne’s story really did begin to feel like a rather prolonged game of kiss chase that could have been resolved with some honesty and proper communication. Whilst I enjoyed the fast pace, the story became increasingly frustrating.

The novel has been revered as a refreshing insight into modern relationships, yet all I saw was prolonged adolescence. The question that arose during my reading of it was: why don’t people talk to one another honestly about what they want, need and expect from a relationship? Of course, many people do not have the answers to these questions themselves, which is why the romantic landscape has always been a mass of tension, confusion and a channel for our own neuroses, precisely because the terrain is so horrifyingly vulnerable. I think I would like to see stories where people grapple more with the deeper core fears that relationships can elicit than indulge in surface-level dabbling. This is because for Connell and Marianne, like with everyone else, there is ample emotional material to explore. For example, it is heavily suggested that Marianne has an eating disorder, but there seemed to be no exploration of this, and I think with such a big, important and truly devastating area of mental health, vague allusions are irresponsible. Normal People is absolutely compelling formally, but the story and characters lacked the maturity and deep excavations of relationship politics that I may have come to the novel expecting.

Daisy Jones and The Six – Taylor Jenkins Reid

Daisy Jones

Just as Sally Rooney fiddled with formal punctuation to create a sweeping, pacey narrative for Normal People, Taylor Jenkins Reid did away with conventional prose altogether to construct the mock-oral history that is Daisy Jones and The Six. The language is presented like a play or a screenplay, rapidly interchanging between characters, their opinions and their contrasting perceptions of how past events unfolded.  This, as with Normal People, makes for an extremely fast-paced and romping read, and I scoured my way through the drug-filled emotional and musical rollercoaster that is the rise and collapse of fictional rock band ‘Daisy Jones and the Six’. It does not surprise me at all that Reese Witherspoon picked this up for production so quickly: the screenplay layout of the novel lends itself to a visual medium so well, and the construction of authenticity and, almost, reality of this fictional band is begging for actors and musicians to literally flesh the whole thing out. Additionally, the novel harks back to the seventies and the loves, losses, betrayals and creative headiness of the Fleetwood Mac era; a band history integral to the fictional machinations and dalliances that we see unfold in the novel. It manages to effectively combine warm nostalgia, with, and rightly so, a thorough dissection of emotional pain, addictions and toxic relationships, and I think it is on the whole successful.

The novel follows Daisy Jones, the child of rich, famous and self-absorbed parents who do not seem to care about their only daughter. She seeks refuge in narcotics, drinking and a rock and roll groupie lifestyle on the Sunset Strip at the age of fourteen. Billy Dunne and his brother Graham hail from small town Pennsylvania; their father leaves them early on in their childhoods, and as teenagers, they found a band that goes on to be called ‘The Six’. Billy develops addictions to alcohol, drugs and sex with groupies, whilst his loyal, passionate and amazing wife Camila waits at home for him. In fact, Camila, for me, was the best character in the novel. Whilst Daisy is super beautiful, glamorous and an emotionally tortured Bambi, Karen Karen is a veritable badass, Graham is a sweetheart and Billy is an endearing and somewhat extremely self-righteous mess, Camila is an unwavering beacon of solidity and support whilst the people around her flail and crash about, high on concoctions of drugs, fame, creativity and self-hatred.

Whilst there are many excellent pearls of wisdom and sassy quips in the novel, exploding bullshit around sexism, music, friendship and love, one of her quotes stands out to me the most: ‘I think you have to have faith in people before they earn it. Otherwise it’s not faith, right?’ She supports and believes wholeheartedly in the best versions of her loved ones when they’re at their absolute worst, even when that has meant she has suffered as a consequence of their actions. There are so many times when she could have chucked in the towel with her relationship with Billy, and some would argue that perhaps she should have. Camila, however, doesn’t tolerate terrible behaviour and she definitely does not stay in a relationship where red flags abound: she sets boundaries, expectations and trusts in her husband’s best self and ultimately propels him on his road to recovery. Sure, her story isn’t a romanticised and drug-addled one, which I think, despite a lot of its efforts, the novel still constructs for the enigma that is Daisy Jones, Camila is strong, knows herself and is the responsible adult we should strive to be. It is for this reason that the ending of the novel is incredibly bittersweet and I would love to discuss it here and with people at some point. Send me your thoughts please!

Circe – Madeline Miller

Circe extract

This was hands-down my favourite out of the three books I read (and the only one I thought to take a holiday snap of!). It was heart-wrenching, magical, modern and yet felt beautifully and brilliantly in-keeping with the ancient framework from which it hailed. The story, whilst a reimagining, felt bedded in Homer’s mythology: all the key ancient rituals and practices were present, for example xenia, or guest-friendship, which is illustrated so beautifully in the novel as a dance of wits, manners, generosity and covert motive-seeking between host and visitor. It enlivened what the original treats as a societal staple, illuminating it with nuance and tension. We also got a crash course in the wars of the Titans, various mythological characters like Daedalus, Medea, Jason and Ariadne, alongside the predictable and anticipated arrival of Odysseus, and the very unpredictable arrival of Penelope and Telemachus (I loved this!). The novel was able to powerfully break apart some of the simplistic tropes that the character of Circe has carried with her for thousands of years. No longer does she carry the motiveless malignity of the original: the scheming nasty witch woman who seduces Odysseus and turns all of his men into pigs. She is sensitive, attuned to the natural world, desperate for approval she never gets, uses violent magic in self-defence, but isn’t immune to the fear and anger-based trappings of ego. Ultimately she becomes the source of her own very particular, self-cultivated power, and it is immensely joyful to read.

