First of all, with the sour exception of crabapples, apples themselves aren’t American. Apples as we know and love them probably originated in Asia and migrated to Europe.
Apples and apple pie were brought to the colonies by British, Dutch, and Swedish immigrants during the 17th and 18th centuries. In fact, that was pretty late in the history of apple pie.
Fossilized evidence of apples date as far back as the Iron and Stone Ages in Switzerland and other parts of Europe. Although most sources trace apple pie to Europe, there is a minority view that the first apple pie was made in Egypt, 9500 B.C.E.
English apple pie recipes go back to the time of Chaucer. A 1381 recipe calls for good apples, good spices, figs, raisins, and pears in a pastry casing. It is the first known written recipe for apple pie. Fruit sweeteners were typical of the times. Early apple pies had no sugar because of the expense but were sweetened with fruits such as these.
Apple pie was a prized dessert in England by 1577. The first mention of a fruit pie in literature was apple-pyes in Robert Greene’s Arcadia. Greene wrote between 1580 and 1592. A medieval Dutch cookbook (around 1514) has a recipe for apple pie that is almost identical to modern recipes. Such a pie was featured in a Dutch Golden Age painting from 1626.
In 1941, newspaper reporters talked about GI’s fighting for Mom and “good old American apple pie.” This seems to be the origin of apple pie attached to American identity—even though apple pie did not originate here. Vermont even made apple pie the official state pie in 1999.
The history of Mock Apple Pie (made with crackers instead of apples) is a bit murky. It may have been invented by pioneers on the move in the 19th century, or possibly in the South during Civil War food shortages. But in the 1930s, Ritz Crackers provided a recipe using Ritz Crackers, water, sugar, cream of tartar, lemon juice, grated lemon peel, margarine or butter, and cinnamon. The one thing that’s clear is that anything that leads to an imitation must be very popular indeed.
According to the American Pie Council, Apple pie is the most popular pie in the U.S., the favorite of 19% of Americans (approximately 36 million people at the time of the survey).
And now we get to the downside. Although homemade apple pie hasn’t changed much over centuries, anything that popular has to go commercial, including fast-food chains. McDonald’s started in California in 1940. In 1969, McDonald’s opened 211 new franchises, and the first Wendy’s was born in Columbus, Ohio.
Welcome to the world of food additives. L-cysteine, an amino acid used to condition dough for increased pliability, is derived from human hair and/or duck feathers. It’s used in McDonald’s Baked Hot Apple Pie (among other offerings). McDonald’s is only one of many fast-food providers who rely on L-cysteine in bakery products.
Bonus facts: Sand (silica dioxide) is an anti-caking agent that shows up in chili and other processed beef and chicken products on the menus of Wendy’s and Taco Bell; processed wood pulp (cellulose), used to thicken and stabilize everything from cheese to strawberry syrup, is on the rise because products can boast less fat and more fiber. For more disturbing food additives, go to mnn.com.
And to know what happened when with food, go to good books!
Saturday and Sunday were two great, packed, informative days! By the end of the Library of Virginia’s Annual Literary Luncheon, I was too caught up in events to write much, but that dam is about to break.
I’ve attended JRW Conferences since the earliest days, back when they were held at the Library of Virginia. I really liked that venue, the ambience, the close, personal feel of it. But the annual meeting outgrew the Library’s space. This year we met at the Greater Richmond Convention Center. It feels much more sterile, but there is plenty of room for meetings, plenary sessions, book signings and sales, plus convenient parking. Plenty of room for growth!
Let me say up front that the absolutely worst thing about JRWC is that I couldn’t attend every session. For example, on Saturday the concurrent sessions offered from 3:30-4:30 were How to Locate, Lure, and Land the Right Agent; To MFA or Not to MFA (virtues and vices of the academic route); Writing Diversity into Your Fiction (representing the larger world in your fiction, how and why); and 50 Shades of Red (on various aspects of writing erotica). What writer wouldn’t want to know all of that? (Well, maybe the kids/YA writers could skip the erotica.)
