Monthly Archives: February 2014

Chop, chop

25 Tuesday Feb 2014

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David Mellor’s shop lives at No.4 Sloane Square in London, yards from the Royal Court Theatre. I suppose it’s interesting that I would now far rather go into a kitchen shop and buy a chopping board than go and see a play, or indeed audition for one. In fact, I steer well clear, scared (or should I say trepidatious) of bumping into someone from my former life, the theatre bar at the Royal Court witness to a handful of intense, deeply felt humiliations. A theatre bar is not in and of itself a relaxing place to be anyway; everyone is subtly networking or nervous for a friend or relative about to perform (or jealous), everyone is sweeping the room, status – yours and theirs – is being constantly, silently re-negotiated.

You can’t, or rarely can you, just go up to someone. Which is what I used to do before I realized it was not done. There’s Tom Stoppard! Why, he gave me a small but not insignificant cheque at the beginning of my drama school career, based on his friendship with my dad that went back to the Sixties. I shall go over and thank him in person. Why not? He looked at me as though I were a flying insect hovering near, but not directly in, his sight-line. I’m not sure exactly what I said, but it was probably fairly anodyne, inoffensive stuff. In the end, he simply turned away.

I never developed the right persona – some people do and it’s like armour, I suppose. I know them – charming, robust, flirtatious when needed, personal and then oddly impersonal. After my theatre bar exchanges, after auditions, and meetings, I always felt as if I’d just emerged from a car crash. Or a beheading. An agent once said to me that I ‘cared too much.’

I think that’s when I started going into kitchen shops and reading cookbooks; the balm at the end of a day of commercial castings, speaking my name and my agent’s into a camera before pretending to have road rage or candida (sometimes both). At David Mellor’s I headed straight for the chopping boards, past the sparkling glasses and his signature cutlery. And there it was; the smooth, rounded rectangular board with the hole in it. I had been admiring it at my cousin’s. New it was planed smooth of any imperfections, a plain, pale ash wood, but I knew what it would become with time.

I have always had a thing about chopping boards – I notice them in the same way people notice shoes or jewellry or mood swings. A chopping board is a living thing and the more it lives with you the more it absorbs all the things you chop on it, leave on it, put it on, and it develops its own worn character, lines and all. I love the way Becky’s board has those little serrations all round the edge, which makes me wonder what they were for and why the centre is relatively empty.

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I suppose you could call it a character study. And although I am a fan of pummelling and pounding – the vivifying effects of a pestle and mortar –  there’s something to be said for smashing something, breaking it, or chopping it, or creaming it with a knife. You know the way that garlic can be chopped into a paste, the knife swishing this way and that like a paintbrush until the garlic is practically emollient; I like that.

So I bought the chopping board, and the beautiful, slightly MI5 assistant wrapped it in blank white paper and slipped it into a black paper bag, and we emerged into the Sunday sunlight and walked to the Tate. All the way there and all the way back, (and during) I thought about the board; what I would anoint it with. Garlic. Lemon zest. Parsley or basil. Splat, Chop, chop, scrape, crunch, chop, chop, chop, chop, swipe, swipe, bang. Smile. Repeat to fade.

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You can make a pesto (basil, garlic, pine nuts, parmesan) or a picada  (Catalan version with parsley and almonds) or a pistou (Provencal version using garlic, basil and oil) on a chopping board, as long as you transfer everything to a bowl before adding the oil (though olive oil is the perfect way to replenish your board – rub it in with a soft, lint-free rag if you have any spillage). Gremolata is a ‘dry’ sauce usually served with osso buco (braised veal shank) and uses garlic and parsley and lots of lemon zest. Try two large handfuls of parsley, the zest of two lemons and two cloves of garlic, reducing them all to a thick slurry. The board, the kitchen, your hands and you will smell intensely of these things afterwards.

More on David Mellor here.

Empty legs

20 Thursday Feb 2014

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I had my first shiatsu session the other day (along the same lines as acupuncture but using physical pressure instead of needles), and the man told me I had ’empty legs’. I had empty legs and empty feet, particularly my arches. This is nothing new – when I was a drama school student, the teachers’ main beef with me was that I had ‘dead legs and frozen eyes’. Someone else was described as having ‘no back’. It’s something to do with parts of our bodies being absent to us. The answer these days is to swim more, but I have not ventured into the English Channel since November and certainly don’t intend to now, with the huge brown swell, the sudden big lurching tide that would vanish me in a second. All I do is look at it from the balcony; a passenger on a boat that never docks.

