Sweet Potato Latkes

Latkes can be eaten plain as a snack, with a side salad, topped with applesauce, sour cream, or my personal favorite, Greek yogurt.

The French sometimes serve potato galettes with coq au vin. Those of the Jewish persuasion eat them during Hannukah because they are cooked in oil (and delicious). The Swedes add grated potatoes to a pancake batter, and Germans and Austrians like them with garlic, salt and butter. 

This is such a versatile recipe you can’t go wrong.  Usually all the ingredients you need are already in the house, and even the most finicky eaters are happy with the results. Besides, like loaves and fishes, a little goes a long way. Here is my recipe. Enjoy!

SWEET POTATO LATKES

1 Sweet Potato

1 small Red Onion cut in long, thin slices similar to the grated potato

2 Eggs

1/4 cup freshly grated Parmesan Cheese

2 – 3 Tablespoons dried Marjoram

Kosher Salt

White Pepper

Freshly Diced Chives (topping)

Greek Yogurt (topping)

Olive Oil for frying

Grate Potato by hand or in a Cuisinart and place in colander for at least 15 minutes.  Rinse, press to remove water. Lay grated potato on kitchen cloth, roll to squeeze our excess water.  Repeat until potato is as dry as you can get it.

 Mix together the eggs, sliced onion, marjoram, salt and white pepper in large mixing bowl.  Add potato, stir together until well blended.

Coat the bottom of non-stick skillet over medium heat with olive oil until hot, but not smoking.

Using a medium wooden spoon (or comparable spoon) drop mixture carefully into hot pan.  Use a fork to spread to preferred thickness.

Cook over medium heat until crispy on the outside (about 3 minutes). Turn carefully with spatula and crisp other side for another 3 minutes.

Work in batches adding oil as needed Remove to baking pan covered with newspaper and hold in 200 degree oven if not serving immediately.

When ready to serve top with a dollop of Greek yougurt and sprinkle with chopped chives.

Last Night I Had the Strangest Dream.

http://www.flickr.com/photos/44216394@N00/

Last night I had the strangest dream. I was in an old house. Made of stone like a castle with large beams and sections of wood throughout, it was large and stately. There were several immense stone fireplaces throughout the building for cooking and warmth. I remember my mother and step-father were there as well as others, but they are the only two that I remember specifically. We were in the Great Room and the fire was blazing. Suddenly there was a strange sound in the room and my step-father said that the chimney was on fire, everyone throughout the house had to move outside for safety’s sake.


The fire was large, blowing from the chimney in swirling red flames, lighting up the night with showers of sparks flying everywhere. Nearby was an immense old oak tree with one large arm sticking out into the night, an “owl hole” noticeable on the side facing me. A spark flew into the hole and started the old dry wood on fire. The flames increased and eventually the arm of the tree fell to the ground sending up a curtain of sparks, but the rest of the tree remained standing.

We rushed over to the area of the tree and underneath covered in moss and debris was an round stone pedestal rising from the ground. At this point I knew that the house we were at was my grandfather’s and that the stone pedestal was a creation of his. I tried to verbalize this to the people around me, but there was a man who was older, a teacher-like figure, crawling around on the flat top, which was quite large, brushing away debris and tracing lines that ran through the old granite, explaining as a scholar would the significance of the stone, but explaining that no one really knew the purpose. I tried to explain several times that it was designed by my grandfather and was similar to a carousel, but the man would not listen and ignored me because I was a child and he knew better than I. Finally I gave up trying to speak and waited.

Eventually the man crawling around on his knees spouting his “knowledge” and tracing the lines came to a square block on the far side of the circle with a cross or an x carved into it, such as you would see on the old stone property markers found in the corners of New England fields. As he was expressing his curiosity as to what this piece was doing here, with no visible tie to the patterns of the other lines, I pressed down on the x and stood back.

The circle of rock began to rise from the ground shaking off the moss. People jumped off its surface and stood to the sides as the rock began to move in a circular motion. The lines the man had been tracing were demarcations and as the rock turned cog-like sections began to pump up and down

“Oh,” the people whispered and breathed. “Look, it moves like a carousel.”

I stood off to the side and smiled. Then I woke up.