I did disagree, however, that Miller presented Circe as some two dimensional empowered ‘superwoman’, as reviewed by The Times.[1] This is a novel where the central protagonist constantly aches: she aches for belonging, she aches from the sweetness and loss of love, whether that’s with a partner, siblings or children, and she aches from the bullying and torture at the hands of her horrible family and the all-powerful, oftentimes selfish, meddling gods. This does not mean to say she is weak, but she is certainly not presented as some all-powerful, sassy superwoman. What strength Circe has is developed from her ability to endure, and what a whole host of trials she is forced to deal with. Whether it’s being confined to an island, acting as a midwife at the birthing of the Minotaur, living under the wrath of Athena, being manipulated by Hermes or being raped by sailors, this woman is put through the absolute wringer. She emerges all the more patient and trusting in herself and her capability of putting up with bullshit, but, again, not a superwoman, whatever that even means.

What I loved about this novel was that Miller actively redistributes the motiveless malignity accusation with which Circe has been cast around the hosts of horrors that is the supporting cast of gods, demigods and men, who act with violence, without fear of repercussion, because they can. She is repeatedly trapped and confined by the whims and desires of others and, of course, fate itself. Over the course of the novel, she learns that in spite of having magic, she is powerless to resist the power of the gods, the desires of the human heart, and the unrelenting changeability that characterises life, whether it’s defined by mortality or immortality. 300 years pass over the course of Circe’s story, making it perhaps one of the most comprehensive coming-of-age stories I have ever read, because it spans enough to time to develop that most important hallmarks of maturity: perspective. Maybe that’s why so many of us never get there.

I really could not have enjoyed this novel more and I am racing to get a copy of Miller’s early novel ‘The Song of Achilles’, which tracks the relationship between Achilles and his lover, Patroclus.

Song of Achilles

 

[1] ‘Circe by Madeline Miller – back as superwoman’, Siobhan Murphy https://www.thetimes.co.uk/article/review-circe-by-madeline-miller-back-as-superwoman-37kctxgss [accessed 10th July 2019].

Love Note series – Bonus Disney Women

This little Disney series has been so much fun that I felt that I needed a bonus post. Today, I’ve decided to give some honourable mentions to Disney women who have enriched the stories they are in, have given fantastic comic relief and whose characters have become even more indispensable with every new viewing.

Flora, Fauna and Merryweather, Sleeping Beauty, 1959

It pained me that in Maleficent, one of Disney’s best re-makes/re-tellings out of the thousands they’ve done, these women are reduced to squabbling, dim, clueless fairies. Of course, in the 1959 version, they also squabble and are crap at not using magic, see exhibits one and two:

Flora and Merryweather.gif

Fauna eggs

Yet, the three of them also end up holding the entire world together. They offset Maleficent’s curse on Aurora by ensuring she falls into sleep instead of death, they put everyone else to sleep, they fly to Maleficent’s castle to release Prince Philip even though it terrifies them and then help him to bring about Maleficent’s downfall. They are constantly busy saving the world and everyone in it and are integral to the film’s action. As such, Fauna, Flora and Merryweather ensure that in spite of some of the other problematic tropes in Sleeping Beauty, this animated film actually has the highest amount of female dialogue in the whole of the Disney oeuvre.[1] That is something pretty special.

 

Magnificent Marvellous Mad Madam Mim, The Sword in the Stone, 1963

This small dumpy woman, with her bright pink dress and purple hair, may not look like trouble but she is as feisty and frightening powerful as they come. I think of her as a pre-cursor to Winifred Sanderson from Hocus Pocus in many ways.

Mim sick

Winnie

Mim is ridiculous, darkly hilarious and appeals to all that is gnarly in ourselves. Obviously I don’t make it a habit to ‘destroy’ cute little sparrows for fun; but I find it funny just how funny she finds herself. She takes absolute delight in being grisly and her cackle cracks me up every single time. She is magic’s counter-balance to Merlin’s honourable, good-natured and learning-outcome wizardry, displaying considerable power and resolve. She doesn’t win the wizard’s duel, and rightly so, but she sticks two fingers up to Merlin’s borderline self-righteousness and I find her very enjoyable viewing.

Mim sunshine

 

Lady Kluck, Robin Hood, 1973

Klucky

Lady Kluck, or Klucky, is the real star of this film. She is Maid Marian’s lady-in-waiting and her contributions to the friendship and film include terrible badminton technique, Prince John impersonations, dancing and of course, her willingness to get stuck into a barney. She is loud, rambunctious, has a fantastic Scottish accent and her fearlessness in a punch-up is inspirational. Her best line comes during the carnage of the archery competition where she tells Maid Marian to ‘Run lassie, this is no place for a lady’, before rolling up her sleeves and slamming the Sheriff of Nottingham and a bunch of rhinos. This chicken is no wet hen and has excellent gif game.

