If you are of a certain age, the title of this piece will ring a bell and you’ll automatically complete the line. The song, A Hard Rain’s a Gonna Fall’, the title of Bob Dylan’s epic ballad of 1962, is perhaps his best known song. Those who recall it will remember the question and answer form, apocalyptic message and length. I feel like I’ve known this song all my life though it’s not a song I care to play these days. But now that old earworm has been firmly replanted, after watching Martin Scorsese’s Rolling Thunder Review: A Bob Dylan Story on Netflix recently. The previously unseen footage of Dylan’s performances during this concert tour is riveting. There are many annoying and fake aspects of the film: I was gullible enough to believe I was watching an actual documentary. In a world where fake news dominates the media and lying politicians are believed, you might say, so what, it’s only a film. What stays with me most is the strong performance of Dylan, appearing in that 1975 road tour face painted as a rock star/clown/kabuki performer, as he energetically belts out a stunning and ominous performance of Hard Rain. No more spoilers, except this small film clip.
In the meantime, I’m wondering how we might rejig this foreboding Dylan ballad, which was adapted from traditional troubadour folk ballads with the same question and answer format, in particular the English- Scottish lyrical song, Lord Randall.¹ Perhaps my new version could go along these lines:
And what did you see, my brown eyed girl,
And what did you see when you opened that URL?
I saw one thousand dead fish, in a dried up old river,
A mountain of plastic, afloat on an ocean,
The ice covered mountains, were crying from melting
I saw ancient green forests, bulldozed for more profit
The skies turned red, the houses were burning
Coal was dug up, the planet was dying
Men who were lying, the people believing
Wise men were writing but no one was reading
And it’s a hard, it’s a hard, and it’s a hard, it’s a hard, it’s a hard rain’s a gonna fall. Add some more verses of your own, at least another 6 minutes worth. The choice is endless and you don’t even need to lie. Time to bring back the protest song.
¹ For those interested in musicology, follow this link to a version of Lord Randall, with lyrics.
Those who feel an attraction to yarn probably have a similar relationship to fabric, matched with an irresistible urge to collect interesting textiles when they see them. The two really do go hand in hand, given that yarn is potentilly fabricated into a textile, but in a less industrial way for the home knitter. Those who collect beautiful yarns and fabric face only one difficulty, the issue of storage being the most challenging in terms of space and protection from deterioration from light, insects or damp. In this new era of fashionable minimalism and discard, I stand firmly in the magpie group when it comes to textiles. It is not hoarding. I am the curator of my stash. Sometimes innocent questions are asked by a non knitter. For example, I recently bought one beautiful hank of fine merino wool dyed in indigo, it’s colour hauntingly irregular. The pragmatic bystander asked “what are you going to make with that?”, immediately indicating a lack of appreciation of this lovely yarn or the slow art of design. There is no answer. The beauteous yarn will let me know when it’s ready to be incorporated into something, and that might be never, but in the mean time, the hank of dark promise carries intrinsic allure and delicacy, it’s colour evoking many memories of indigo textiles seen in the Far East, Vietnam, China, and Northern Thailand. Why let function get in the way of a fantastic yarn?
I recently read a wonderful book on yarns, a pattern book of sorts, but also with delightful chapter introductions. In the prologue, the concept of bricolage and it’s relationship to style is outlined. According to the British sociologist, Dick Hebdige,¹ the only way left to achieve originality is through the mixture of cultural referents. Many modern knitters, as well as crocheters and sewers, (or should I use the French couturiers, so as not to confuse that fine art with smelly drains ) are bricoleurs: they find creative inspiration in ‘the combination of elements from seemingly disparate cultural sources’ creating ‘energy that didn’t exist before’ thus producing more unique and idiosyncratic knits.² I am glad I found this book: this concept legitimises as well as describes some of my favourite pastimes.
Darker Yarns and Creativity
My aunt was a keen collector of yarns and textiles. Her living room was overflowing with projects. At night when she tired of the sewing machine, she would return to knitting and crochet. She was surrounded by bags of colour: most of the textiles came from factory discards, usually swatches and samples for upholstery. She would mix and match these weighty fabrics, glossy heavy taffetas with tapestries, French imperial garlanded designs with plain textured fabric, lining the backs of her machine sewn patchwork rugs and throws with simple plain cotton. They were strong rugs, both in weight and design, and most suitable to use as floor rugs for babies. The money earned from the sale of her creations at weekend markets supplemented her old age pension. Along with rugs, she would knit or crochet small decorative items and children’s clothes. Her hands were always busy.
