The blog belonging to Laura Benedict, relentlessly cheerful and occasionally serious writer of disturbing, suspenseful fiction for grown-ups. This URL is an archive. I blog regularly at my website, laurabenedict.com. Follow me there!
Showing posts with label Life In A Skillet. Show all posts
Showing posts with label Life In A Skillet. Show all posts
Wednesday, November 6, 2013
The First Loaf of the Season: Rye
My mother's father, Howard Baugh, came from a family of long-Americanized Germans. It never occurred to me that not everyone's family ate pickles in everything from potato and egg salad to lunchmeat. (Don't get me started on pickle/pimento loaf!) Beer was the grown-ups' adult beverage of choice--though I confess I never saw any of my female relatives drink beer. We adored sweet baked goods, and there were plenty to be had in Cincinnati--including doughy, salted soft pretzels. I don't think my grandmother cared much for sausages, but there was sauerkraut, and we ate plenty of bread. Lots and lots of bread.
Aside from the occasional holiday bakery rolls, most of our bread came out of plastic bags. So, naturally, when I grew up, I quickly scorned the lowly breads of my youth--particularly white bread. With lots of help from various books, including and especially Julia Child's the Way to Cook, I taught myself to make bread. When I made white bread, it was--ta da!--actually French bread. Later, I learned to use starters, including a poolish, which gives bread more body and a longer life. I flirted with multi-grain breads, but the family were not fans. Last year I set out to find a really good recipe for cranberry-walnut bread. I tried a couple, to no avail. I'll try again this holiday season. (Or I'll buy it from Trader Joe's. Theirs is excellent.)
Last week I made rye bread for the first time in my life. With fall here, I'm ready to head back to the oven for some comfort food. My childhood rye bread came from a plastic bag, but that doesn't mean it was bad. We ate some fairly hearty rye, and often lighter Jewish rye. Nearly always it was slathered with a great deal of cream cheese, or held slices of ham and Swiss cheese--with lots of mustard. As I looked for rye bread recipes, I went no further than Joe Ortiz's 1993 book, The Village Baker. It contains a lifetime of bread recipes, explained by a master. Lucky me--my very good friend Maggie Caldwell of Life In a Skillet fame lives close to Ortiz's Capitola bakery, Gayle's Bakery, and sent me the book almost 20 years ago. It's one of my treasures. See, she even inscribed it!
Rather than take on a serious, rye-heavy loaf right away, I went for the Jewish-Style Rye Bread recipe. Ortiz writes, "It is the closest thing I could find to a tangy rye loaf similar to those I remember from bakeries in New York and Los Angeles." I suspected it was just what I was looking for, and it definitely was.
I didn't have high hopes for my first loaf. In fact, I made sure I had ingredients for more than one, just in case. If you make bread, or want to, please know that it's a kind of craft. Not a difficult craft, but a craft nonetheless. Like most rewarding exercises, it takes practice. (I can't speak to bread machines. I've never wanted one. I have to feel the dough come together in my fingers and work it. But let it be known: I have absolutely nothing against them!)
The recipe has three parts: The Milk Sour, which includes buttermilk (another Grandpa Baugh favorite) and rye flour; The Rye Sponge, which adds the Sour, plus yeast, water, and rye and wheat flours; and The Dough, which adds salt, honey, water, and caraway seeds (optional).
The thing about a Milk Sour is that it sits out overnight. For two nights. First, it's just the buttermilk. Then the rye flour is mixed in on day 2. Surprisingly, it didn't smell too bad. I kept it on top of the refrigerator.
I started on a Monday morning, and finished the loaf on Wednesday afternoon. Talk about a commitment. I've spent less time drafting a short story.
For pizza dough and French bread, I usually use my trusty Kitchen Aid Mixer to gather the dough into a loose ball before I knead it. But I did this loaf by hand, just for fun. Ortiz warned that the dough would be wet and loose, and that I needed to be careful and not add more flour. I don't know what he means by wet and loose, but my hands were fat and helpless with wet dough. So I kneaded in more flour--not much. Maybe another 1/3 cup. I did let it stay wet enough that it had a quite pliable consistency. Enough that I fretted it would remain floppy as it had its second rise.
