Day One: Pamplona

Pamplona on a Sunday was as quiet and subdued as I remember Madrid being, back in 1991 when I was first there. I confess, it did not win me over but jet lag and nerves probably meant I was not bringing my best either. And maybe I am just grumpy that I could not see the Nunilo and Alodia casket because the museum was shut. I’ll just say that there are some places in Spain that make me remember Spain was fascist really recently.

I did have yummy mint chip ice cream for dinner and in the cathedral I saw two beautiful alabaster royal tombs. And a marble plaque suggesting Anne of Cleves was also “Prince of Viana”??!!?? And that she was buried under the slab with a whole crew of Navarrese kings??!! Really? Cool, if true.

I love this statue. It’s the monument to the fueros to which the Navarrese attribute their rights and independence, put up in 1903. Yeah, there were some very reactionary consequences for their attachments but when will you ever see a statue that celebrates a charter? It’s what she holds in her hand and it even has a seal.

There and Back Again

That’s the plan.

Today I fly to Pamplona via Madrid and on Monday I begin my first stage on the Camino Francés. I’ll be walking for thirty days, trying to reach Santiago de Compostela, where I will give the Apostle a big hug and then come home.

Why am I doing it? Maybe the real question is, what took me so long? I’m a historian of medieval Spain, but my interest in the Camino has always been more personal than professional. I first learned about it when my mother gave me (I think it was a loan, but I never gave it back, ha ha) Laurie Dennett’s A Hug for the Apostle when I was in graduate school. My doctoral adviser was more bemused by my Camino interests than approving, but when he retired, he have me his copy of Gerogiana Goddard King’s three-volume The Way of Saint James. When I began teaching at Chicago, one of my first classes was on pilgrimage across religious traditions, and I also taught classes on medieval pilgrimage, using Nancy Frey’s wonderful Pilgrim Stories: On and Off the Road to Santiago. I even published a historical novel about the twelfth-century pilgrimage that used the creation of the well-known Pilgrim’s Guide to Compostela as part of its frame.

I think that was part of the problem. I know too much about the history of this pilgrimage to be moved by druids and grails and magical swords. I know all about rites of passage and liminoid phenomena and communitas and what happens when you abandon your old structures and social bonds. Was I going to be the grumpy pilgrim in the corner rolling my eyes when people get a bit new age for my tastes and resisting camino families, angels etc? (Probably) Who wants that? Another reason was that there was so much in Spain that I wanted to visit, and see, and think about. I couldn’t bear the thought of being on the Camino 2km away from somewhere I wanted visit and being too tired to walk there and back. And, well, I’m okay now but I used to get really homesick.

So why now? I finally have the time. It was telling that the first moment I had time to do this, this was the first thing I thought of doing. I have two goals in mind. First is that I want to see if I can do it, if I can walk that far. It will be about 700 km. Second and more important is that I want to see what it feels like to move through this landscape at foot pace. What do I see? What do I learn?

I don’t know if I will keep posting when I am on my journey or if this will be it, but you can follow me on Instagram where I will probably/possibly post some photos at least. or not. How about a couple of photos now? Here’s pretty much everything I plan to bring. (Except the cat. I am not bringing the cat.)

“Yadda Yadda, you’re pack is too big, yadda yadda, you’ve got too much stuff.” La la la I can’t hear you. Here’s the full pack.

I’ll watch out for trolls.

Galt McDermott and the Canadian Arts Scene.

I just learned today from a friend on Facebook that the composer Galt MacDermott died two days ago. Most people will know him from “Hair” and maybe “Two Gentlemen of Verona” but it is also worth remembering the important role he played in fostering the Canadian arts world.

In the late 50s, he and several friends produced an original musical at McGill called “My Fur Lady” that had a far reach at a time when the Canadian arts scene was almost non-existent. It was a satire about Princess Aurora Borealis of the territory of “Mukluko” and her attempts to find a husband so she could preserve the independence of her realm. The love interest is the governor-general (I told you it was satire). It is a light piece, in many ways, but it is also a touchstone of Canada as it was in 1957-58 and it was enormously successful, playing across Canada, including at the Stratford Festival. It was produced at a time when Canada was just beginning to expand into the Arctic in a big way, and in the run-up to Expo 67, when Canadians were beginning to think that they needed to develop more of a national identity. The song embedded below plays on that. An identity had to include an indigenous arts scene, not just what could be borrowed from Britain or the States and McDermott was not the only of its producer to go on to success in the arts, though the rest stayed closer to home. James Domville developed the National Theatre School and ran the National Film Board (It was under his tenure that “If you Love this Planet”  was produced. I remember being trouped into the reception room in high school where we all watched it to see how the crazy man running the States was going to kill us all). Don McSween was the administrator for the National Arts Center. Tim Porteous worked for Pierre Trudeau for many years and also ran the Canada Council for the Arts, a grant-giving organization, itself founded in 1957. 