Flannery O'Connor: The Violent Bear It Away

I must admit, the books I enjoy the most are those that cause me to ponder their meaning long after the final page as been turned, leaving me with angst about the human condition: writings that make me dig deep and examine my own soul. For these reasons I have always been drawn to Flannery O’Connor and Joyce Carol Oates. 

 I consider O’Connor and Oates to be writers of Southern and Northern, if there is such a category, Gothic. Their plumbing of the human condition touches me to the very core and often leaves me with more questions than answers, the condition of human existence itself.

Having just read O’Connor’s second and final novel, The Violent Bear It Away, I find myself examining my own personal struggles with those who have touched my life, particularly those whom I did not choose to do so, but have left their mark all the same. The Violent Bear It Away is considered a landmark in American literature. 

Born in Savannah, Georgia in 1925, Flannery O’Connor died in Milledgeville, Georgia in 1964.  In that short span she wrote two novels, thirty-one short stories, and a number of reviews and essays. As with her previous novel the main character struggles with an internal battle against the faith that was instilled in him, the life he was told by others he was born to lead.

The title is taken from a translation of Matthew 11:12, which provides the book’s epigraph: “From the days of John the Baptist until now, the Kingdom of Heaven suffereth violence, and the violent bear it away.” These are Jesus’ words to the multitude, and the themes of baptism, violence and the Bread of Life permeate the novel.

The main action of The Violent Bear It Away occurs over seven days, but much of the novel consists of flashbacks that recall incidents in the lives of the main characters. Events are illustrated through the memories of different individuals providing insight into their psychological and spiritual natures, revealing the motivations behind their actions, and offering a family history clouded by personal feelings, religious and intellectual beliefs, and emotional confusion. The novel is divided into three sections, each covering a period in Francis Marion Tarwater's journey of self-discovery.

O’Connor’s last major work to be published in her lifetime, the novel offers no easy truths; Tarwater is an unlikable boy who learns that doing God's work entails violence, unreason, even madness. It is a psychological study of the mysterious and frightening nature of the religious calling. Stark religious symbolism and Biblical allusions unite to explore themes of spiritual hunger, faith versus reason, and the battle for the soul. O'Connor wrote the novel over eight years while suffering from lupus, publishing the first chapter as a story, You Can't Be Poorer Than Dead, in 1955. 

While living at Andalusia, Flannery O’Connor completed Wise Blood, which was published in 1952. Then her highly acclaimed collection of short stories, A Good Man Is Hard To Find, was published in 1955. By the end of the 1950s, largely on the strength of her short stories, O'Connor was viewed as a major American writer; a committed Catholic, O'Connor traveled to Rome for an audience with the Pope in 1958.  In 1960, The Violent Bear It Away was published, but like its predecessor, Wise Blood, was poorly received.

For the last few years of her life, as her lupus progressed, O'Connor concentrated on writing nonfiction. She died on August 3, 1964 at her mother's home in Milledgeville. In 1972, she was posthumously awarded the National Book Award for The Complete Short Stories.She also wrote The Violent Bear It Away, published in 1960, here. Her second collection of short stories, Everything That Rises Must Converge, was published posthumously in 1965. A collection of nonfiction prose titled Mystery and Manners edited by Robert and Sally Fitzgerald was published in 1969. The Complete Stories, edited by Robert Giroux, won the 1971 National Book Award for Fiction. Sally Fitzgerald edited a large collection of O’Connor’s letters, The Habit of Being, published in 1979, which received the National Book Critics Circle Award. O’Connor, a committed Catholic,  traveled to Rome for an audience with the Pope in 1958.  Collected Works was published in 1988 as part of the Library of America series, the definitive collection of America’s greatest writers.

Further Reference-

The Flannery O'Connor–Andalusia Foundation, Inc. maintains a Web site at http://www.andalusiafarm.org/ with information about the activities taking place at the Andalusia property where O'Connor lived and worked. 

Comforts of Home, a Web site dedicated to Flannery O'Connor, can be found at http://www.mediaspecialist.org/index.html. This site has links to biographical information about the author and critical analyses of her work. 