Rise, it did. Though you can see puckish indentations and folds that wouldn't normally be on a wheat flour loaf.
Here it is in the oven, before I misted it. It was perfectly naughty of me to pause and take a pic. Just having a standard electric oven means it loses heat quickly when the door opens for even a few seconds. The yellow on it is the single egg/milk wash. See how flat it looks? I was worried.
The good news is that it plumped right up. Here's what it looked like after it cooled.
Homemade bread can look a bit homely, I know. I'm definitely a crust person, so the rougher, the better. Oh, I like the inside, but I like a substantial crust. Even though I don't use a bread machine, I do use King Arthur's Unbleached Bread Flour for most recipes. This recipe called for all-purpose flour, so that's what I used. The rye crust had a nice, crisp sound, but also a little chew to it, which was rather delightful.
My first rye loaf weighed nearly 3 pounds--as much as our dog Scout weighed at 8 weeks. (He has gotten NONE of this bread, by the way.) We have a couple of ounces left, even seven days later, I'm happy to say. It stayed appropriately fresh in a plastic bag. Originally, I thought we'd have it with smoked salmon, but the salmon sits unopened in the fridge. We've had it variously with chicken soup, peanut butter, sharp cheddar and brie, butter, smoked trout with cream cheese and a dab of horseradish. And more cream cheese of course. Lots of cream cheese. I think Grandpa Baugh would have loved it. (I would even have forgiven his putting pickle loaf on it. Maybe.)
Wednesday, January 9, 2013
The Next Big Thing Blop Hop: Bliss House
Oh, good! I've been tagged.
Welcome to the latest stop on The Next Big Thing Blog Hop. This particular blog tour invites writers to answer ten questions about their current Work in Progress, or forthcoming project. Each tagged writer answers the questions, then tags five or more writers to answer the questions on their blog, then they tag five more, and so on...It's a great way for readers and writers to find each other, don't you think?
First off, you'll want to get to know the amazing writer who tagged me. RT Book Reviews named J.T. Ellison's latest thriller, Edge of Black, a Top Pick, and called it her "best book yet." J.T. is a master (mistress!) of psychological suspense and her beautifully crafted stories are rich with emotional intensity. She's also incredibly prolific, having published nine books, several novellas and many, many short stories in the past five years. Thanks, J.T.!
Now, Bliss House. I've been working on it for quite a while, so I've posted about it, before. But here's an update:
1) What is the working title of your book(s)?
Bliss House
2) Where did the idea come from for the book?
I was working on an idea for another book, a thriller based on the folk tale, Hansel and Gretl. As I was working on the plot, I found myself deeply fascinated by the house in which the children were being held. I realized that the house was the source of many, many dark stories, and the haunting of Rainey Adams and her daughter, Jillian, is just the first.
3) What genre does your book fall under?
Supernatural suspense.
4) Which actors would you choose to play your characters in a movie version?
Ali Larter and Elle Fanning as Rainey and Jillian (mother and daughter); Eddie Cibrian, with Amy Adams as his wife. John Malkovich as The Judge.
5) What is the one-sentence synopsis of your book?
Mother and daughter, burn victim, mourning, guilt, new home, old mansion, troubled past, mystery, sudden death, ghost dad, secret rooms, suspicion, murder, skeletons, secret passages, betrayal, redemption and forgiveness, the end.
(Okay, I know. That's technically a fragment.)
6) Is your book self-published, published by an independent publisher, or represented by an agency?
My wonderful agent, Susan Raihofer, of the David Black Literary Agency will represent the book. I'm in the final pre-submission editing stage now.
7) How long did it take to write the first draft of your manuscript?
The draft of Bliss House has taken me over two years to write. While working on it, I also published Devil's Oven, re-issued Isabella Moon, and Calling Mr. Lonely Hearts as ebooks, published a few short stories, and edited Surreal South '11, and Feeding Kate, two fiction anthologies.
8) What other books would you compare this story to within your genre?