I visited her in hospital 9 years ago. She had just had a stroke but seemed to be recovering well. She sat up in bed with her knitting, the pattern spread out on the bed, a lacy design from an old women’s magazine. She remarked with a croaky, almost jolly laugh that she couldn’t understand the pattern, that it made no sense at all, but this didn’t deter her knitting progress. She had similar problems with the words in the magazine. I’m not sure if she ever received any help with this cognitive problem.
A few months later my Aunt committed suicide by slashing her wrists. For a long time, I felt guilty that I didn’t visit her at home after her stroke, and angry that she chose such a dramatic way to exit. Now I fully understand. Like most people who suicide, she chose the quickest option that came to mind at the moment of her decision. Her hands did the work that needed to be done. My memory of her now sails back to a time long ago: she is 22 and I am 5. She is short, soft skinned and beautiful. We are laughing as we pick daisies together in the backyard. She is teaching me to make long daisy chains which we wear around our necks. To this day, every Spring, I make daisy chains.
Yarns and Dementia
Before the fire, I curated a vast collection of fabric and yarn. The beloved stash included antique hand woven Indonesian Ikat and faded blue Sumbas, too precious to hang on our walls for fear that the harsh Australian light would fade their natural colour, womens’ finely embroidered supper cloths, French linen with fine pulled thread borders, hand worked Italian pillowslips no doubt made for the wedding glory box, filet crocheted cotton samplers and tray mats recording historical events such WWI and the return of the Anzacs to the coronation of Queen Elizabeth 11 and a vast array of other textiles and yarns. Among this collection was a modest little knee rug made of knitted squares sewn together, a common enough item, but this one stood out. It was worked in monochromatic colours, dusky shades of sunset pinks and pale orange. The tension was professional while the colours were worked in a most intriguing way, both within each square as well as the way each square related to its nearest neighbours, the whole row, and the whole blanket. It was the work of pure genius, a knitted Monet or Van Gogh in three shades. When we bought that little blanket in an opportunity shop in Beechworth for a few dollars, the saleslady mentioned in passing that the creator of that magic rug was completely demented. I’m keeping this in mind. Although I no longer have that rug, I have the memory of her genius and the knowledge that one day, my hands may be my only saviour.
¹ Subculture: The Meaning of Style, Dick Hebdige 1979
² Magpies, Homebodies and Nomads, Cirilia Rose, 2014
I’m reblogging this recent article written by my friend Cristina on her blog, Un po’ dipepe. If you haven’t been to Firenze lately, you wouldn’t have noticed these little art references dotted around the city on sportelli di gas e di luce– the metallic doors of gas and electrical panels. Cristina and her niece must have walked the whole of Florence to find all these Blubi. What do you think of these dear reader?
L’arte sa Nuotare -art knows how to swim- is a project by Italian street artist Blub (Bloob). Anyone who has been to Firenze in the last few years has likely seen Blub’s work plastered onto the city’s sportelli di gas e di luce- the metallic doors of gas and electrical panels. I was recently in Firenze with my nipotina Isabella. We were constantly on the lookout for ‘Blubi’ (BLOO•bee). It was like a scavenger hunt! We even spotted a few in Lucca, but none in Siena. No one has met mysterious street artist Blub. All we know about Blub is that he…..or she….. is from Firenze and is a talented artist with a fun, quirky sense of humour.Blub’s series “L’arte sa Nuotare’ takes famous works of art and gives them a new look, immersing them underwater, complete with blue background, snorkel masks and bollicine-bubbles!
Books and winter go hand in hand. I was planning to stick to library books for inspiration but a few purchases have crept through the door. The cost of a good second hand cookbook is usually less than half the price of a new magazine. Savers second hand store provides most of my cheap finds, while the Book Grocer is a great source of remaindered books.