On the other hand, last week I mentioned that JRW classifies sessions by track. This year’s tracks were Diversity in Writing, Writing for Kids/YA, Poetry, The Pillars of Story, and Writing as Career 2.0. I tended toward The Pillars of Story, but not exclusively. Freedom to jump the tracks is one of the delights of the conference.
Hoping to find an agent for Nettie’s Books soon, I attended the session on getting the right agent (David Henry Sterry, Arielle Eckstut, Heather Flaherty, and Helen Heller, Bill Blume moderating). Although there was a lot of diversity on many things, (e.g., appropriate level of formality/informality) two areas of unanimity stand out: (1) research agents you intend to query; and (2) follow their online submission guidelines to the letter! The diversity of personalities on the panel was evidence that you (the writer) really should try to get a handle on your prospective agent as a person. Places to look are Facebook, blogs, Twitter, and any books the agent might have written. It also helps to hear them speak at a conference such as JRW, or meet them in a one-on-one session.
I’m currently working on a new novel, and the first 30 pages or so are pretty ho-hum. The presentation on conflict and tension was excellent (Raising the Stakes with Leah Ferguson, Valley Haggard, and Amy Sue Nathan, moderated by Jon Sealy). They reminded me of multiple aspects of tension and conflict: stakes can be personal or universal; conflict can be internal or external; a blocked goal = conflict; focus on physical or emotional danger; in every case, imagine the worst possible thing that could realistically happen in this situation and write it—you can always dial it back later for nuance. One thing I found especially helpful was Valley Haggard’s comment that readers connect with shame, pain, vulnerability, failure, and flaws. I wish I had a picture!
A Fine Romance (Leah Ferguson, Mary Chris Escobar, Amy Sue Nathan, moderated by M.M.Finck) brought genre into focus—women’s fiction vs. romance, into particular—and endings (happily ever after, happily for now, together but bittersweet because one or both had to sacrifice for it). Beyond that, what struck me is that their advice for writing a good romance or book of women’s fiction sounded just like the advice for good writing in general! Which reminds me: at the Festival of the Written Word, I’m on a panel with a title something like When Romance Meets Mystery. We shall see. Again, I wish I had a photo, but I was too far back in the hall.
But I did get a picture of the panel for Writing Memorable Characters: Stacy Hawkins Adams, Bruce Holsinger, Amy Sue Nathan, Kristina Wright, moderated by Josh Cane.
L-R: Josh Cane, Amy Sue Nathan, Stacy Hawkins Adams, Kristina Wright, Bruce Holsinger
The variety of writing represented—inspirational women’s fiction and non-fiction, historical fiction, women’s fiction and romance, erotica—underscored the over-all rule that every type of writing (including memoir) needs memorable characters, and characters the reader cares about. The heroes and heroines need flaws. The bad characters need a good side. And one effective way of establishing both is to give readers the backstory.
The last plenary session was the Pitchapalooza (David Henry Sterry, Arielle Eckstut, and Rebecca Podos) during which the names of volunteers were drawn from a plastic pumpkin and each had 1 minute—precisely one minute!—to pitch his/her book. Great fun, and very informative as the panel commented on the stronger and weaker aspects of each pitch.
L-R: Rebecca Podos, Arielle Eckstut, David Henry Sterry
The closing was brief, but celebrated the winners of the Best Unpublished Novel Contest, the Emyl Jenkins Award, and Pitchapalooza. Although not a winner, I was recognized as a finalist in the Best Unpublished Novel Contest. Very gratifying. But egocentric being that I am, I wish the awards (except Pitchapalooza, of course) had been announced a the beginning of the conference. Maybe people I didn’t know before would have congratulated me!
Alas, the conference wasn’t all about me. It was mostly about the books—and there were many to be had, and signed. Fountain Bookstore sold the books of all the presenters.
Fountain Bookstore selling speakers’ books at James River Writers Conference
I usually come away from the JRWC feeling that I got more than I paid for. Unfortunately, this year, that included a raging cold, including coughing and congestion, that laid me low as of Monday morning. I assume it was all the back-slapping, handshaking, and hugging.