A Library of America interview with author Brad Gooch, who has written the only biography on  Flannery O’Connor, can be found at: "http://www.loa.org/images/pdf/Gooch_on_O'Connor.pdf

Vintage Rhinestone Jewelry: How It Originated with Links For Further Research

Even if you're not a fashion maven, you're likely to recognize the name Coco Chanel. Coco Before Chanel was a well-received movie released in 2009, once again making Chanel a household word. Born Gabrielle Chanel in 1883, Coco Chanel became and remains an icon of fashion design. Particularly known for her famous Chanel suits, with boxy button up jackets and knee length skirts that are considered stylish to this day, Coco Chanel was also an integral figure in setting the stage for jewelry in the Roaring 20s; she not only made a more relaxed style for women and helped usher in the flapper era, she made rhinestone jewelry fashionable.  Coco promoted suites of jewels, what would become known as 'parure grand sets', consisting of 4 to 8 matching pieces.  With her influence rhinestone jewelry became an accepted fashion staple throughout the modern world.

More recently, Broadway star, Kristin Chenowith appeared at the show, “Stars Heart the Red Dress.”  The opening night of fashion week found the star dressed in red and sporting heart shaped jewelry designed by Daniel Swarovski.

( http://omg.yahoo.com/photos/stars-heart-the-red-dress/3613/?nc#id=2 )

The word "Jewel" is actually a derivative of the French word "Jouel", referring to the royal table dressings favored in ancient France.  Kings, Queens, and people of great wealth and political prominence wore fine, lacy jewels throughout the 18th and 19th century that were encrusted with the finest gems when they were in attendance at High Court parties.


www.associatedcontent.com/article/2692407/vintage_rhinestone_jewelry.html

 

In general, members of the royal courts of various countries often traveled long distances by coach; lockboxes of jewels and their valuables would travel with them.  Robbery was commonplace, hence the term "highway robbery".  Eventually the wealthy wised up and began to commission artisans to create replicas of their original jewelry.  They would take these replicas to court. These imitations, specifically the stones, were referred to "paste".  Paste was the process of using glass with a very high lead content to reflect and refract light mimicking a precious gem.  This light "refraction" look was sought after and achieved when the backs of the stones were "foiled" with a copper or silver underlay. Paste work was as labor intensive and tedious as fine jewelry making, since the entire process was handcrafted.  As a result even paste jewels could only be afforded by the wealthy. These imitation pieces can be just as valuable as fine jewelry to collectors.

Even though collecting antique jewelry of this variety is not reasonable for most, collecting vintage rhinestone jewelry can bring a bit of old fashioned glamour into your life. Beautiful brooches and earrings created from 1920s through the 1940s are highly collectible, and popular designers include Chanel, Coro, Trifari, Weiss, and Schiaparelli, as well as the ever-popular Swarovski; but before you start collecting let’s revisit a bit more history of rhinestone jewelry.

Czechoslovakian or Bohemian Glass

Created as early as the 13th century in Bohemia and the Czech Republic, originally rhinestones where referred to as Czechoslovakian or Bohemian glass. Both countries have a history of outstanding hand blown glass, as well as molded and cut glass. Rhinestones are manmade from highly refined glass. Various metals were used to color the glass to a desired shade. The glass was then pressed into molds before being ground and polished into a brilliant “stone”. Eventually the stones were foiled on the back to increase their brilliance. 

In 1891 Daniel Swarovski created a new glass-cutting machine, literally revolutionizing jewelry making. The machine cut faceted glass, producing a finished product in a short time. Swarovski’s background in glass making, combined with his glass cutting machine, allowed him to produce rhinestones with a lead content of over 30%. The brilliance of these rhinestones was superior to anything previously created. Swarovski then created vacuum plating to foil the backs of the stones with silver and gold reducing the need for hand labor, once again transforming the jewelry industry. Over 80% of rhinestone jewelry currently manufactured in America uses Swarovski rhinestones.

The 1890s was a time for extravagant jewelry heavily adorned with rhinestones.  Eventually jewelry designs became simpler, and figural shapes, smaller and more elegant, made a fashion statement with their rhinestone accents. Around 1918 Czechoslovakian glass began to make its appearance as jewelry. This strain of Czech glass became known as rhinestones. Since that time rhinestones have played an important role in fashion. During the Victorian period common motifs for jewelry included snakes, flowers, and hands, often adorned with rhinestones. During the Edwardian period extravagance made a comeback with diamonds and pearls being the focal point, and although they never completely disappeared it was a while until rhinestones once again became popular.