Many species of fish are at their peak in winter. The snapper were almost jumping at the Preston market last week, along with a winter specialty, a rare item, small gutted cuttlefish. I bought one large snapper carcass to make fish stock to freeze, one snapper to bake, and 1/2 kilo of cuttle fish to freeze. Five fishy meals for $19. I was very happy with this baked snapper recipe from Neil Perry. We devoured young Roger the Snapper with gusto.
I knit and weave this ancient yarn, heath tinted and Celtic hued, with tired hands, deeply immersed in a timeless pastime. Now mindfully, now mindlessly, knit one purl one, the art of ancient knotting soothes my disquiet. As the pattern turns more complex, a row of hieroglyphics looms ahead, demanding more attention, a knitter’s code from an another era. The emerging fabric begins to twist and turn in an interlacing helix as new cables form and cross paths. How did those women of olde translate designs from painted page or stone to yarn, the Book of Kells to knitting?
‘Knit with your hearts an unslipping knot’. Shakespeare, Antony and Cleopatra. Act 11, Scene 11.
We sleep, curled around each other like a loosely formed hank of wool, weaving hands, legs and toes, fingers threading through hair and soft skin: then we unravel, in search of cooler planes of sheet, only to reform like lost souls soon after.
Fishing and Knitting
My grandparents come from wild sea
One knits fine wool to wear
The other knots hard rope to fish
My grandmother was a quiet soul, her stern appearance not helped by her refusal to wear her dentures. She looked ancient before her time. She retreated to the front room early in the evening, to knit or read, or to keep warm in a softer space under a colourful crocheted Afghan blanket. Outside the winds roared across the strait, black ocean and wild tides tempered by isolated islands rising on horizon, Sphinx like, at dusk. Living in the oldest port of Victoria, she made a paltry income from her knitting. Heavy cabled Aran pullovers were bartered or sold to fishermen for a few shillings. Pure woolen garments were water resistant and insulation against the wild winds and inclement weather of Bass Strait. The textured cable pattern, apart from being decorative and evocative of another era, provided more thickness than a plain knitted garment. Perhaps she knew those cousins who ‘met their watery graves’ out at sea as they fished the wild Strait. Maybe she retreated into the rhythm of knit one purl one for sanity, privacy, a safe haven for hands and mind.
My grandfather was a boat builder who knew that sea, its tides, anger and calm. He worked with the sea and on the sea. In his spare time he tied knots from ropes, strong yarns of another kind. In his old age, he taught me to twist fine wool into chord, to create little pom poms and other trims and tassels. His skills, like hers, were timeless.
The Little Black Doll
One year, my grandmother gave my younger sister a gift. This was odd, as she never really gave presents to her grandchildren- the wild sea and the fish, flounder fish as big as a plate, and wild prawns netted from the incoming tide in the channel, were gift enough. The gift was a small black baby doll made of hardened plastic. She had knitted a costume for the doll- a little outfit of yellow and green wool in the finest of ply. The shirt was in moss stitch and the long shorts were in basket stitch, each alternating square less than 50 mm, with tiny buttons sewn down the front. The tension was precise, the hand stitched joining invisible. I was jealous, not of the doll- I was well over dolls as an 8 year old child- but of the beautiful fine work that my sister received, and will most likely not remember. Today, when I knit in basket stitch or moss, I think of Grace, my grandmother, the finest of knitters, the quietest of souls.
Knitting in the 1950s
It would all begin with choosing the wool. Every suburban shopping strip had a little wool shop in the 1950s and 60s, stocking the latest wools and patterns. Now those shops have long gone. Making clothes for the family was not a pastime or a hobby- it was often a necessity. I’m not sure if wool was as expensive as it is today, I doubt it, but the cost for one garment was staggered through the handy system of Laybuy. The cellophane wrapped wool was put aside in the back of the shop, all in the same dye lot, with just enough balls for the project. Then a little money from the weekly budget was set aside to buy a few balls as needed.
We knitted as a family and could knock up a jumper in a weekend, especially if someone was off to a party. My mother would usually cast on, do the ribbing, the sleeves and the neck, while my sisters and I would knit the main body, perfecting our tension along the way. We produced plain garments in stocking stitch, usually with 8 ply wool from Australian companies such as Patons and Cleckheaton.