Anyone who has read my other supernatural books will find much to like in Bliss House. Susan Hill, F.G. Cottam, Alexandra Sokoloff (my favorite!) and Joe Hill also write about fictional hauntings. And just when I thought I had a perfectly brilliant, original idea to do a series of novels set in a single, demented house, I found that uber-horror writer Douglas Clegg did it, first! I haven't read his Harrow House series, but I admire his other work.
9) Who or what inspired you to write this book?
I've long wanted to write a haunted house story in the tradition of Shirley Jackson's classic novel, The Haunting of Hill House. There's more, but if I write about it now, I fear I'll give away the whole story.
10) What else about your book might pique a reader's interest?
Bliss House is not just the story of a house, but of a woman and her daughter trying to rediscover their love for one another against a background of life-changing tragedy. And, it's set in Virginia. Virginia has a place in my heart, and I hope to impart some of my love for it to every reader.
The next writers on the hop are...
Amanda Stevens
Maggie Caldwell
Terri Kirby Erickson
Next Wednesday, January 15th, these writers will post about their own Next Big Things.
Oops, I only have three writers to link to. I'm supposed to have five, but I asked many writers who had either already participated, or were on a blogging hiatus. When I have more to link to, I'll come back and post their names.
Thanks for dropping by!
Thursday, September 6, 2012
In Which I Visit a Sideshow and Find Myself Onstage
Being a kid who was attracted to the unusual, the disturbing, the alien, and otherness, I always wanted to visit a sideshow, but I was discouraged from it by my folks and, later, friends. Mostly on the grounds that it was a rip-off. But, finally, at my advanced age of *ahem*, I decided that I am at last the mistress of my own purse and psyche and shelled out the two bucks for a peek inside.
What did I see? Hey, that wouldn't be fair, now would it? Carnival sideshows are supposed to remain a mystery. You'll just have to find out for yourself, or forever wonder. I will tell you that, had I been ten years old, I would have been delighted. At thirteen, I would have been grossed out. At thirty, probably scornful. As I'm back at the delightable age, I was pretty entertained. If you want a hint about what it's like, let's just say that taxidermy is apparently a very important art form in the carnival world. And, sometimes, things get misspelled. As in Chupacabra for capybara.
Now to tell you about my real adventure...Pinckney, the kids, and I were visiting Illinois' DuQuoin State Fair when I stumbled upon a sideshow called the Strange Museum. Okay, stumbled upon isn't quite the best phrase. They had quite a big, gorgeous tent surrounded by colorful, fascinating images. Of course, it would be a stretch to connect what was on the pictures to what was going on inside. No matter. Did my husband and kids join me in paying the $2 to get into the show? No. The kids had wandered off and Pinckney had no interest. I think the notion made him too sad. I understood.
One of the best parts: As I paid my two bucks, the woman said, "Hurry in. The show's about to start." After swooning slightly, I went in alone and found myself surrounded by teenagers--high school boys with girlfriends, mostly. I felt very old. Slightly superior, but, still, old.
"The show" was in the back of the tent. I was intrigued. A most miraculous woman stood onstage, chatting with the crowd. Here's a quote from one of the photo cards she later gave me:
Katya Kadavera
Tattoed from head to toe. Over 50 hours of ink by Katzen the Tigress. Tattoos include large cat girl portraits and a very large leopard on her back. Ears pointed. Subdermal implants. Tongue split. Magnetic implants.
Chains, rope, locks, hancuffs can't hold her. Licks a flaming torch like an ice cream cone. Jumps on broken glass. Painproof, mysterious. SomethingDangerous [sic]
The show had already started. While keeping up a playful rapport the teenage crowd, Katya was doing interesting things with electricity and light bulbs. Then she started eating fire. Now *that* was cool. She went about it very deftly. I meant to ask her later how it was done, but I was...distracted.
Her last illusion involved a long, coffin-like box, and blades. Many blades. "Who is brave enough to get into the box? You?" She pointed to a teenage girl, who squealed and hid behind the guy holding her hand. Lots of girls squealed. It cracked me up. A teenage boy volunteered, but Katya said it was better if a girl or child under 5' 7" participated. No one stepped forward.
You know what comes next, don't you? Some crazy, fifty year-old woman who had no business getting in anybody's box raised her hand. "I will!"