The “Lucy Booth” at the James River Writers Conference where writers could meet with a professional psychologist
On the other hand, a nasty cold was a great reason to put my feet up, review my notes, and enjoy the contents of my conference bag. I checked the writing classes offered by VMFA Studio School and the Visual Arts Center; considered invitations to submit to the next Poetry Virginia Annual contest and join the Virginia Writers Club; and I could browse the free issues of Richmond Magazine and Broad Street. Already looking forward to next year! Though I did suggest to Katharine Herndon (JRW Executive Director) that next year they try to get a bright colored conference bag!
James River Writers Conference tote bag with Different Drummer postcard
The answer depends on what you are looking for, of course. In my experience, there are essentially two types of writers conferences: those that focus on fans and writers meeting-and-greeting, and those that focus on the craft of writing.
Virginia Festival of the Book is an annual conference for fans that lasts a week, cuts across genres, and most events are free!Bouchercon and Malice Domestic are two examples of fan conferences for mystery writers and fans. (Romance, fantasy, Sci-Fi, horror—all genre writers—have similarly dedicated conferences.) Bouchercon rotates worldwide (New Orleans in 2016), but Malice Domestic is always in the greater DC area. They spotlight big-name writers who address plenary sessions, receive honors, are interviewed, and sign books. Selfie opportunities vary. Lesser-known writers present panels and sign books. Everyone on the program has a book-signing slot. Lots of books get signed. There’s an area for exhibitors, everything from Sherlock Holmes deer-stalker hats to clothes and jewelry. At a conference such as this, I rode in the elevator with Sue Grafton, met Nevada Barr, and honored Dick Francis. They can be quite fun.
The annual James River Writers Conference (always in Richmond, Virginia) is of the improve-your-craft sort. Although awards are given and books are signed, the focus is on helping and supporting writers at all levels. All genres are welcome. JRW develops tracks so that attendees can easily identify related presentations over the two-day conference (e.g., Diversity in Writing, Poetry, Writing as a Career). Presentations are informative. Besides connecting with (relatively) local writers, there are options for meeting with agents, and learning to make more powerful first impressions.
For example, in the Richmond area, RavenCon (mostly fantasy an sci-fi) meets in the spring, and the Suffolk Mystery Writers Festival is in August. Still to come is Midlothian Festival of the Written Word, which crosses genres, is free for attendees, and will last for several hours on Nov. 7. (I’ll be there, by the way, on a panel with a title something like “When Romance Meets Mystery.”) These events are pretty casual. Attendance is much smaller, so it’s easier to get up-close-and-personal with the writers in attendance. Surely there are similar opportunities in other regions. Check local libraries. And as always, search online.
Whether you are a writer, a reader, or both, there’s a conference out there for you!
We all know about procrastination: doing less urgent/important things instead of more important/urgent ones—or doing more enjoyable tasks when less appealing tasks are more needful; deliberately looking for distraction from the task at hand. Virtually everyone procrastinates sometimes, and 20% of people are chronic procrastinators. Some people boast that they “work to deadlines,” often hustling or cramming at the last minute. Another catch-phrase is, “I work better under pressure.” Really?
Some types of procrastination are common for writers: organizing the workspace and writing implements so thoroughly that the writing time’s compressed or obliterated; editing for the umpteenth time, so long that the piece is never really finished; immersing themselves in one more bit of research, perhaps going off on a tangent into something interesting, possibly useful for some other work in the future; even reading broadly for pleasure and muttering excuses that all reading is good for a writer. Let me be clear: organization, preparation, editing, research, and reading are not evil in and of themselves, only when they block actual forward movement in the manuscript.
Writers are people. And people suffer from procrastination. Late payment fees, lower grades, anger or disappointment from friends and family are immediate outcomes of some kinds of procrastination. But who cares if a writer puts off writing? If writing puts food on the table, it threatens livelihood. But whether that’s the case or no, not meeting one’s goals/commitments leads to guilt, depression, and low self-esteem.