It was a cool weather occupation and the annual accompaniment to the onset of late Autumn or the first frost. Even today, as the weather begins to turn, I search for my wool stash and begin a project, even if only to make a cowl or fingerless gloves. My mother, now 96, with stiff, inward curling fingers, a Viking gene she tells me, is calling out for plain yarn to knit. Now it’s my turn to cast on for her and do the first row. I understand her need; it’s ingrained in our history, our DNA.
Knitting versus Kmart
I don’t have anything against Kmart, or other cheap stores such as Target or Big W. These stores have their place and provide basic and affordable goods. But somewhere along the way over the last 2 decades, these stores have made clothing so cheap that knitting has became an anachronism, a pastime of the well heeled. Industrial clothes are pumped out at such volume, exploiting cheap labour, that clothing is often bought on a whim and discarded without a thought.
The Australian Bureau of Statistics figures indicate about 500,000 tonnes of leather and textiles are discarded each year, amounting to 23 kilograms each, and only a fraction of this appears to be being recovered through recycling.¹
As pure wool or cotton yarn very rarely appears in most garments these days, this mountain of discarded clothing ends in landfill, a major plastic microfibre pollutant. The textile industry is the second largest global polluter after oil. Food for thought.
I hear my yarn calling, “to knit up that raveled sleave of (post election) care.” Do you enjoy Knitting and Crochet dear reader or have you taken up the Japanese art of darning? Does winter draw you to craft or barley soup? Is knitting meditation and when does it turn stressful?
Five years ago I began making sourdough bread. Little did I realise at the time that this would become an obsession. My days are now organised around the living dough: while bread making doesn’t take much time overall, you need to be monitoring its activity. I now dress for bread: an apron keeps my clothes in order while a little timer keeps me on track, the tick ticking in my pocket reminding me to stay vigilant. I wake eagerly, often rising before first light, not out of any obligation to tend to the bread but simply my own anticipation and excitement: at 5 am I can’t wait. I am attracted to the discipline of the craft as well as the science and yet I often stuff up. I am a novice: there is still much to learn. When I look back at photos of my bread from 5 years ago, I smile. They’re like my bread children- simple, perhaps a little clumsy, but also unpretentious and homey. They tasted fine despite their awkward appearance. My sourdough loaves these days look more streetwise, although there are many occasions when my shaping is sloppy, or my scoring goes haywire, or my new experiments don’t pay off. All failure is knowledge. It’s hard to explain that to a perfectionist (or a Maths teacher) but you can only learn from your mistakes. The ugly bread still gets eaten, even if in the form of garlic croutons or crumbed onto a vegetable gratin. The funny ones get named- Glenn Close ( badly slashed), Ugly Baby ( an off center boule ), Bob Menzies ( a loaf with one big ridged eyebrow), Happy Baby ( big open-mouthed grin) and Frisbee- a flatter boule, usually made from a large percentage of rye flour with less than desirable oven spring. Some breads snarl, others emerge with crispy ears, batards become bastards. And many emerge looking fabulously bespoke, dressed up artisan style and ready for a photo. Mistress of Slashing, ( technically scoring, but slashing sounds better here), Maree Tink, impresses me daily with her beautifully scored breads and patches of artistic char. If you’re keen to learn more about sourdough, join her Sourdough BakingAustralia group on Facebook or ask about her monthly workshops.
If I could pin point the most hazardous aspect of sourdough baking, it would be timing. Many fine guides will outline an excellent programme that will take you from cold starter to loaf in a 24- 36 hour time frame. These suggested regimes don’t work for everyone: controlling once’s enthusiasm or chaotic lifestyle is part of the learning curve. The weather plays havoc with timing and so does exhaustion. Once dinner is over, I no longer want to have anything to do with my kitchen. I am tired and the couch calls: it has been a long day and bread making no longer interests me. My dough babies need to be shaped and tucked into bannetons, ready for their rest in the fridge before 6 pm. They can happily stay there for 12 hours or longer. And yet it is a lesson I often forget and one that annoys me intensely when I wake at 3 am, like a wandering half mad Lady Macbeth, cursing the over fermented dough.