And then there’s my Dad. My Dad was the stage manager for the production and as a result of spending all his time on that, flunked out of McGill. He ended up okay though.

Pepparkakor

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Everyone wants the pepparkakor recipe and then they lose it and want it again. The cookies get better and better as they age and it is very nice to come home in the bleak mid-January and realize you can have a nice pepparkakor with your tea.

Jul Pepparkakor

11oz light corn syrup (if you can get a cane sugar syrup like Lyle’s Golden, even better)
11 oz brown sugar
11oz butter
2 eggs
1 heaped tbs. of each of cloves, cinnamon, powdered ginger
2 tsp baking soda melted in a little warm water
2 lbs flour

Heat syrup; add sugar; let it melt; add butter and lightly beaten eggs. Add spices and a little flour. Add baking soda. Add the rest of the flour bit by bit. Knead dough when it is too stiff to stir. Keep overnight in a cool place before rolling and cutting out the cookies. Thin and crisp is traditional. I also like them a bit thicker. These days I make a half recipe. The full recipe is a LOT of cookies. I’ve never used this recipe to make a house, but I think it would work.

400o oven for five minutes.

When cool you can ice them with royal icing (one egg white 1/4 tsp. cream of tartar, 1-1 and1/4 c icing sugar, beaten forever).

Jews with Swords

It has been a very long time, after all, since Jews anywhere in the world routinely wore or wielded swords, so long that when paired with “sword,” the word “Jews” (unlike, say, “Englishmen” or “Arabs”) clangs with anachronism, with humorous incongruity, like “Samurai Tailor” or “Santa Claus Conquers the Martians.” — Michael Chabon, “Afterward,” Gentlemen of the Road

When I was little and Remembrance Day rolled around on November 11, I would always be slightly ashamed and confused that neither of my grandparents fought during World War II. When I was a little bit older, old enough to enjoy looking through my grandmother’s stack of old family photos, I learned something new. Maybe nobody fought in World War II but they did fight in World War I. On the wrong side. This year, on the hundredth anniversary of the armistice, I decided to investigate.


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I pulled out this photograph of my great-grandfather Oskar Bauer, and did some research. From the Verordnungsblatt für die Kaiserlich-Königliche Landwehr, Volume 37 of 1907, I discovered that at that time, he was a Kadett-Offiziersstellvertreter in the Uhlans regiment, number 4. What does that mean in English? The Kaiserlich-Königliche Landwehr was the Imperial-Royal territorial army of the Austrian half of the Austro-Hungarian Empire. In 1908, the Austrian army changed the title of cadet-officer’s deputy to that of ensign. By February 17, 1915 he had been promoted to Lieutenant, according to vol. 46, no. 17, p. 210 of the same source. The Uhlans, with the separate regiments of Dragoons and Hussars, formed the cavalry of the Austro-Hungarian army, and he was in the “Kaiser’s own” 4th regiment. Its normal home was at Olmütz, now Olomouc in Czechia, where this photograph was taken in 1914, and its composition in the same year was 65% Ruthenian, 29% Polish, and 6% “various.”

s-l300-208x300.jpgIn the photograph, you can see his sabre in his left hand, and on his right knee, a helmet that would have been identical to this one, and which harked back the the origin of the Uhlans as a Polish cavalry regiment. As World War I opened, the 4th Uhlans were part of the Austro-Hungarian 3rd army, under the command of Rudolf Brudermann. They were sent north into what is now Poland with the 1st through 4th armies to face the Russian army in what would become the Battle of Galicia, a decisive loss for the Austro-Hungarian forces. The Fieldmarshal and Chief of General Staff Franz Conrad von Hötzendorf sent ten divisions of cavalry across the border to do reconnaissance on August 15th. On August 21st the 4th Uhlans met the Russian 10th Division in what was to be the largest cavalry-against-cavalry battle of the war near Jaroslavice-Wolczkowce, one of the last times horses were used effectively against each other. The battle of Galicia ended with some 400,000 members of the Austrian army killed, captured or wounded. Eventually, the Russians were able to take Przemysl, the third-largest fortress in all of Europe.

