Diana Abu Jaber said something on ATC this evening [RealAudio] that struck a chord with me:
"I think that we always carry around these crystallized nuggets of memory, these moments in our lives, and for me the food memories were so imbued with meaning and emotion, that I was able to kind of move from one to the next, and as I wrote the story they would take on the details and the textures of my own memories, and weave themselves into stories."
Looking back I can't say we had all that much good food as a kid, but I remember the food, nonetheless. And we did have food that I loved. Porcupine meatballs, salsbury steak, stew with dumplings, Frito™ pie ... and stuff that I disliked, like the wax beans and green beans with new potatoes, or beet-tops, swimming in their own cooking water. All stuff that you might find in some white-bread cookbook. I'd never cook any of those things, now, but at the time, it was what I knew.
We always ate dinner together, even as the families of many of my friends seldom did. It required significant special despensation to be separated from the family at dinner. Dad sat at one end, Mom at the other, my brothers on one side and my sister and I on the other. In the summer, there was produce from our gardens: those green and wax beans and beet tops, broccoli (nope), chard or beet greens (yup), and later in the summer, sliced tomatoes and cucumbers (yes!). Before my elder siblings started drifting off to college, the plate of tomatoes and cucumbers would always come to me last, to ensure that other people would get a chance to have some.
But it was Saturday breakfast that I remember fondly. Breakfast at home with the family gathered was a much less formal affair. Some Friday nights, especially when Glen or Steve were home to visit, my sister Cheri's family would sleep over. On the Saturday mornings after, Dad would usually make pancakes, cinnamon pinwheels, waffles, or a big skillet full of huevos rancheros -- that is, scrambled eggs with bell peppers and ham, with the dry pan scrapings set aside for Cheri. (This was the pre-salsa era, after all.)
Pancakes would come off the griddle in waves. There were never enough for everyone at once, so we ate in shifts, loitering around the room afterward to stay in the conversation. Dad's pancakes were seldom predictable, but (almost) always good: They might include anything he felt a need to use up (like over-ripe bananas or wilted apples), or anything that struck his imagination (pecans, frozen blueberries, All Bran™). Once he added a half cup of Masa Harina; the result was only slightly less dense than a tortilla. Another time, he pulled a near-empty bag of oat flour from the cabinet that had a mis-printed label. A spot of ink on the "O" in "oat" made it look like "Bat Flour"; that gag grew gray hair and used a cane before we let it rest.
It was over breakfast that we could discuss politics or religion, even going as far afield as homosexuality on a couple of occasions. The conversation was most free when my brother Glen was there, and when I was young enough to let the need to define myself trump avoiding conflict. Now, I'm intellectully alone when I visit my parents', or my sister's. Even when Glen's there, it's not the same; we both know that it's not worth the trouble to express ourselves too freely. We've settled in our ways, now; the old jousting isn't fun anymore, the stakes on the other side of the table seem higher. Or maybe it's just a measure of how far I've grown from them.
I remember Diana Abu Jaber, though I never knew her well; she taught a creative writing section I took at Binghamton in the spring of 1984, during my first higher-academic lifetime. I'd been acquainted with her younger sisters from my dorm: One smart and haunted, the other sweet and reserved. But what I knew of the three of them still doesn't align with the things I've heard or read Diana say about her childhood. There's just no connect. What I know now, on "background", is less than I knew then, with no background. Then, I knew people; now, I know stories.
And that's what I should expect. I've just told a story about my own youth; but it really conceals as much as it reveals, truth or not. Diana said in her interview, "I have a real novelist's perspective, I think, and that means that you never, never sacrifice a great story just to tell the truth. You have to let the richness and the beauty of the story manifest itself first." But being a novelist only teaches her how to do it well. We all edit our history, whether for our own consumption or that of others. Some of us know the difference. If it matters.