There’s a wealth of knowledge out there to tap into. One favourite free resource can be found at The Perfect Loaf. Maurizio’s recipes and techniques always work well for me: his suggested timing is spot on for those who can stay awake till 9 pm. Paul Merry, of Panary, is an Australian/ English baker located in Dorset. A professional baker for 40 years, Paul has always baked with a wood fired oven and has always used organic flour. His baking notes are a good resource. His recent post, Milling with Stones, provides an interesting appraisal of stoneground flour. Paul’s research is impeccable: his bakery and teaching studio is based in a working flour mill, Cann Mill, in Shaftesbury, UK, which gives him daily contact with the milling process and the commercial side of flour production. See my previous blog about Paul’s bread here. There are sourdough internet groups on Facebook and good books to borrow or buy. Tartine Bread by Chad Robertson is a must read.
The other learning curve involves the choice of flour. One of my recent concerns about bread flour supplies in Australia, and I am sure this also applies to flour supplies in most wheat growing countries, is the industry’s dependence on the herbicide, glyphosate. There’s nothing on your flour packet that mentions this and there probably won’t be for some time. At present, there’s no other viable weed inhibitor on the market. Some farmers are worried, while many do not believe there’s a problem. The science is muddied by big business. Perhaps Monsanto/Bayer need a few more nasty court cases before there’s a demonstrable shift in opinion and a less toxic alternative is developed. This article, by Erin Brochovitch, is a good read on the topic. The weedkiller in our food is killing us. The ABC’s investigation on Four Corners, Monsanto Papers, is also worth viewing. In the meantime, some organic and biodynamic flour alternatives can be found at the Preston market, for those bakers who live near the centre or north of Melbourne. For example, Powlett Hill biodynamic stoneground flour comes in a 20 kilo bag for AU$60. This is a huge bag and it might be worth sharing this with a bread making mate. At AU$3 a kilo, this bumps up my loaf costs to around AU$1.50 each plus the cost of oven heating whereas my previous budget buy, Manildra baker’s white flour at 12.5 kilo for AU$15 produced loaves for around 60c per unit. Finding out more about the flour I use is next on my agenda.
The other obsessional aspect of sourdough bread baking is its very tangible link to the past, to the bread makers throughout history, the Medieval and Renaissance bakers, the Scottish, Irish, French and Italian bakers who have passed on their methods, and to the the modern day artisan bakers who happily share the gift of knowledge and their starters. To all those before me who lovingly tended an ancient ferment and crafted loaves from nothing other than flour, water and salt, I share your passion and your pain.
April was busier than usual with children on school holidays, beach days, Easter, followed by Anzac Day. I’m rather pleased that May has come around and I can get back to my home kitchen full-time, with some mellow Autumn cooking, interspersed with trips to the library. Anzac day, April 25th, demanded a few biscuits to mark the occasion. It’s a baking tradition in my kitchen as it was in my mother’s until recently. My Anzac biscuits are flat and crispy, the way I like them. I pop them in an old Anzac tin in the hope that they might last a few days. They never do. The Department of Veteran affairs has firm rules about Anzac biscuits. You risk a large fine if you attempt to call them cookies or play with the original recipe, or misappropriate the name in a commercial business. While not patriotic at all, I still believe in the uniquely Australian/New Zealand aspects of this day. Anzac biscuits are so popular with my extended family, I should bake them more often. For flatter, brown and crispy Anzacs, slightly reduce the percentage flour and add more brown sugar.
I whipped up these yeasted buns for Easter this year: unfortunately there was little time to concentrate on feeding a leaven for a sourdough version. This lot had extra fruit and were glazed with quince jelly. Unlike the supermarket versions which can still taste fresh after a week, ( or maybe even a month), these buns are preservative free so they don’t keep for more than a day or two. The left over buns landed in a rich bread and butter pudding.
One vegetable that grows very happily in this awful drought is chilli. They ripen in autumn and will continue to enjoy life in the garden until the first frost arrives. I use a few fresh, but the bulk of the crop is dried and ground into flakes for the year ahead. I also make chilli oil. Small batches are better as the oil can go rancid. This small jar will last a month or so. A nice drizzle for a pizza or crab pasta.