Klucky funny

 

Kala, Tarzan, 1999

Kala

Disney as a creative institution is famous for severely lacking in representations of secure, loving mother figures. When Tarzan was released in 1999, Kala was brought to us by the divine Glenn Close, and became the overdue motherly role model that we had all been waiting for. At the beginning of the film, Kala goes through the unspeakable trauma of her baby being killed by a ferocious leopard called Sabor. When she hears Tarzan’s cries across the jungle, she discovers him alone, his parents also having been killed by the leopard. She rescues him and resolves to protect him from the dangerous world around him, whether that’s from leopards and other predators, but also the hatred of Kerchak, Kala’s partner who refuses to acknowledge Tarzan as his son. Kala’s love is boundless; she brings Tarzan into the safety of the gorilla family, teaches him that he isn’t as different to her as other gorillas make him out to be, and also embraces the grief-stricken realisation that she will have to let her son go. For me, this scene is up there emotionally with ‘Baby of Mine’ in Dumbo. Kala is warm, kind, brave and nurturing and definitely deserves some recognition.

Kala and Tarzan

 

Mama Odie, The Princess and the Frog, 2010

Gumbo

Mama Odie is a blind witch lady living in the bayou outside New Orleans, who Tiana and Prince Naveen visit to solve their frog problems. Mama Odie is friends with Ray and his firefly family and relies on the help of a snake called Juju to get around the place. The two form an excellent double act as Juju doubles up as a walking stick, plank and sous chef as Mama Odie makes her magical, clairvoyant gumbo. I think she’s brilliant because she introduces us all to the idea that what we want and what we need are very different things. I believe that what we think we want lies firmly in the realm of ego; it is often short-sighted, ruled by fear, lack and longing. What we need is something more deeply personal and actually evades us a lot of the time: the need for connection, boundaries, and the key self-awareness to know what makes us feel safe, comforted and loved. Mama Odie, with wit, an excellent gospel song and tons of energy makes that abundantly clear, paving the way for Tiana to reject Dr Facilier’s soul-selling proposition at the end of the film.

Mama Odie and Juju

 

[1] Female Dialogue

Love Note series – Mulan

Mulan, Mulan, 1998

Mulan with shan yu sword

Mulan holds a very special place in my heart. She begins the film as a slightly disorganised, hapless, disgrace (by ancient Chinese standards) and then channels her strength, determination and courage into saving the whole of China from the Huns, both as a soldier and, when she becomes a disgrace again for doing that, in a traditional hanfu dress. Even from a short synopsis, we can see that over the course of the film, Mulan effectively redefines what it means for a woman to bring honour to her family in China, and shows that placing women in arbitrary boxes based on gender and capability is not in the interests of individual women or society as a whole.

Mulan and Little Brother

One of the things I love most about Mulan is that she is resourceful, a creative thinker and easily comes up with ideas and solutions to benefit herself and others. Over the course of the film, we see her attach a bone on a stick for her dog Little Brother to chase whilst simultaneously spreading chicken feed; out of her whole army unit, she is the first to understand how to use two weights to climb to the top of a pole and retrieve an arrow; she uses a cannon to trigger an avalanche that destroys the vast majority of the Hun army whilst saving the lives of all of her comrades; and she devises a plan to rescue the Emperor by having her mates drag up. Her ingenuity coupled with the strength and combat skills she acquires (in particular during the song ‘Dark Side of the Moon’ where the main refrain is ‘we are men’, the irony of which is amazing), make Mulan an incredible force to be reckoned with. No wonder she seems so threatening and at odds with the confining moral and social standards that prevail.

Mulan Climbing

Like Pocahontas and Esmeralda, Mulan also conveys incredible emotional sensitivity. She communicates with her dragon guardian Mushu, has a precious relationship with her horse Khan and is a deeply reflective individual. Her greatest desire, apart from saving the life of her father who is too old to fight in a war, is to become comfortable with her own identity. Her journey over the course of the film is to work out how she can be in the world and be comfortable within herself, whilst also serving the needs of her family and making them proud of her. Whilst, as is archetypal, she is met with set-backs and obstructions, where she takes the opportunity to assess what she has done and who she is. Ultimately though, her self-perception and her own sense of failure all fades in the wake of her needing to make a choice to do the brave and right thing, which she almost always does.

When shit hits the fan with Shan Yu and his allies surviving the avalanche and moving to attack the Imperial City, Mulan doesn’t think twice about gathering herself together and going to raise the alarm and fight back. In doing so, she carves out a place for herself and ultimately earns the respect and gratitude of an entire country. As such, Mulan shows us that in spite of the negative voices around us and within us that tell us that we are not good enough, that we don’t belong and that we have nothing to contribute to the world, we should stir up enough courage to carry on anyway. Ultimately we are defined not by who we or others think we are, but by the actions we take and the way we conduct ourselves in the world. If we live by this principle, of trying to be good and doing the best we can no matter whether it’s fighting in a war or feeding some chickens, that is enough. The rest of the world will fall into place around you.