People stared. At me. I was positively giddy as I walked through the crowd. I felt like I was being crowned prom queen. No, seriously. It was like I was having a psychotic, surreal episode. I floated onto the stage. Was there applause? I heard it, but I suspect it was only in my head.
After an embarrassing few moments during which there was much discussion about where to put my purse (of course there was), Katya flung open the coffin/box, and I climbed inside. She asked the crowd to talk amongst themselves while she gave me instructions.
No! I can't tell you what instructions she gave me. That wouldn't be fair, now, would it?
Let's just say that there's a reason that children and slender young women are best-suited for the box. It is NOT made for fifty year-old women who have recently put on a few perimenopausal pounds. Nope.
Katya shut up the box, and the blades began raining down upon me. I could hear Katya talking to the crowd. I even threw in a few squeals and mewls for dramatic effect. The blades kept coming. She had me stick my hand out of the top of the box. I waved it. She had me hold onto the handle of one of the blades. I started perspiring. I suddenly realized that I WAS IN A FREAKING COFFIN. My heart started beating faster--yeah, that doesn't happen just in fiction. I had a brief, terrifying fantasy about there being a natural disaster or armed attack while I was there in the box. I would be left there, unable to free myself. Pinckney was waiting outside, and he had no idea what I was doing. If the crowd and Katya fled, he would think I went with them. He wouldn't know I was in the box. I would die in there--probably of terror. The final, horrifying act in the show.
"Um, it's really hot in here," I said. "Really hot."
"You okay?" Katya whispered.
"I guess," I said. I was such a liar. My panic was trumped by my desire to follow through with what I'd gotten myself into. I didn't want to let her down. Plus, this was my big star turn!
In my pocket, my phone vibrated.
Katya invited the crowd to pay a dollar to come up and look inside the box to see how it was done. When I heard that, I nearly screamed. I knew I had about thirty more seconds left in my mental reserve before I would lose my mind. Seriously. I thought I was going to die.
"I need to get out," I said. I repeated it. Louder.
"Anyone?" she said.
One guy stomped onto the stage. "Hey, that looks pretty tight in there," he said, leaning down, looking at me. I couldn't see his face for reasons I can't share.
"It is," I said. (If I were a different sort of writer it would've been, "It is," I whined in fear.") I took heart because, if at least one person had paid, I would be out soon. Maybe.
The guy left the stage.
"Ready?" she said. To me? The crowd? I wasn't sure.
I wanted to take those blades she'd put in and fling them back out. But I couldn't. It can't be done from inside the box. No, it cannot be done. At least not by a panicking middle-aged woman who is about to lose her mind.
When Katya started taking the blades out, I almost wept. I went from panic to elation in about three seconds. I would live, dear Reader.
She opened the box. "Sorry about your hair," she said.
My hair? Who was thinking about hair? Not I. I was flush with triumph, and ready for my return to the crowd. But the crowd--which had been about 15 people strong--was...gone. The only other person left in the tent was a guy who worked there.
"Hm. That's never happened before," Katya said.
All I could do was laugh. It was as though the whole thing had never happened at all. I'd never been in the box, had never walked through the crowd toward my glorious moment onstage.
Katya was very nice, and seemed surprised when I told her that I'd always wanted to be sawed apart in a box. She asked if I wanted to stay around for the next show, God bless her.
Since there was no one in the tent, I asked if I could run out and get my camera from my husband who was waiting, and she said "sure." Pinckney, who had had no idea of my adventure had apparently been the one texting me, ready to leave the fair. I gushed something about being in the box, grabbed the camera, and went back inside to take pics.
Katya is an artist, illusionist, and very interesting person. I wish I could've spent more time talking to her. In my haste, I wasn't able to get many good photos, but I do like this one of her very much.
Thank you, Katya! It was a thrill. Really and truly a thrill.
Her last illusion involved a long, coffin-like box, and blades. Many blades. "Who is brave enough to get into the box? You?" She pointed to a teenage girl, who squealed and hid behind the guy holding her hand. Lots of girls squealed. It cracked me up. A teenage boy volunteered, but Katya said it was better if a girl or child under 5' 7" participated. No one stepped forward.