According to one accessible source, Psychology Today, “procrastination reflects an on-gong struggle with self-control as well as an inability to know how we’ll feel tomorrow or the next day.” They have articles on everything from the history of procrastination to its relationship to morality, from ways to overcome procrastination to boredom at work. Some claim that procrastination is a defense mechanism against fear of failure: if the last-minute product isn’t perfect, the creator can take comfort in the knowledge that working on it more, it would have been better, could have been great. Then there is the positive side of procrastination: it reveals what one’s real motives and value are.
Takeaway one
Acknowledge whether/when/why you procrastinate in your writing life. Consider what that tells you about the importance of writing—for you.
Takeaway two
If writing is truly important, sweep aside the hurdles. Take baby steps—a page or two a day, no editing till there’s one complete draft. Don’t doubt yourself. Just do it. And if you need help with that, read all the on-line tips on overcoming procrastination. And if that doesn’t work, and you truly care, seek therapy. Help is out there.
I’m delighted to have a guest post on Buried Under Books. Many thanks to Lelia Taylor for welcoming me to her fantastic blog.
The Great Escape
Excerpted from Buried Under Books
When I was a young child, the only books in our house were several Bibles and a two-volume pictorial history of World War II. My father, who had an eighth grade education, subscribed to Field and Stream. My mother (tenth grade education) subscribed to Modern Romance and True Confessions. Besides the Dick-and-Jane readers, the first books I remember clearly are The Littlest Mermaid (not the Disney version) and my fourth grade geography book. The former showed me beauty, magic, and sorrow. The latter showed me wonders of the world beyond my small Ohio town. I can still see the pictures of African tribes—pigmies; women with elongated necks, their heads resting on a column of rings; men with artistic scarring.
Neither my school nor my town was big enough to boast a library. Instead, we had a bookmobile that came every two weeks. I had special dispensation from my teachers to take out more than two books at a time. I walked home with all the books I could carry between my cupped hands and chin. On the shelves of that bookmobile I discovered my first serialized love: the Cherry Ames nurse books, 27 of them written between 1943 and 1968 (by Helen Wells (18) and Julia Campbell Tatham (9)). Every book involved a medical mystery. My second serial love was the Ruth Fielding series, 30 volumes produced by the Stratemeyer Syndicate, between 1913 and1934. Ruth Fielding volumes and several books of fairy tales filled a small bookshelf at the foot of my Aunt Mary’s bed. Mary was (and is) five years older than I. When I stayed with my grandparents in the summer, I devoured Aunt Mary’s books. Ruth Fielding also solved mysteries. And the fairy tales? Only a step from The Littlest Mermaid.
This is a sequel to “Death Comes to Hollywood Cemetery,” which appears in Virginia Is For Mysteries. It follows Clara as she escapes war-torn Richmond in 1862 only to encounter wounded soldiers and spies in Bath County.
Preorders are the way that the big stores judge how many to order. It’s an opportunity to support local authors and reserve your copy. Virginia is for Mysteries, Volume II releases on February 1, 2016.
You may recall that in one of my previous blogs, I mentioned talking with writers about writing as one of the best things about a writing workshop at Nimrod. Although not as interactive, there are lots of ways to get inside writers’ heads.
His short answer is that how much you write (publish) isn’t a reflection of how well you write. But there are many paragraphs of well-crafted opinion that are well worth reading. Of course, you already know that Stephen King wrote one of my favorite books on writing.
Stephen King’s On Writing
On Saturday, August 29, NPR’s Scott Simon interviewed Ursula Le Guin on Weekend Edition. Among other things, she talked about the effect of aging on her writing. She is 85. It’s well worth a listen.
If you are a magazine person, there are many places to get insights about and from writers. Two of the most popular are Poets & Writersand Writer’s Digest.
There are many books by writers about writing, both classic and modern.
The Spooky Art by Norman Mailer, Aspects of the Novel by E.M. Forster, Elmore Leonard’s 10 Rules of Writing
One of my favorite bits is one of Elmore Leonard‘s rules: Leave out the parts the reader is going to skip anyway. It doesn’t get much better than that.