Crowd bwing to Mulan

Love Note series – Pocahontas

Pocahontas, Pocahontas, 1995

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Pocahontas is vastly underrated and one of my all-time favourite Disney films. I was transported from the very opening shots: America, covered in woodland and accompanied by indigenous drumming, makes me think of how truly astounding the continent must have looked and been before the environment and its native people were decimated and destroyed by white European colonial invaders. Pocahontas is not only an incredibly bittersweet interracial love story, but is a strong rebuke to colonialism and a love letter to Native American culture. Indeed, Russell Means, who voiced Pocahontas’s father Chief Powhatan, remarked that this film is the greatest representation of Native American culture and life ever seen in a Hollywood motion picture.[1] The screenwriters’ and animators’ attention to detail is second-to-none: from casting Native American actors, using indigenous language in the script, the inclusion of intricate jewellery and body art down to the positioning of the teepees at the beginning of the film, which all face in the same Eastern direction as they would have done in the seventeenth century, this film gives a sensitive and conscious platform to a beautiful culture. And at the figurehead of it all we have Pocahontas, described by the animators as Disney’s first depiction of a woman, not a teenager, in the animated title role.[2]

Pocahontas and John SMith

It does seem that Pocahontas operates on a different maturity level to most of the Disney princesses that precede her. I think this may have been because she was an actual historical figure, so extra sensitivity was required in the representation of her and her story, despite the heavy poetic license taken in the film. She risks a lot for the sake of a man she has fallen in love with, but the price for that isn’t losing her voice or developing Stockholm Syndrome (I’m so sorry Beauty and the Beast fans, I still cannot deal with that relationship dynamic!). She is presented as spiritual, closely connected to the animals, plants and people around her, demanding respect for her community whilst showing fascination for John Smith’s. She prevents a war and helps guide both sides to a place of tentative love and acceptance over hatred. And yet, she still manages to keep things light-hearted and sassy, as the situation requires.

Pocahontas lol

I love Pocahontas because she is playful, free-spirited and boundlessly curious. I love her relationship with best friend Nikomma who will happily tell her when she’s being a show off, which reminds me very much of my own relationship with my sister (I’m the show off). Indeed, my sister and I used to pretend to be Pocahontas and Nikomma when we were playing outside in the garden or on the beach (I was Pocahontas and Nicole was Nikomma, naturally). Pocahontas is deeply in tune with nature and her inner world, looking to the plants and animals around her, as well as her dreams for guidance and comfort. Her relationship with Grandmother Willow reminds me of mine and my sister’s relationships with our own beloved Grandma, and I love that she is willing to sit crossed-legged in front of her Elder to ask questions, heed advice and dialogue with her so that she might cultivate her own inner wise Self. Indeed, in many ways Grandmother Willow is Pocahontas’ inner wise Self, it depends on if you believe if she is actually real or just a figment of her imagination.

Pocahontas

Nowhere is this exploration of wisdom and connection with the natural world better explored in the film than during the song ‘Colours of the Wind’, written by Alan Menken and Stephen Schwartz. The song is accompanied by some of the most stunning animation that Disney has ever produced, and sees Pocahontas effectively deconstruct racist colonial narratives of who is considered civilized and who is considered savage. It is beautiful because the pithiness of the white colonial small-minded and deeply destructive dualistic ideology is visually dwarfed by the outstanding and overwhelming beauty of the natural world and the deep connection that Pocahontas sings of. My favourite line is ‘Come run through the hidden pine trails of the forest / Come taste the sun-sweet berries of the earth / Come roll in all the riches all around you / And for once, never wonder what they’re worth’. In other words, get over your racist capitalist bullshit John Smith and connect to something more powerful, more beautiful and more unifying.

 

[1] https://www.youtube.com/watch?v=RoHTikVNvbU [09:19, accessed 2nd July 2019].

[2] https://www.youtube.com/watch?v=RoHTikVNvbU [12:53, accessed 2nd July 2019].

Love Note – Beach Music

In a couple of weeks I am swapping rainy old England with the warmer environs of Mallorca and I can’t bloody wait. After a very busy year, I am completely ready to park myself on a beach with my stack of contemporary literature (I’m trying to remove myself from the nineteenth century and read more current things), a couple of cold beers and my favourite beachy playlist. I know I am ridiculously lucky to be able to get away from it all for a bit and I am relishing the opportunity to switch off and zone out.

Of course, however, because we are all constantly flirting with burnout, phone-addiction and have the attention-span of goldfish, myself included, it can take a little while to completely unwind from the rat race that is life in twenty first century Britain. Even though I want to just switch off, it feels difficult to do so. Additionally, travel has become slightly more anxiety-inducing for me personally because it removes me from routine, the security I feel from being in my beloved home and because the onset of new sights, sounds, smells and sensibilities can be very over-stimulating. Feeling anxious about going on holiday doesn’t hold me back from travelling, but I definitely have to consciously take stock and ease myself into the groundlessness that new experiences and exciting adventures bring me.

Meditation helps, my gratitude practice helps and of course, music helps to alleviate the kind of liminality that I sometimes experience when I’m on holiday. There is nothing better than a summery playlist to accompany a lazy sojourn on the beach. Here are my favourites from past and present beach trips that help me fully immerse myself in my beautiful surroundings and relieve any anxious quibbles or digital withdrawals I might experience whilst being on holiday.

Lana Florida Kilos

‘Florida Kilos’, Lana Del Rey, Ultraviolence – Old faithful. I actually quite disliked this song when I first heard it. But after a week spent listening to it with a lemon lolly and warm sunshine, I realised that a beach setting for listening to it was all that was missing.

Kendrick Lamar Blow My High

‘Blow My High’, Kendrick Lamar, Section 80 – Super-duper chilled and fun, with tributes to Aaliyah and Lisa Left-Eye Lopes, this is one of Kendrick’s more light-hearted outputs. It bubbles and pops with youthfulness.