It’s garlic planting time. When you see sprouting garlic around the markets, you know the time is right. I usually plant 300 each year. This basket of 100 is a mixture of my own garlic and some Australian grown garlic from the market. Three separate plantings over May will ensure a staggered pick.
The chooks are pumping again, and suddenly I have far too many eggs. I have sent Mr Tranquillo the recipe, again, for Crème Brûlée, purchased some second-hand shallow terracotta ramekins, and I have also given him a blow torch for caramelising the tops. It’s his favourite dessert so I’m hoping it becomes his signature dish. I really do like it too.
Autumn also sees the return of pasta making in my kitchen. Three eggs and 300 grams of flour, preferable tipo 00, or a mixture of tipo 00 and semola rimacinata, or just plain flour if that’s all you have: no oil, no salt and no other additives, according to Italian nonne. This will make you a truckload of fresh pasta. I fiddled with some parsley leaf pasta in these lasagne sheets. Not worth the effort and such a 90s thing to do.
It’s pastie time again. The filling in these pasties was fairly Cornish- onion, carrot, parsnip, potato. I found this puff pastry hard to digest. The sheets were left over in my fridge. For my next lot, I’ll focus on a good home-made short crust pastry.
There’s always soup in my kitchen. We don’t wait for Autumn or cooler weather to make good soup- we have it all year round. I am passionate about the building of a good soup. My soups are never randomly made. I like colour combinations, creating different flavour bases via a finely chopped soffritto, and seeking pleasing presentations so that you mangiare con gli occhi, or eat with the eyes before tasting the soup. Today, I wanted to paint a monochromatic soup in white and pale green, a contrast to today’s earthy dark rye bread. After building a soffritto of finely chopped garlic, fresh rosemary, a few anchovies and a pinch of ground chilli, I added a pile of cooked cannellini beans, shredded pale green cabbage ( wongbok cabbage which cooks quickly), and a handful of Pantacce pasta. A little grated Parmigiano Reggiano at the table and buon appetito. It’s ready.
Another cold day soup was built with Autumn colours, a typical Ribollita style soup. The soffritto build included onion, carrot, celery, and garlic. Once softened in EV olive oil, I added borlotti beans, more carrot, shredded cavolo nero, and some halved cherry tomatoes. This dense soup was served with a hunk of white sourdough.
A new cake has come into my life. I love flourless cakes that aren’t too cloying. This one has four ingredients ( butter, sugar, walnuts, eggs) and can be whipped up in a few minutes. It is dense, is a great keeper and très French. The recipe for Walnut Cake from Perigord can be found here.
That’s a quick roundup of the kitchen treasure this month. Thanks as always to Sherry, of Sherry’s Pickings, for the link up to In My Kitchen.
I’m not sure about the title of this post. The word artisan, or artigianale in Italian, has become the word of the decade. Once indicating a handmade product to distinguish it from the quotidian factory or machine-made version, it now stands for something else, something more desirable and elite, carrying with it a certain snob appeal and a price tag to match. Kevin McCloud, of Grand Designs fame, sprinkled his series with the terms artisan, bespoke and atelier, giving rise to various Kevin McCloud drinking games at the time. And so while I’m loathe to sound like a braggadocio,¹ I accept that the term ‘artisan’ may not carry the same overtones of wank that it once did. And so the title remains.
I received a copy of a wonderful book for my birthday, Artisan Sourdough MadeSimple, by Emilie Raffa. The book is a gem, a wonderful addition to my bread book library. I’ve known about this book for some time- many of the sourdough bread makers I’ve met through Celia’s blog, Fig Jam and Lime Cordial, have also bought this book. The opening bread recipe is identical to the one I use everyday- I think Celia and Emilie may have collaborated on this basic loaf. The other wonderful bond we share is our sourdough starter. Some years ago, Celia sent her starter around the globe, to Emilie in New York, to me in Melbourne, and to hundreds of others, and in doing so, created a bread making community, all using a clone of her bubbly starter, Priscilla. I’ve also shared this starter as, no doubt, many others have too. Perhaps there are now thousands of Priscilla clones out there. Emilie’s recipes are straight forward and accessible: the book is useful to the beginner and the experienced sourdough baker. Once the basic recipe is mastered, outlined in detail in the first chapter, the proceeding chapters explore sweet and savoury artisan loaves, pan loaves and sandwich breads, whole grains and specialty flours, foccaccia, rolls and flatbread, bread art, leftovers and a few extra recipes.