fullsizeoutput_190d-166x300.jpegThis photograph shows my great-grandmother, Marianne Grünfeld, and it was taken in Przemysl, evidently in 1914, which was the same year their first child, Oskar “Willy” Bauer was born. She was twenty and her husband was thirty-four. Przemysl was an interesting place — on the one hand, a major Austrian fortification and barracks and so a site for the elite Austrian military to gain fame and renown, and on the other, a town that had been majority Jewish in the eighteenth century with a population that ranged from comfortably wealthy to very poor. It was still 30% Jewish by 1931, the year before Joseph Roth published his The Radetzky March. Roth’s novel haunts my reading of these events of my family’s history. It is the story of the von Trotta family, grandfather, father, and son. The grandfather was a Slovene peasant-cum-soldier, ennobled at the battle of Solferino for saving the emperor’s life. The father becomes district commander in an unnamed town in Moravia where the regimental band opens every concert with the Radetzky March. Joseph Radetzky von Radetz, the Czech-born Austrian commander for whom the march was written was, for a brief yet never-forgotten time, the commander of the fortress and town of Olmütz. The son is a lieutenant in the Uhlans regiment stationed in his father’s town, until disgrace makes him shift to an infantry regiment. He ends up in a town like Roth’s own home of Brody, a smaller version of Przemysl, with its mix of Jews, Poles, and Ruthenians, and dies in the early days of the war, when my great-grandfather fought his cavalry battle.

fuchs-von-annshort-1908.jpgRoth made his military hero an ennobled Slovene, perhaps because he couldn’t quite imagine a Jew, ennobled for military service. But they did exist. My great-grandmother’s father died when she was only a year or so old, and her mother, Anna Feldmann, married Wilhelm Fuchs who was ennobled in 1908 as a captain, second class, in the infantry, with the title Edler von Annshort. This was his coat of arms. Note the star of David. He lived with his family in Przemysl, and died in 1911. I have often wondered what it was like to live as a Jewish noble and military family in Przemysl, on the borderline between the military elite and the shtetl. On the one hand, they were trying to assimilate as much as they could, and succeeded to the degree that Fuchs was ennobled and earned the Signum Laudis, a medal awarded to officers for military merit. On the other hand, no one ever forgot they were Jews. Marianne and her sister Alice both married army officers; Marianne and Alice both married Jews.

When my grandmother was a young girl, Marianne and Oskar had her baptized, still trying hard to assimilate and erase their differences with those around them. She reconverted to Judaism to marry my grandfather (perhaps the only person to convert *to* Judaism in central Europe in 1936). My great-grandparents, as I have said before here, died at Auschwitz. I don’t know when or how Marianne’s mother, Anna Fuchs Edle v. Annshort, died. I know she was alive in late 1937/early 1938 because we have a photograph of her holding my father. I can guess.

Thoughts on “Medieval Imaginings”: Medieval History and Historical Fiction at Northwestern University

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The books have been signed, the taxis boarded for O’Hare, but before we all move on to the next adventure, I wanted to write about few of the things I learned and lessons I valued from yesterday’s conference, “Medieval Imaginings: A Celebration of Historical Fiction.” Organized by Barbara Newman as one of the last events sponsored by a Mellon grant that has brought so many exciting ways to think of the Middle Ages, not only to Northwestern University, but to all of us in the Chicago area, the day gathered together students and teachers, historians and literary scholars and writers, as well as a few people who were all of the above.

Cecelia Holland, last but not least, was my favourite part of the day. She read a few passages to us from her 1997 novel about the Templars, Jerusalem, and every time she stopped, I wanted to shout, “No! Keep reading! I have to know what happens next.” But even more than that, she talked about how, when you write about the past, the past must connect to the present. The past is gone; we are here, and it is for us that we are writing. Before she started reading, she spoke about the place she was in when she began the book, about teaching prisoners how to write, about how she loved them and how they were desperate and hardened, hopeless and full of longing, and how writing gave them the chance to be themselves again. We could see those prisoners in the Templars she described, Rannulf and Mouse the rest.

I learned other things too. From a thoughtful discussion of sources and the uses we make of them between Paul Strohm and Bruce Holsinger (whose Invention of Fire we eagerly await), I discovered that I am more fearful of the claims made by historical biography than historical fiction. I know this comes from reading Robertson Davies’s What’s Bred in the Bone as an impressionable youth. Its twin story lines of biographer and subject force us to recognize all that the biographer can never know. I learned that my own initial stirrings of an idea to write a novel about the medieval pilgrimage to Compostela must have begun very close to my reading of Sharan Newman’s novel with the same theme, Strong as Death.