Kendrick Lamar The Recipe

‘The Recipe’, Kendrick Lamar, ft. Dr Dre, Good Kid, M.A.A.D City – Kendrick again because he is a babe. A more badass beach song than ‘Blow My High’, but then what would you expect with Dr Dre on board. This is a song for serious sunbathing done seriously and truly allows you to indulge in your good fortune at being on holiday.

Michael Kiwanuka

‘Cold Little Heart’, Michael Kiwanuka, Love and Hate – This song evokes images of the rugged Californian coast thanks to its use as the title music for fantastic HBO show Big Little Lies. The full ten minute version of this song is an epic, bluesy opener to a truly stunning album and is a whole story in itself. Gorgeous song, gorgeous voice, gorgeous situation.

Groove Armada

‘At the River’, Groove Armada, Northern Star – This is a quintessential chillout song that has been a permanent fixture on Harping On holidays since 1998. It is perfect for setting the mood when you arrive at your destination and provides a musical portal to escape from the chaos of modern life.

Mylo

‘Sunworshipper’, Mylo, Destroy Rock and Roll – I can’t convey how wonderful this song is. It is a pure chillout classic, with an optimistic, bohemian otherworldliness to it. Features the classic repeated line: ‘And so I took off on my bicycle’.

All Saints 2

‘Pure Shores’, All Saints, Saints and Sinners – Take me to my bloody beach. This song is so atmospheric and an instant relaxant whenever there is sand, sea and sangria nearby. In fact, it’s an instant relaxant wherever you are.

Rye Rye

‘Sunshine’ ft. M.I.A, Rye Rye, Go! Pop! Bang! – This song was on the soundtrack of Sofia Coppola’s classic film The Bling Ring and is a fun, catchy hymn to summer time. Sings from the same beachy sheet as ‘Blow My High’.

bob-dylan-mr-tambourine-man-cbs-2

‘Mr Tambourine Man’, Bob Dylan, Bringing It All Back Home – The first time I heard this song I was driving home from a festival with two friends and we all cried. It is slightly melancholy, perfect story-telling about free spiritedness and having nothing to do and nowhere to go. Makes me think about that point in your holiday where you start calling your hotel/AirBnB/apartment/flat/other fleeting holiday accommodation, ‘home’.

Tame Impala

‘Feels Like We Only Go Backwards’, Tame Impala, Lonerism – Seductive synth, mind-bending lyrics and a twinkling voice over the top, this song is an effective daydream, perfect for staring out at the sea and warming your feet in the sand.

One for good luck:

Lana West Coast

Lana Del Rey – Paradise, Ultraviolence, Honeymoon, Lust for Life LPs are all generally perfect for the hot beach holiday (windswept beach walking holidays in Spring/Autumn times are a different kettle of fish). I love Born to Die but it’s why more of a cityscape/ small town-trip record scenario.

Old, old favourites from beach holidays gone by:

Christina Aguilera – ‘Primer Amor’ and ‘Infatuation’, both from Stripped

Mis-Teeq – ‘Strawberrez’, Eye Candy

Michael Jackson – ‘Remember the Time’, History

Rihanna – ‘Say It’, Good Girl Gone Bad

Madonna – ‘Beautiful Stranger’, Ray of Light

Justin Timberlake – ‘Senorita’ (in fact, all of Justified)

 

220px-Christina_Aguilera_-StrippedMisteeqRihannaRay_of_Light_Madonna

Love Note – Graphic Novels

The world is full of dark, difficult and complex issues that need to be sensitively and appropriately discussed. War, genocide, abuse, loss and our hopes of building a better life for ourselves are all incredibly difficult conversations that need to take place: but how? Is there are right way to talk about these things? How can we ensure that we get the greatest insight into the emotional and critical upheaval when unimaginable things happen? This is where art and literature have always been important. Film, visual art, poetry and novels have always helped to expand our understanding of what it means to experience life and all of the social, political and archetypal challenges that we face. Representation of experience is crucial in helping us to understand the world around us, but when what we are talking about is so traumatic or challenging, it is even more important to think about how these are presented.

Graphic novels, otherwise known as comics, are an almost niche area of textual production that are, in my opinion, some of the best media for representing conflict and its fallout. Edward Said, in his tribute to Joe Sacco’s Palestine wrote that:

‘In ways that I still find fascinating to decode, comics in their relentless foregrounding […] seemed to say what couldn’t otherwise be said, perhaps what wasn’t permitted to be said or imagined, defying the ordinary processes of thought, which are policed, shaped and re-shaped by all sorts of pedagogical as well as ideological pressures. I knew nothing of this then, but I felt that comics freed me to think and imagine and see differently’.[1]

Graphic novels help us to ‘see differently’ because they are a hybrid form that combines accessible, but no less wonderfully ambiguous and complex, art with punchy storytelling. They give an imaginative and, at times, extremely personal telling of stories, bringing drawings and language into conversation. Fragments of images, language and spatial organisation on a page builds an almost compulsive narrative that can at once expose and explode systemic injustice and power structures (what are complicit with Said’s ‘ordinary processes of thought’), whilst also attempting to make sense of the personal experience within them. I don’t think it’s a coincidence that some of the most famous graphic novels are autobiographical memoirs, which focus on the experience of the individual against the backdrop of something much greater and, oftentimes, misunderstood or difficult to represent. We have two confusing and compelling worlds clashing, the public and the private, and the graphic novel attempts to navigate us through both.