During the 1920s fashions changed quickly. Dresses became looser and less restraining. Two distinct styles occurred during this era – the feminine style and the androgynous style. American jewelry from the 1920s obviously drew on the Art Deco period. Up until this time the majority of rhinestone jewelry had been made with clear rhinestones; as the 1920s progressed jewelry again became more dramatic in color and style.

During the 1930s the Depression changed everything.  Inexpensive rhinestone jewelry could be used to revitalize an old outfit and bring a little sparkle to hard times. The industry began to produce bright colored enamel pieces accented with rhinestones. Dogs, birds, and cats with a rhinestone eye were common. The jewelry of the 1940s once again became big and bold and large stones set on bold settings became the norm.

The 1950s could almost be considered the Golden Age of rhinestone jewelry.  During this era rhinestone jewelry makers were able to copy write their designs, solidifying the art of jewelry making as an "art form". There were two distinct styles – elegant and sophisticated for the more mature woman, casual and fun for the younger woman.  Rhinestone parures again became popular. In 1953 the aurora borealis rhinestone was introduced to the market and was an immediate sensation.

In the early 1960s women were still wearing functional clothing, but the late 1960s gave rise to hippie fashions with their roots tied to Mother Nature. Tie-dyed shirts, long flowing skirts, and frayed jeans were everywhere. Bohemian comes to mind, but this generation had little interest in rhinestone jewelry. In the late '70s the punk look was born and the rhinestone was once again revitalized. Since then rhinestones have remained mainstream in the jewelry world.

Czech Machine Cut Rhinestones

As previously mentioned, a majority of rhinestone jewelry manufactured in America makes use of Swarovski rhinestones. There are a number of collectors who prefer Czech machine cut rhinestones. These lead crystal rhinestones generally have 8 facets. At distances, these stones flash brighter than do Swarovski, and because of great presence and lower cost, are favorites of many costumers.  Czech rhinestones are known to have a quality quite comparable to Swarovski and are often preferred because they are less expensive without a noticeable quality difference.

Collecting Vintage Jewelry

You don't have to be an antique dealer or a fashionista to collect vintage jewelry. Good advice for any type of collector is: if you like it, buy it. Vintage pieces can be found at tag sales, estate auctions, on E-bay, or from other collectors. Vintage jewelry has become quite popular and the Internet is an invaluable resource for finding pieces as well as educating yourself about styles and collectiblity.

Amazing Adornments (www.amazingadornments.com/Collecting.htm) is a good place to start. This website offers solid advice on collecting and identifying vintage pieces.  They also offer items for sale that run the gamut of designers, from older collectibles like Trifari or Weiss to modern designers such as Vera Wang or Oscar de la Renta.

Another wonderfully informative website focused on collecting vintage jewelry is Illusion Jewels (www.illusionjewels.com). Most artisans marked their jewelry in some fashion, and it was not uncommon for designers to have more than one "mark".  Illusion Jewels is a thoroughly researched, comprehensive website for jewelry history, jewelry marks, and signatures.

One of the largest current sellers of costume jewelry in the United Sates is arguably Avon. The company began as the California Perfume Company (CPC). Started by David H. McConnell in 1886, within a year there were twelve saleswomen selling perfume and toiletries door to door.  The company quickly grew and in January of 1929 the Avon Company was born with the introduction of the Avon line.

"Avon Calling" became the firms slogan and their products were sold directly to homes by Avon representatives. Visit Avon Collectable Jewelry for comprehensive introduction to Avon's vintage jewelry (http://antiques.lovetoknow.com/Avon_Collectable_Jewelry)

Finally, a quick guide to dating vintage and antique jewelry can be found at the popular blogspot, Collecting Vintage Jewelry (http://collectingvintagejewelry.blogspot.com/2008/12/quick-guide-to-dating-vintage-and.html).

As with any personal interest, the more we know about what we collect, the more we can enjoy it. Whether you find your vintage jewelry on E-Bay, at an estate sale, or in your grandmother's jewelry box, or perhaps decide to start with more modern pieces, making a personal statement with a unique piece of jewelry is always in style.

References:

Glam For Less, http://www.glamforless.com/History.htm

Amazing Adornments, www.amazingadornments.com/Collecting.htm

Illusion Jewels, www.illusionjewels.com/costumejewelrymarkscoro.html

Avon Collectible Jewelry, http://antiques.lovetoknow.com/Avon_Collectable_Jewelry

Photo Credits:

Amazing Adornments, Illusion Jewels