My plan is to work through each recipe and settle on my favourites. The two loaves I’ve made to date have both worked really well. Emilie’s Golden flax and spelt sourdough is a good everyday loaf, while her Cinnamon Raisin Swirl brings back childhood memories. It is a fitting loaf for Easter and an alternative to hot cross buns. And it’s fun to make. Don’t be put off by the longish recipe below. It really is rather easy. This is Emilie’s recipe, though I have Australianised the ingredient list.
Cinnamon Raisin Swirl
Before starting the recipe, feed your starter over a day or so till active and bubbly.
50 g bubbly active starter
365 g warm water
480 g bakers flour ( bread flour)
20 g wholemeal flour ( whole wheat flour)
9 g fine sea salt ( not iodized)
65 g raisins
65 g walnuts
50 g sugar ( I used caster sugar)
6 g powdered cinnamon
Make the dough: In a large bowl, whisk the starter and water together with a fork. Add the flours and salt. Cover with a damp towel and let rest for 30- 60 minutes.
Meanwhile, while the dough is resting, soak the raisins and walnuts in just enough water to cover. Drain well before using.
Add the fillings: Add the raisins and nuts to the bowl. Gently knead the fillings into the dough to incorporate, about 1 minute. The dough will start to feel slightly sticky at this point; add a sprinkle of flour to adjust the consistency if needed.
Bulk rise: Cover the bowl and let rise at room temperature, 21°C, until double in size, about 8-10 hours.
Shape and rise: Remove the dough onto a lightly floured surface. Let it rest for 15 minutes. A longer rest at this stage will relax the dough, making it easier to stretch into a rectangle. Line a 25 cm oval proofing basket with a towel and dust with flour. Combine the sugar and cinnamon in a small bowl. Set aside.
With floured hands gently stretch the dough into a long rectangle, about 40 x 20 cm. Lightly brush the surface with water. Then evenly sprinkle the cinnamon mixture over the top, leaving a small border at the top, bottom and side edges. With the short end facing you, roll up the dough into a lob, pinching in the ends to seal. Place it into a basket, seam side up.
Second rise. Cover the dough and let rest until puffy. ( 30- 60 minutes) Preheat the oven to 230 C. Cut a piece of parchment paper to fit the size of your pot. Place the paper on the bench, gently invert the dough onto the paper. rub the surface with flour and slash diagonally, making two or three cuts, keeping the depth shallow to preserve the filling. Use the parchment to lift the dough into the baking pot.
Bake the dough on the center rack for 20 minutes with the lid on. Remove the lid and continue baking for 40 minutes. When finished, remove the loaf to a wire rack and cool before slicing.
( Note, I found the loaf required less time with the lid off)
¹Braggadocio- empty swagger. Originating from Spenser’s Faerie Queene, 1596, the name given to his personification of vainglory. English writers at the time were taken with sprinkling Italian words throughout their works. From the Italian, braggadocio, meaning bravado, haughtiness, boaster, braggart. “I wrote the Art of the Deal. I say that not in a braggadocious way,”Donald Trump 2016. Now who would ever want to accuse Trump of braggadocio?
Emilie Raffa, Artisan Sourdough Made Simple. A beginner’s guide to delicious handcrafted bread with minimal kneading. 2017. I highly recommend this book to all my sourdough making friends and readers.
My annual family holiday, from the end of January through to the end of April, involves maintaining two kitchens. It’s a schizophrenic life involving a disciplined routine. Three days by the sea, four days back at home, or vice versa, is very manageable now that the drive takes only 95 minutes or so along two freeways.
After the trip, we unload a few things from home and then drag our chairs down to the beach. The sea is so calming and hypnotic and instantly relaxing: it’s worth the effort. On warm nights we set up the dinner table on the sand or in front of an old boat shed and watch the ships cruise by. On cooler evenings, we have a quick aperitivo and a snack by the sea, watch the sunset, then return to the warmth of the caravan annex.