You know what comes next, don't you? Some crazy, fifty year-old woman who had no business getting in anybody's box raised her hand. "I will!"
People stared. At me. I was positively giddy as I walked through the crowd. I felt like I was being crowned prom queen. No, seriously. It was like I was having a psychotic, surreal episode. I floated onto the stage. Was there applause? I heard it, but I suspect it was only in my head.
After an embarrassing few moments during which there was much discussion about where to put my purse (of course there was), Katya flung open the coffin/box, and I climbed inside. She asked the crowd to talk amongst themselves while she gave me instructions.
No! I can't tell you what instructions she gave me. That wouldn't be fair, now, would it?
Let's just say that there's a reason that children and slender young women are best-suited for the box. It is NOT made for fifty year-old women who have recently put on a few perimenopausal pounds. Nope.
Katya shut up the box, and the blades began raining down upon me. I could hear Katya talking to the crowd. I even threw in a few squeals and mewls for dramatic effect. The blades kept coming. She had me stick my hand out of the top of the box. I waved it. She had me hold onto the handle of one of the blades. I started perspiring. I suddenly realized that I WAS IN A FREAKING COFFIN. My heart started beating faster--yeah, that doesn't happen just in fiction. I had a brief, terrifying fantasy about there being a natural disaster or armed attack while I was there in the box. I would be left there, unable to free myself. Pinckney was waiting outside, and he had no idea what I was doing. If the crowd and Katya fled, he would think I went with them. He wouldn't know I was in the box. I would die in there--probably of terror. The final, horrifying act in the show.
"Um, it's really hot in here," I said. "Really hot."
"You okay?" Katya whispered.
"I guess," I said. I was such a liar. My panic was trumped by my desire to follow through with what I'd gotten myself into. I didn't want to let her down. Plus, this was my big star turn!
In my pocket, my phone vibrated.
Katya invited the crowd to pay a dollar to come up and look inside the box to see how it was done. When I heard that, I nearly screamed. I knew I had about thirty more seconds left in my mental reserve before I would lose my mind. Seriously. I thought I was going to die.
"I need to get out," I said. I repeated it. Louder.
"Anyone?" she said.
One guy stomped onto the stage. "Hey, that looks pretty tight in there," he said, leaning down, looking at me. I couldn't see his face for reasons I can't share.
"It is," I said. (If I were a different sort of writer it would've been, "It is," I whined in fear.") I took heart because, if at least one person had paid, I would be out soon. Maybe.
The guy left the stage.
"Ready?" she said. To me? The crowd? I wasn't sure.
I wanted to take those blades she'd put in and fling them back out. But I couldn't. It can't be done from inside the box. No, it cannot be done. At least not by a panicking middle-aged woman who is about to lose her mind.
When Katya started taking the blades out, I almost wept. I went from panic to elation in about three seconds. I would live, dear Reader.
She opened the box. "Sorry about your hair," she said.
My hair? Who was thinking about hair? Not I. I was flush with triumph, and ready for my return to the crowd. But the crowd--which had been about 15 people strong--was...gone. The only other person left in the tent was a guy who worked there.
"Hm. That's never happened before," Katya said.
All I could do was laugh. It was as though the whole thing had never happened at all. I'd never been in the box, had never walked through the crowd toward my glorious moment onstage.
Katya was very nice, and seemed surprised when I told her that I'd always wanted to be sawed apart in a box. She asked if I wanted to stay around for the next show, God bless her.
Since there was no one in the tent, I asked if I could run out and get my camera from my husband who was waiting, and she said "sure." Pinckney, who had had no idea of my adventure had apparently been the one texting me, ready to leave the fair. I gushed something about being in the box, grabbed the camera, and went back inside to take pics.
Katya is an artist, illusionist, and very interesting person. I wish I could've spent more time talking to her. In my haste, I wasn't able to get many good photos, but I do like this one of her very much.
Thank you, Katya! It was a thrill. Really and truly a thrill.
Read more about my state fair adventures at my bestie Maggie Caldwell's blog, Life In A Skillet. There, I talk about the food, amazing food.
Learn more about Katya at SomethingDangerous.com
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