UCI Road World Championships are over and congratulations are due to all cyclists, especially Chloe Dygert and Emma White, two US cyclists who came in first and second in the women’s junior road race. Dygert and White were also 1 & 2 in the women’s junior time trial. It made me reflect again on the long-term effects of bicycles in women’s lives.
On September 17, I posted this picture on my Facebook page and mentioned that some suffragists called bicycles Freedom Machines because of all they opened up in the lives of 19th century women. I’ve been thinking about bicycles a lot this past week, and it seems this is a topic worth revisiting after the close of race week.
Male domination of cycling ended as a result of the introduction of the safety bicycle in the 1880s. The safety bicycle had smaller wheels, a lower seat, a diamond frame and (soon) pneumatic tires. In 1896, Margaret Valentine Le Long garnered fame (if not fortune) by riding a safety bicycle from Chicago to San Francisco.
A 1889 Lady’s safety bicycle. This work is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1923.
Not all women cycled for feminist reasons. Indeed, at the end of the 19th century, some cycled in order to expand Victorian moral and aesthetic tastes and sentiments into the public arena. These women cycled to feminize, domesticate, and civilize public spaces they considered masculine, loud, and rowdy.
Annie “Londonderry” Cohen Kopchovsk was the first woman to bicycle around the world. “Annielondonderry” by Unknown – http://www.annielondonderry.com. Licensed under PD-US via Wikipedia.
But regardless of why women took up cycling, the bicycle took them out of the home and into an expanded world. In addition, practical dress for women cyclists (in addition to eliminating corsets) resulted in divided skirts, bloomers, and knickerbockers. It was practical, facilitating more comfortable riding. But at the same time, it was symbolic in breaking from the dominant norms of appropriate female dress and behavior. In 1896, Susan B. Anthony told the New York World’s Nellie Bly that bicycling had “done more to emancipate women than anything else in the world.”
Bicycle suit, 1895. By http://www.victorianweb.org/periodicals/punch/15.html [Public domain], via Wikimedia Commons
Frances Willard, suffragist and founder of the Women’s Christian Temperance Union, was one of the most famous women of her day with a mass following of independent-minded, often politically active women. At the age of 53 Willard determined to learn to ride a bicycle because she “wanted to help women to a wider world…from natural love of adventure—a love long hampered and impeded…[and] from a love of acquiring this new implement of power and literally putting it underfoot.” Her book, A Wheel Within a Wheel: How I Learned to Ride the Bicycle, was published in 1895. Bicycling magazine called it “the greatest book ever written on learning to ride.”
Frances Willard by English: photo taken before 1898, author not known, Image edited Deutsch: Urheber unbekannt; Das Bild wurde vor 1898 aufgenommen; Bild wurde später (am oder vor dem 30.12.2009) nachbearbeitet. (http://memory.loc.gov) [Public domain], via Wikimedia Commons
In his novel trilogy The Forsyte Saga, John Galsworthy had this to say about cycling: “Under its influence, wholly or in part, have wilted chaperones, long and narrow skirts, tight corsets, hair that would have come down, black stockings, thick ankles, large hats, prudery and fear of the dark; under its influence, wholly or in part, have bloomed week-end, strong nerves, strong legs, strong language, knickers, knowledge of make and shape, knowledge of woods and pastures, equality of sex, good digestion and professional occupation—in four words, the emancipation of woman.” (Quoted in Dave Horton’s “Social Movements and the Bicycle.”)
Some authorities warned against excessive cycling by women, girls, and middled-aged men. Also of concern in the 1890s was the possibility that bike riding might be sexually stimulating for women—which resulted in remodeled “hygienic” seats, high stems, and upright handlebars that reduced the angle at which women would ride. Even so, through cycling, doctors discovered that exercise is healthful—even for women! The bicycle caused the death of the corset and “straight laced” women, leaving only “loose” women. (FYI: during the Civil War, “loose women” were also known as “soiled doves.”)