The food is simple: we eat a lot of locally caught fish and Mt Martha mussels, supplemented by my vegetables and preserves from home. I’ve found some lovely fresh fish sold in a seaside van at Safety Beach. The caravan operates from Friday afternoon through to Sunday. I always end up choosing the sweet gars, a fish that is overlooked by many Victorians who are scared of bones. There’s a trick to bone free garfish eating. Once they are cooked, prise open the fish, grab the head and lift it gently towards the tail. The whole bone structure will come away, leaving the sweet fish fillets on your plate. The other trick with gars is to coat the fish in seasoned rice flour and gently fry them for only two minutes on each side. The flesh is so delicate, it only needs a simple sauce. Once cooked, remove fish onto a serving plate, add some butter to the pan, turn up the heat, scraping all the fishy bits into the butter, add lots of lemon juice and parsley, then pour the sauce over the fish. Buon appetito.
The local mussels are readily available in fish vans as well as at the Dromana supermarket for around $8 a kilo. I love these mussels and limit myself to a kilo a week. The classic French Mouclade is my favourite recipe at present. There’s just a hint of old-fashioned British curry powder- think Keens or Clive of India- and some creme frâiche /sour cream, shallots, butter and all that salty strained juice. Did you know that Mouclade hails from the seaport of La Rochelle? These days when I eat Mouclade, I can’t help thinking of Das Boot! Have you seen the original film and the new series?
My beach kitchen is not entirely basic. I have everything a girl could want in terms of implements, gadgets and serving ware. There’s a small stove top inside a caravan which I never use- cooking and sleeping in the same space doesn’t appeal. There’s a canvas annex with a two burner stove top, and a small Weber BBQ outside. I’ve finally mastered the art of making pizza in the Weber. It’s amazing how good food tastes when you cook and eat in the open air- even when the nights are chilly.
I’m looking forward to the next two weeks down at the beach, with lots of hungry grandchildren in search of their favourite soups. The cooler weather will be accompanied by spectacular sunsets: the slow cooker will come out of hiding for the Easter season by the bay.
Sunset views and Pinot Grigio.
I love shells
Making decor in my kitchen del mare
Local garfish, simply sauteed, then sauced a la meunière with butter parsley and lemon’
Portsea hotel. Great view. Which table will we choose?
Portsea hotel Pizza
Thanks Sherry once again for hosting this monthly series. Participating bloggers all have a very different take on their approach to life in the kitchen. These can be found at Sherry’s Pickings.
At last there’s a break in the weather, a cool snap with a little rain. Is it time to rejoice or was that last shower just another drizzle of hope? This summer and autumn have been hot and dry, pleasant weather if you’re by the seaside, but not so kind for those who love their gardens and farms. An omen of what’s to come? To date, we have had around 60 ml of rainfall over the last three months. The tanks and dams are low, the fruit trees are dropping their leaves too early: rabbits crawl up and over fences in search of something green to eat, starting with their favourite snack, the ring- barking of fruit trees before looking for small gaps in the well fenced vegetable patch. The figs look like hard little bullets and have given up the battle.
Midst our paddocks of desiccation, there are some welcome surprises. The quinces are fabulous this year, picked just in time before the birds got desperate. Such an old-fashioned and demanding fruit, I love the way they turn from hard golden knobbly lumps into the most exotic concoctions. How do you describe the flavour and colour of poached quince?
With the sound of the rain on the tin roof, my thoughts turn to food and preserves. Quince jelly, quince syrup, perhaps to use as an exotic base for gin, a torta of ricotta and quince cubes, quince ice cream, the syrup swirled through a softened tub of good vanilla ice cream, perhaps some Spanish membrillo.
Long thin eggplants have been fruiting for months. While not as useful as the fat varieties, they grow more abundantly in our micro-climate.
The Pink Lady apples are the star this year. We grow 13 varieties of apple, and each has its year. The crop has been well protected by netting, though the desperado cockatoos are beginning to notice. Picked and stored in the fridge, they are reasonable keepers.
With the change of season, I hope to return to my usual pattern of posting and cooking. There will be more recipes coming and anecdotes of one kind or another, simple stories about the beauty of life. As the saying goes, ‘I’ll keep you posted’.