I find reading graphic novels to be an incredibly immersive and compelling experience. I recently finished reading Malik Sajad’s Munnu and had to share my thoughts on this text and some of my other favourite graphic novels. These texts take us to the depths and fringes of human experience, re-write what we think about the world, countries within the world, and the people within them. They blow open preconceptions and stereotypes that we are fed, and my understanding of conflict and world history, is all the more rich and nuanced as a result.

Maus, Art Spiegelman, 1980

 

Maus

 

Maus is one of, what I consider to be, the Holy Trinity of graphic novels. It portrays Spiegelman as a young cartoonist, interviewing his father Vladek about his experiences during the Holocaust. The comic charts Vladek’s survival of Nazi atrocities, but also portrays Spiegelman’s oftentimes strained and difficult relationship with his father. The two regularly butt heads in ways family members often do when a deep amount of love and respect is patched over with trauma, neurosis and unrealistic expectations. Notably, the characters in Maus are all presented as animals to represent their different ethnic groups: Jews are depicted as mice, Nazis as Germans and Americans as dogs. One of the panels that stood out most to me is one that presents Spiegelman himself wearing the mask of a mouse, sat at his desk, talking about the opportunities that have come with his novel’s publication. Around him are littered the bodies of Holocaust victims.

maus2

This panel suggests that through the production of Maus, Spiegelman has assumed almost unwanted ambassador status for his presentation of Holocaust testimony. The artificial mouse mask, tied at the back of his head, points to the idea that in the telling of this story, he has almost performed his Jewish identity, and become a spokesperson for Holocaust victims and survivors in the process. He has achieved acclaim and appreciation off the back of so much death and horror, signified by the cadavers gathered around him and his drawing desk, yet still struggles to maintain his sticky relationship with his father. As a result, the dissonance between his success and the emotional burden his success has become weighs heavily on him, entangled as it is with feelings of guilt, misplaced responsibility and fraudulency. The Holocaust is such a difficult and upsetting subject to discuss and represent, and Spiegelman demonstrates great sensitivity and self-awareness in his handling of such a traumatic and barbaric event. The novel is not only a historical document of his own father’s survival, but also provides a platform for conversations about how we successfully represent the un-representable, and all the responsibility that brings.

Palestine by Joe Sacco, 1996

palestine cover

The second graphic novel in the Holy Trinity follows a Joe Sacco, an American journalist, travelling to Palestine and the Gaza Strip to witness and interview oppressed Palestinians during the Intifada. In the West we are given a very limited idea of the history and lived experience of Palestinians under Israeli occupation on the West Bank. This graphic novel has been hugely influential in its multi-dimensional perspective of conflict; and especially those conflicts that receive little traction in the news or are obscured by global and media power players. Sacco gives voices and faces to the seemingly unending hardship on the West Bank and in the Gaza Strip that easily bypasses the consciousness of many in the West. The violence and terror that Palestinian men, women and child experience on a daily basis is front and centre of Sacco’s novel, as he tracks his own journey from bystander and objective interviewer, to witness.

 

Palestine

 

Persepolis, Marjane Satrapi, 2000 and 2014

Persepolis cover

This novel is the third graphic novel in the Holy Trinity. Persepolis blew open what I knew and understood about Iran and Iranian history. As far as I was aware, when I first read this novel in 2010, Iran was a rogue bogeyman country, intent on making nuclear weapons to blow everyone up and destabilise the Middle East permanently, and that was the way things were and the way things always had been. As with my original perceptions of the Palestinian conflict, this graphic novel proved this idea of Iran to be completely limited and short-sighted. Through the story of her family and childhood, Satrapi presents Iran as a vibrant, secular country before the Islamic Revolution, and depicts the horror of war as Iran and neighbouring Iraq are drawn into a deadly conflict. She presents the oppressive practices and rules enforced in school and in public, in particular regarding women’s rights, whilst struggling with her own direction in life, with her time in Europe marred by racism and homelessness.

Persepolis

Persepolis is a coming-of-age story like no other, offsetting universal teenage angst and confusion (the start of The Vegetable chapter with panels of Satrapi’s face changing through puberty spoke to me like little else) with religious extremism and Western xenophobic bigotry. The novel provides both creative freedom for Satrapi to explore her own personal story and to shine a critical light on the injustices and pervasive power structures that successfully control people in both the East and West. At the same time, the graphic novel, with its black and white colour scheme and regular panels, successfully conveys the claustrophobia of living in a world where you are penned in by cultural expectations, conflict, bigotry and your own demons.

embodiment-1

 

Munnu: A Boy from Kashmir, Malik Sajad, 2015

Munnu

In the tradition of Maus, Persepolis and Palestine, Munnu follows the coming-of-age of the eponymous Munnu, the youngest member of a family living and hailing from war-torn and devastated Kashmir. In a similar vein to Maus, Sajad uses animals, specifically Kashmiri deer, to highlight Kashmiris’ endangered status as a free and independent people. The novel balances the intricacies and tensions surrounding the conflict and hypocrisies between Kashmir and India, Kashmir and Pakistan and amongst Kashmiri resistance groups, whilst also exploring family, existential anxiety and trauma as a result of conflict, and the power of cartoons to grant personal freedom. The final panel is particularly unnerving and unsettling, and I was most touched by young Munnu grappling with his fear of death. Munnu also critiques the West’s seeming inability to comprehend the severity of the conflict in Kashmir and its ineffectiveness in using diplomatic pressure and might to bring about a resolution.  I recently discovered that Munnu has not been published in India, which is very telling about the current tensions unfolding in Kashmir as a result of the occupation and how powerful, and thereby threatening, this graphic novel has been in exposing them.