Willard named her bicycle Gladys, for the “gladdening effect” it had on her health and political optimism.The overall message of her book presented mastery of the bicycle as a metaphor for women’s mastery over their own lives.
So, that’s all ancient history, right? None of this really speaks to women today, right? Unless you are Rosemary Shomaker—or one of the platoons of other women whose experiences still resonate with those of our foremothers. Rosemary posted on my Facebook page: “In the 1970s the bicycle was definitely a ‘freedom machine’ for one girl escaping a less-than-fabulous home life—me! I rode my bike everywhere. To softball and field hockey practices ad gaes. To my part-time job. To friends and boyfriends; houses. To Wolf Trap Farm Park. Along the W&OD bike path. To parks. To tennis courts. Early bike riding shaped my still uber-independent spirit. Go Richmond 2-15 UCI Road World Championships! Best wishes from a bike lover.”
I was never a bike-for-pleasure person. But bike as transportation was a big deal. It allowed me to ride from my house a few miles along a county road to visit with my cousins. My sister and I shared that bike. When I got my first car at 16, my dear sister got sole possession of that dear bike.
Frankly, I never thought much about bicycles as art. When I first saw this sculpture in the Lewis Ginter Botanical Garden, I thought, “What an odd thing to have here!” That was shortly before Race Week edged into my conscience.
Sculpture in the Lewis Ginter Botanical Garden
But once I started noticing, bicycle art is—if not rampant—at least frequent. I found this one while vacationing with my family.
Sculpture in Narragansett, RI
And here are several you can see if you do tour Ashland—as I certainly urged you to do in my most recent blog!
Art in Ashland, VA
Last but not least, consider visiting the Virginia Museum of Fine Arts. Beginning September 6, they will have a teaching program for children titled ArtCycle. It is interactive, allowing a virtual tour of museum holdings related to bicycle art as well as the opportunity to make art using bicycle parts. This program will be available for a time after race week. Check the VMFA calendar.
UCI Road World Championships
From the UCI Road World Championships Richmond 2015 website:
The Road World Championships (Worlds) is cycling’s pinnacle event, held annually in an international city as chosen by the Union Cycliste Internationale (UCI) through a competitive bidding process similar to the Olympic Games.
Worlds is a nine-day event, featuring 12 Championship races for Elite Men and Women, Under 23 Men and Junior Men and Women. It is a rare opportunity for the athletes to compete for their country, just as they do during the Olympic Games.
Ashland, Virginia—self-designated decades ago as the Center of the Universe—is a small town about 15 miles north of Richmond, home of Randolph-Macon College. Ashland is a railroad town predating the Civil War, originally built by executives of the RF&P Railroad.
However, that doesn’t stop the town being very bicycle friendly. Every nice weekend day cyclists swarm at Ashland Coffee and Tea, taking breaks during their enjoyment of rural Hanover County roads.
In the spirit of race week, Ashland’s Main Street Association invited merchants and residents to welcome cyclists and fans by decorating bicycles.
I want to share with you a sampling of what you can see if you walk around the bicycle gardens in the center of the Center of the Universe!
Ashland offers tourist information at the Train Station Visitor’s Center. You can get a bike garden scavenger hunt map there, as well as a self-guided walking tour of historic places.
And in downtown Ashland, you can get good food that does not come from a chain restaurant! (Of course, if chains are your thing, there are bunches around the I-95 exit, and along Rt. 1 and Rt. 54, very convenient.) There are antique stores and fun shops. Bottom line: something for everyone. Y’all come!
UCI Road World Championships
From the UCI Road World Championships Richmond 2015 website:
The Road World Championships (Worlds) is cycling’s pinnacle event, held annually in an international city as chosen by the Union Cycliste Internationale (UCI) through a competitive bidding process similar to the Olympic Games.
Worlds is a nine-day event, featuring 12 Championship races for Elite Men and Women, Under 23 Men and Junior Men and Women. It is a rare opportunity for the athletes to compete for their country, just as they do during the Olympic Games.