We spent a little too much time talking about Dan Brown. We don’t get upset when someone writes something wrong about the Middle Ages that sinks like a stone; we get upset when it sells a lot of copies and makes a lot of money. My own explanation, not voiced at the conference, for the popularity of The DaVinci Code (and 50 Shades, and Harry Potter) is that they are easy to read, their themes and claims are big, and they satisfy a longing we have for a shared text, now that the Bible no longer fills that space. One question that came up over and over again was whether we are doing the right thing, drawing on the past for the needs of the present, slicing it up and making stories out of it with beginnings, middles, and ends; with character arcs and conflict resolved. What if people read what we write and…believe us? And what if we’re wrong? As we are, as we all are because, remember what Cecelia Holland said: the past is gone. My serious answer to this question is that I would not put my name on any piece of writing I was not prepared to stand behind, with all of its longing, and failure, to hear and convey a voice that is not my own. This is as true of my historical as my fictional writing. My flippant answer (But felt no less strongly. Maybe felt more strongly.) is that, who cares if it is wrong and they believe it? The only problem would be if, “and they believe it,” meant, “and so they stopped telling stories of their own.” Of course it is wrong. I read a history and I tell a history, then you read it and out of that your own history emerges, and together a great chain of stories continues to grow, connecting us and allowing us to share in each other while becoming more thoroughly our selves. Long live stories, and the people with the courage to tell them, and believe them.

I think the writer at the conference may have been the best historian in the room.

Two More Cookies

I finished making two more kinds of cookies today, Uly, or Vosí hnízda (Czech beehive cookies) and a type of sandwich cookie called an Amadeus cookie. For both, I began by making Lillian Langseth-Christiansen’s Suvaroffs, from the Gourmet Magazine Old Vienna Cookbook. They would form the base of the Uly, and the “bread” for the sandwich cookies.
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Then I made a paste of marzipan, pistachios, and kirsch to fill the sandwich cookies.
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The cookies were dipped in a chocolate glaze, then left to cool.
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All the Uly recipes on the internet seem to used crushed biscuits for the “hives,” except this one, which used walnuts, so it became my inspiration. I made a half recipe of the walnut dough, and it seemed a little sticky, so I added a couple of tablespoons of cocoa, and some breadcrumbs. I’d add the former again, but I don’t think I needed the latter. Then I shaped them in my Uly mold, given to me by my very kind cousin (who can bake me into the ground, so to speak), Erika Pick.
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I filled them with a buttercream made from a stick of butter, an equal weight of icing sugar, and a tablespoon of rum. Then I filled the hives, and affixed them to the suvaroffs. Yum!
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Vanilkové Rohlícky

Or Vanillekipferl, or vanilla crescents. They go by many names. The traditional Czech Christmas cookie plate is a thing of awe and beauty — a dozen or more different kinds of cookies, stuffed with apricot, layered with raspberry, filled with cream, or coated with chocolate or sugar, arranged in rich profusion. The wife of my grandfather’s nephew was the champion, and she would always send my grandfather a box each Christmas. But even my grandmother, who was not one of the world’s great lovers of cooking, always put together a cookie plate each year, repeating the tradition she learned as a child. Rum balls (hers were made of chopped chocolate and nuts, not cookies), shortbread (not as good as my Mum’s, sorry, Granny), and small florentines were on it, but the very best were the vanilkové rohlícky. We tried to make them; they fell apart, took hours, and tasted good, but ho hum. “Oh?” my Granny would say, puzzled, when we complained about how hard they were to make. “I just roll them out in long ropes and cut them.” Hmm. Clearly we weren’t using the same recipe.

Enter the handwritten cookbook of my great-grandmother, Marianne, which I talked about in a recent post. Sure enough, in its pages, handwritten in German, her first language, is a recipe for Vanillekipferln. Would they work? I had to try them out:

IMG_0514280 g Butter

300-460 g Flour (I used a mix of all purpose and cake flour. I think all purpose would work fine)

100 g ground hazelnuts (I toasted whole nuts in a low oven until the skins began to come off)

100g sugar

1 egg yolk

I ground the toasted nuts in a nut grinder. You could also process them until fine in a food processor, but the grinder is best. I then put all the other ingredients except the egg yolk into the processor, and processed them until the mixture began to come together in a ball. Then, I added the yolk and processed that too, until thoroughly mixed. The dough was too soft to work with at that point, so I put it in a cold place overnight. In the fridge for an hour would also work. In the morning, I preheated the oven to 300o F (yes, a low oven) and, mirabile dictu, rolled pieces of the dough into ropes (about 1 cm diameter), cut them, and shaped them into crescents. I suggest using small pieces of the dough, no more than four cookies worth. Rolling on a cold surface helps. I used the smaller amount of flour — more flour would make a sturdier (though less buttery) dough. I baked them on greased sheets for 20-25 minutes. Begin with the shorter time, and check. There should be just a hint of brown at the tips of the cookies.