eu-embed-sajad-malik

 

Red Rosa: A Graphic Biography of Rosa Luxemburg, Kate Evans, 2015

51DFPaAiudL._SX348_BO1,204,203,200_

Rosa Luxemburg is a giant of the Left and nowhere else has her life and work been so beautifully presented and so articulately explained than in this graphic novel. Luxemburg’s philosophy that Marx was not beyond criticism, even though she took her political and economic position from his work, is a lesson for us all: nothing is beyond critical interrogation, especially the people we most admire and whose thinking has been the most influential for us. The concise and accessible exploration of Luxemburg’s philosophy includes her radical pacifism: my favourite panel coming with Luxemburg’s response to the First World War: head bowed, she is disturbed and weighed down by the destruction and wanton chaos of a war that will end nowhere and will result in the deaths of millions of working class people. Evans also gives us an insight into Luxemburg’s personal life, the incredible obstacles she overcame to become a writer and political leader, and her relationships with close friends, family and lovers along the way. This graphic novel, and its subject matter in Luxemburg, is absolutely inspiring.

RedRosa_extract_TheNation_img

 

Other graphic novels to explore:

Dragonslippers: This is what an abusive relationship looks like, Rosalind B. Penfold, 2006

Diary of a Teenage Girl, Phoebe Gloenecker, 2002

Threads: From the Refugee Crisis, Kate Evans, 2017

Tamara Drewe, Posy Simmonds, 2007

 

 

 

[1] Homage to Joe Sacco, http://journeyofideasacross.hkw.de/anti-narratives-and-beyond/edward-w-said.html [accessed 22/05/2019].

Love Note – Eurovision

This Saturday sees the return of the Eurovision Song Contest and I could not be more excited. This year, I have excellent friend and historical Eurovision-watching comrade Annie coming to visit from Manchester, I am drawing up a Eurovision bingo game, making cultural food plans (pierogi, baguettes and olives amongst other foodstuffs), organising an office sweepstake at work, and have my Spotify playlist of past-Eurovision favourites on repeat. I am raring to go for the Grand Final in a couple of days’ time.

I have always loved Eurovision. It is funny whilst both trying to be and trying not to be; it is colourful and vibrant; appeals to the ridiculousness in us all; and offers the perfect excuse to have a bit of a party. It curiously manages to hold a number of different positions: it suspends reality, through its gaudy spectacle and earnest hilarity that feels so far removed from the grim and turbulent political times that we are currently living through (and have always lived through, to an extent). However, it also embodies the inclusivity and positivity absolutely required to make the world a more joyful and tolerant place. Seeing Europe come together on the same night to mutually revel in Europop music, dry ice, random pyrotechnics, Graham Norton’s sarcastic critiques and, in some cases, yodelling, warms the cockles of this soppy Remainer heart. I have often thought that it takes a certain amount of self-awareness or self-deprecation to watch and enjoy Eurovision: it’s a bit like laughing at yourself. Someone so stuck-in-the-mud and obsessed with control, power and image and all that, like Putin for example, probably doesn’t watch Eurovision. But you can imagine the world would probably be a better place if he did.

There are certain things about the show that are quintessentially Eurovision, but that some people find hard to understand and accept. Here, I want to help break these things down and offer a shift in perspective, introducing naysayers and cynics to Eurovision Logic. Here are some examples:

Normal logic: The show and, in particular, the round-the-houses voting system are time-consuming and extremely long. The show does run from 20:00 – 23:40 (a running time of 3 hours and 40 minutes) and it takes up all the prime-time coverage on BBC One. It’s a bit overkill.

Eurovision Logic: With the round-the-houses system, we get an insight into the humour, style and sensibilities of our European neighbours. When there is a time-lag, things get deliciously awkward, especially when the announcers in each country end up manically grinning or saying something wonderfully clichéd or just plain weird. I would also recommend watching all the performances, if you are able to, and working out which is your favourite, or getting involved with an office sweepstake. Actually being invested in at least one country makes the voting much more exciting and interesting. Multiple drinks will also help.

giphy

 

Normal logic: Australia is not in Europe. Why is it in Eurovision? It doesn’t make sense and is stupid.

Eurovision Logic: Newsflash: Israel and Azerbaijan are not in Europe and have competed in Eurovision for very many years (and have both won). Even Morocco competed in Eurovision in 1980. Australia joined in 2015, to celebrate the competition’s 60th anniversary and had such a good time that they’ve decided to come back every year. What is there not to love about that? Lighten up. I think it is also a good idea to let people dwell in paradox for a while: life is all about ambiguity and uncertainty, things are never clear-cut, and Australia in Eurovision is a perfect metaphor for that. On a very deep level, somewhere, it makes absolute sense that Australia participates in Eurovision. I would love them to win and see the absolute existential flap people will, inevitably, get into. Guys, it’s going to be OK.