But I know what he means about swimming. In LA I swam every day in an open-air pool. The area was fringed with merry red Bougainvillea, insubstantial as paper and smelling of nothing. My wet footsteps evaporated behind me making me handily invisible. It was all man-made and relatively new; units instead of flats, everything built for the purpose, everything clean. At first glance there is nowhere to hide, no nooks or crannies so you are exposed to the neighbours wanting to chat/complain about the perfect temperature of the water, the ‘chill’ in the air when there is none, the only thing fluttering being the leaf of a book or a butterfly. It feels an empty landscape.

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Until you take yourself off; behind the tennis court is a narrow pathway where there is a pendulous lemon tree; Eureka lemons that are thick and pock-marked and heavy in the hand and need a hoe to get a purchase. Sprouting like mad hair is wild fennel and the smell is strong and medicinal and follows you to the orange trees, their diseased leaves and strongly floral blossoms heady like some kind of deathly elixir. A wild peach tree stands anonymously with blossoms like any other and tough herbs lead the way round the complex. Yards from the pool is this alchemy of smell coming up from the dust.

For me the pull to this landscape is stronger, particularly now that I know about our own Meyer lemon tree and its rash of blossom and the ‘eight or nine’ hummingbirds that visit it every day. And Joe is there doing the B&B in my stead, greeting the guests, not making the lemon shortbread or jam or ironing the sheets (‘I’m not going to do it like you’), but feeding the stray cat and getting rave reviews and being lovely as only he can be. Here in England there is rhubarb and snowdrops and long cold doused days and the obscene trickle of rainwater as it finds the nape of the neck. Bay trees stand to attention outside glossy eateries but it rarely occurs to me to take a leaf and scrunch it up, and smell its warm spiky clove-ness.

Occasionally it feels like fun; the new roomy Circle Line and the hoards of children on half term holiday on the tubes and the buses up in London (‘hold on to the yellow, Imogen!’). A small boy in a bike helmet traces his F Words To Work On next to me with his finger: frightened, fallow, fall, fat. And suddenly I feel bereft that there’ll be no Imogen in LA, none of these terribly English moments. So I make myself think of the sun, like a huge melting pat of butter in the sky. The blue will be the most unEnglish blue. The herbs will be virulent, wild and prolific and the air will smell of them. I’ll stride out, lunge into water and then feel it evaporate on my skin. I’ll have my own bowl of lemons, the car, the pool, that constant sun again (always the same), a brilliant dry cleaner, empty streets. Hopefully no more empty legs.

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The B&B lemon shortbread began life as Jane Grigson’s shortbread knobs in her Fruit Book though I have doctored them with lemon zest and almonds. They are incredibly simple to make: melt 175g unsalted butter over a medium heat and add the finely grated zest of two lemons. Allow this to infuse and cool. Then add to the butter 200g of plain flour, 25g of ground almonds, 125g of sugar and a pinch of sea salt (all mixed together beforehand in a bowl). Make a sandy paste and then roll the mixture into little teaspoon-sized balls which you then press slightly to flatten. Bake on trays with parchment paper at 150C/300F for about 25 minutes. They’re done when they’re golden brown. Sometimes I drop a couple of torn bay leaves into the melted butter to infuse – is this wrong? I don’t know but I like the smell and fish them out before adding the flour.

Unbearably smug

06 Thursday Feb 2014

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The last of the Sevilles and I barely registered their presence. Here and gone and not really that baggy or grim-looking. Not ugly enough. Normally I’m halted by the sheer filth. But these were tight little things; tidy orange globes with a few grimy seams. All a bit middle class. Still, I couldn’t resist. Because when all else fails, you’ve got a kitchen smelling like an orange grove for twenty-four hours. And then potted up, you’ve got jars of warm pellucid brightness: Seville orange marmalade. And then you can spend the rest of the year being unbearably smug, perhaps handing jars out to people (‘it’s probably awful, yes, I made it, not sure what it tastes like, I didn’t bother measuring, oh god I never buy pectin, it’s all in the pips and pith!’). We are a violently humble people.