But wait, you ask, these are called vanilla crescents. Where does the vanilla come in? Once the cookies are baked, and before they cool down to much, I rolled each cookie carefully in vanilla sugar (superfine sugar to which I had added a vanilla bean a long time ago). About half a cup should do it. You could also use icing sugar, but I don’t like the taste.
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The Back of the Polyptych

A lot of my readers know that image on the cover of my novel, Pilgrimage, is a detail from a painting at the Metropolitan Museum of Art in New York City, a polyptych (that is to say, a panel painting that folds up) that had once been an altarpiece. The altarpiece as a whole is quite incredible, and shows scenes from the life (and death) of Saint Godeleva; in my novel, the mother of my heroine, Gebirga. The panel even includes images of the blind daughter who inspired Gebirga, so I was delighted to be able to use a part of it for the cover. Here it is in all its glory:
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Well, not quite all its glory, as I discovered this evening. As an altarpiece, this polyptych would have hung behind and above the altar of a church. Polyptychs were designed to fold closed during Lent and other times of penance, concealing their beauty from the congregation. The closed doors of the polyptych would often have different painted scenes on their backs. You can see how this works in this link to the Ghent Altarpiece, which shows how it looks both open and closed.

It wasn’t until tonight that I discovered what was on the back of the doors of the Godeleva altarpiece. When closed, the four panels each show a different saint, with kneeling donor portraits in front of the saints on the far left and far right. Here is how it looks:
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It was the two saints on the left who immediately caught my eye. I recognized them right away. The bishop in mitre and cope, holding his crook and a book was obviously Saint Nicholas, rescuing the three boys who had been chopped up and put in a barrel. Saint Nicholas, or at least his relics, play an important role in my novel. In their silver reliquary, they are Gebirga’s prized possession, carried with her on her journey until she relinquishes them so they can travel back to the Low Countries from Spain by boat. And as all Dutch children know, every year Saint Nicholas sails again from Spain around this time to reward them with treats. And the saint on the far left? The saint with staff, and pilgrim’s purse and hat, his neck ringed with scallop shells?

That is none other than Saint James, Sint Jaakob, Santiago himself.

Gebirga’s Dog

shutterstock_96854167 copyAn author may think she knows what her book is about, but she only really discovers what it’s about when it moves into the hands of her readers. I have always had the most terrible time distilling my novel into a “pitch” sentence, but thanks to my friend Kyle I can tell you now that it is a book about a girl and a dog who go on an adventure.

And what a dog she is. Her name is Liisa, and after Gebirga, she was the second character to populate my novel. If I were going to send Gebirga out into the world blind, I reasoned, the least thing I could do is give her a dog. Of course, the formal origin of the seeing-eye dog was not until after World War I, when they began training dogs to work with soldiers who has lost their sight during the war. But centuries before that, children’s alphabets had “B is a Blind Man, led by his Dog,” and so I felt it was fair to use a wise dog in my novel. But what kind? The breeds we know now were largely fixed in the last century or so, though many have medieval origins. We know most about medieval hunting dogs, because a good deal was written about them. We also know about medieval lap dogs, and both hunting and lap dogs appear in illuminations. We know rather less about what other kinds of working dogs would have looked like, though we know they existed. Dogs guarded sheep and property long before the Middle Ages, and sheep dogs would have been common in sheep-rich Flanders. So I chose to make Liisa the long-ago ancestor of the Belgian sheep dogs we know today, in the slightly rarer white version. This photograph is a remarkably good likeness of Liisa, considering she lived long before colour photography.

So that is what she looks like, and her instinct to protect Gebirga is built into her bones. I grew up around working dogs. My father and grandfather hunted, and my grandfather always had a dog, a yellow or black Laborador retriever. Remembering the bond between my grandfather and his dogs, like they were one person in two bodies when it came time to work, helped me think of the connection between Gebirga and Liisa. So Liisa is a little bit Nena, a little bit Sally, a little bit Tricky, a little bit Taffy. But mostly Sally.