australia-is-competing-in-eurovision-again-and-ev-2-4295-1463274396-13_dblbig

Normal logic: Eurovision songs are cheesy pap and are the dregs of music

Eurovision logic: Yes, there are certain levels of cheesiness and corniness to the Eurovision song repertoire. My first impulse is to just embrace it and laugh along with it. All those songs about being ‘heroes’ and ‘grabbing the moment’ (both things Bowie sang about) are absolutely harmless and catchy as heck. My second impulse is to point out that there have been some amazingly mature songs in the competition, especially in recent years. There was The Common Linnets’ song ‘Calm After The Storm’ that came second for The Netherlands in 2014, missing out to Conchita Wurst’s absolute belter ‘Rise Like a Phoenix’; Belgium’s Loïc Nottet’s ‘Rhythm Inside’ in 2015 sounded like Lorde had written it; and the gorgeous, inimitable ‘Amar Pelos Dois’ sung by Portugal’s Salvador Sobral  won in 2017 and still gives me warm fuzzies. All truly, excellent songs. My third impulse tends towards the sassy: in the enduring and poetic words of last year’s winner, Netta, I’d rather dance with my dolls to the mother-bucka beat, than get all sour about it.

SalvadorSob_1494562609 (1)

So here’s to Eurovision 2019! It is a bit bizarre, but when has the bizarre also not been life-affirming and a little bit good for us? When not drinking all the drinks, eating all the European food and jigging around to all the songs, I’ll see you all on Twitter for the hilarious commentaries. I’ve heard that the singers from Iceland are some kind of BDSM group… let the wonderful chaos unfold.

[1] I would like to add as a small footnote that I am aware that Israel holding the competition is obviously very contentious, and look forward to seeing if the competition is used to make any protests or points, particularly in light of military action in Gaza in the past few weeks.

Love Note – Buffalo Cauliflower Wraps

*New Harping On food obsession alert*

I’ve introduced this blog to the delights of Tofu Thursdays: now I have another culinary favourite to add to my repertoire. Monday night has become Buffalo Cauliflower Wraps Night (the catchiest name you will ever find).

First and foremost, thanks go initially to my lovely friend Dee who runs a blog called ‘Estrella’ (www.estrellablog.com) and who introduced me to this amazing meal. Dee is a Psychology graduate, currently training to be a life coach. Her writing revolves around personal development, conflict resolution and many other brilliant things. Head to her blog to find out more.

I have long been a proponent of the fajita and the falafel wrap (if you’re in Manchester, get down to ‘Falafil’ opposite Manchester Metropolitan University on Oxford Road, the best falafel wrap for the lowest price you will ever find). These wrap-revolving meals are tasty, quick and easy to make, and ensure that dinner time is as interactive and fun as possible. Buffalo Cauliflower Wraps are an excellent variation and addition to the wrap oeuvre, especially if you are vegan or are thinking of cutting down on the amount of meat you eat. I’ve added chickpeas to add a bit more protein and have developed a vegan ranch dressing using cashew nuts.

Ingredients

Group 1 -Bulk

Cauliflower

Tin of chickpeas

A healthy dose of Buffalo hot sauce (or Peri Peri sauce if you’re desperate)

2tbsp of olive oil (or other oil variation)

1 tsp. of chilli powder

1 tsp. of garlic powder

1 tsp. of paprika

1 tbsp. of golden syrup

2 avocados

Lettuce: I opt for either sweet gem lettuce or romaine lettuce

Wraps

 

Group 2 – Salsa

4/5 salad tomatoes

1/4 tsp. of chilli flakes

1 tsp. of basil

 

Group 3 – Vegan ranch dressing

Bag of cashew nuts from Aldi

Water

1 tbsp. white wine vinegar

1 tsp. garlic powder

1tsp. onion powder

1 tbsp. dry parsley

1tbsp. dry chives

½ tbsp. dry coriander

Optional: 2 tbsp. sesame oil and dash of soy milk

 

Method

 

  1. Preheat oven to 220 degrees Celsius
  2. Place cashew nuts into a Pyrex bowl
  3. Boil kettle, pour over cashew nuts and fill the bowl
  4. Place a plate over the top of the bowl and allow to soak. Apparently the longer you soak the cashews the better, but I always forget and this turns out just fine
  5. In a large bowl, combine hot sauce (enough to cover the cauliflower, add more if necessary), olive oil, chilli powder, garlic powder and paprika
  6. Wash and chop up the cauliflower into sizeable florets. Add to the bowl
  7. Open the chickpeas and stir in with the cauliflower and other ingredients
  8. Pour the mixture into a baking tray
  9. Drizzle the golden syrup over the cauliflower and chickpeas
  10. Put into the oven for twenty minutes (until slightly crisp around the edges)
  11. Cube the avocados and place into a bowl
  12. Roughly chop up the lettuce and put onto a plate
  13. Dice the tomatoes and place into a bowl. Add the chilli flakes and basil to make a cool salsa
  14. Drain the cashew nuts
  15. Put them into a NutriBullet, blender or food processor
  16. Add white wine vinegar, garlic powder, onion powder, parsley, chives, coriander, sesame oil and soy milk. Add water until you get to the maximum line of the cup
  17. Whizz up until creamy. It may appear a bit sludgey but it doesn’t matter
  18. Transfer into a jug and pop into the freezer to help speed up the cooling
  19. Remove the cauliflowers and chickpeas from the oven and transfer them back into the original mixing bowl
  20. Put the wraps onto a plate and warm them up in the microwave for 30 seconds
  21. Move all of your plates and bowls to the dining table area
  22. Remove the vegan ranch dressing from the freezer
  23. Get wrapping

Buffalo Cauliflowers again