And we don’t do it like the French, who on the whole have far more sex than we do. My French friend Monique literally throws beetroot at me in the street. There is no preamble at all. And because it’s straight from her allotment, there is a fair amount of clag attached. She unearths atrocious-looking, gorgeous-tasting stuff and shares it with a bewildered, Gallic shrug, as if to say: what am I going to do with all this incessant greenery?

There are no strings attached to her generosity. And because English is not her first language, there is no hidden meaning in her conversation. There are no barbs or subtle slights. No crowing. We are great crowers. And because I have been here a fair while this time round, I have noticed this as one notices the way ivy creeps into brickwork and destabilizes it. You are demolished slowly, gently, by stealth.

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The clue is no questions. No interest in who you are or what you’re doing, as if your being interesting is somehow a threat. It must be something to do with being islanders, being victors and colonizers. We are guilty and proud and a bit defensive at the same time. All of this is in the marmalade, by the way: that bitter candy and burnt orange aroma, taut, thick rind against umber jelly, the sticky tributaries of syrup, the brightness in winter, the selfless preserving, the putting up, and putting up with, the sex (or lack thereof). We put it all in there. Possibly why Seville orange marmalade is such a complex preserve; because we are.

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Seville Orange Marmalade

Adapted from Delia Smith, Complete Cookery Course

There are versions of this elsewhere on the blog – I would say this is the definitive Delia, and my favourite so far. It’s lovely on its own on a piece of toast, an oatcake, anything, or dropped into some cake batter (gingerbread is a natural bedfellow as is anything chocolate). And in case you are put off by the intricacies of making your own marmalade, just so you know there are no intricacies: I have been making very good marmalade for years with nothing but a big saucepan and a clean handkerchief (for the pips and pith). It’s a bit long-winded, that’s all. Always worth it.

2lb (900g) Seville oranges
1 lemon
4 pints (2.25 litres) water
4lb (1.8kg) granulated sugar (you could make some of this light muscovado)

Six 1lb (450g) jars, a square of gauze/muslin or a clean handkerchief or a new pair of tan tights/stockings, string and a saucer.

Begin by squeezing the juice from the oranges and the lemon into the pan you’ll be using. Remove all the pith and pips as you go and place them on a square of muslin laid over a bowl; the pips and pith contain the pectin which will enable your marmalade to set. Now cut the peel into shreds and add it to the juice – as fine or as thick as you like, but the thicker it is, the longer it will take to soften. When you’re done, add the water to the juice and peel, tie up the muslin to form a small bag – make sure nothing will escape – and add that too. Leave in a cool place overnight.

The next day, tie the muslin bag to the handle so that it bobs like a cork in the liquid  (but doesn’t touch the bottom). Now is the time to put a saucer in the freezer so you can begin testing later. Bring the liquid gently to the boil and then lower the heat and simmer. It is ready when the peel is completely soft – you can test a piece by pressing it between your finger and thumb. This can take anything from 35 minutes to an hour and a half; be aware that once sugar meets rind, it will no longer soften.

When the peel is ready, lift out the muslin bag and leave it on a plate until it’s cool enough to handle. Pour the sugar into the pan and stir over a very low heat until it has dissolved. You may want to hold back on the full amount of sugar and go for a slightly tarter taste. When there are no crystals left, increase the heat and bring the marmalade to a rolling boil. Now squeeze every last bit of the jelly-like pectin that oozes from the muslin bag into the pan. Every little helps here, so be vigilant. Skim off any froth or scum that comes to the surface and leave the marmalade at a fast boil for 15 minutes. Now put a tablespoon of it on one of the cold saucers and let it cool in the fridge. If when you push the marmalade with your finger the mixture crinkles like a furrowed brow, then you have a ‘set’.

Keep testing at 10 minute intervals until it has reached setting consistency. The mixture will start to look more amber and treacly – there is a trick here which is to watch as droplets of the marmalade leave a spoon. When it’s ready, there will be one single droplet; one of the myriad ways of knowing it’s set. Leave the marmalade to settle for about 20 minutes otherwise all the peel will float to the top of the jar. Wash and dry your jars and warm them in a moderate oven – this will sterilize them. Ladle the marmalade into the jars and seal immediately. Label when completely cold.

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