Reading may seem like a solitary pleasure, but we do not believe it is so. As we read, we intimately interact with writers, the worlds they create, and our own inner selves as well as the real world that surrounds us. Some of us are also blessed enough to have friends to share the experience with.

While discussing the idyllic village of Three Pines and the captivating characters author Louise Penny created in the Inspector Gamache books, we were aware of the sensory pleasure to be had in the meals described. Olivier’s Bistro, Gabri’s baking, and dinners at the Morrow’s can easily make us salivate while reading the books… Louise Penny's books, are a wonderful entrĂ©e into a sensual world, where each book is a season, capturing its mood and flavours, and contributing to the layers of meaning about the characters, who are marvellously revealed over the series.

At one point, a daydream of going through the series with a notebook in hand, writing down all these meals and later cooking them, took shape. This is our "notebook". We hope you enjoy this literary-culinary-sensory-philosophical journey.

Friday, June 17, 2016

Cucumber Soup with Mint and Melon...and the frog in the frying pan

by Libby




... Olivier had prepared something special for Beauvoir to take back for the four of them. And so the Inspector had returned with a chilled cucumber soup with mint and melon, a sliced tomato and basil salad drizzled with balsamic, and cold poached salmon. (A Trick of the Light, Kindle, p.51)

In the midst of this bucolic setting of Clara Morrow's garden with the river and forest beyond, a murder has been committed. Twenty feet from where Gamache, Beauvoir and the Morrows sit having an alfresco lunch, a forensic team investigates the site where Lillian Dyson, a former friend of Clara's, has been murdered. It is a bizarre juxtaposition.

And it's little wonder at Clara's contrary reaction when she is forced to dredge up the details of a painful episode in her life, a captive once again in her relationship with Lillian.

She took a sip of the cold, refreshing soup. She wondered if she really should be quite this hungry. And, oddly, when the body had been an anonymous woman Clara had lost her appetite. Now that it was Lillian she was ravenous. (A Trick of the Light, Kindle, p.51)

In Still Life we first learn of Clara's vulnerability, how her experiences of being intimidated and excluded as a child left her feeling inadequate and powerless. Now we learn that into that void had come Lillian, to champion Clara, support her. But it eventually came at a cost. Clara's need for approval and acceptance, the promise of Lillian's friendship and fear of losing it was a seedbed for Lillian's control. She was a grade 'A' manipulator and Clara a prime target with her self-worth being so dependent on Lillian. Though the relationship seemed to start well for Clara, over time it became one-sided, troubled and eventually toxic.

Some of this struck a chord with me, particularly thinking back to those adolescent years when so much was invested in the approval of friends and peers, at the same ghastly time as trying to grow into your headspace and body. I can think of instances of dancing to someone else's tune to be accepted as part of the group, or as a favoured companion. Cringe worthy when you look back, wanting to be one of the 'cool kids' but lacking a bit of self-esteem, so unable at times to resist currying favour of those with a seemingly strong power base. Fortunately it was a relatively short-lived thing. Somehow I matured enough to see through a friendship that was essentially on one person's terms with questionable motives. I guess my investment in any friendships at that time was quite insignificant compared to the worthwhile capital invested in some later friendships that have returned it in kind.

Clara, however, had very early on made a big investment in her friendship with Lillian. By the time she realised the imbalance in it, the deception and coercion, her behaviour and actions were already largely in response to Lillian's wants and needs. At the mercy of Lillian's emotional blackmail, Clara was variously made to feel shame and guilt, and subjected to blame, anger and threats.

Lillian's greatest retaliation (because her control was under threat) was in response to Clara starting to find her voice and becoming empowered through the creativity in her artwork. Surely it was Clara's need to please and her own fear of conflict, rejection and abandonment that remarkably led her to change her style of art at Lillian's insistence. Clara's self doubt and therefore inability to trust her own judgement played straight into Lillian's hands. And somewhere beneath the facade were Lillian's own insecurities. This is, sadly, the story of manipulation. Eventually a brutal act of betrayal, Lillian publicly and scathingly criticising Clara's art, brought an end to the toxic relationship.

Clara could still feel the quaking, the rumbling, volcanic fury. Their friendship had been blown to smithereens. No piece large enough to even examine. Impossible to mend. But what did rise from the rubble was a deep, deep enmity. A hatred. Mutual, it seemed. (A Trick of the Light, Kindle, p.47)

Fortunately she was finally able to assert some control and be true to herself. But is it little wonder all these years later, given Lillian's intrusion on her life again, that Clara still feels enmity towards her?
In spite of her well-earned success and acclaim as an artist, Clara is reduced to bitter feelings of resentment that Lillian has once again been a 'despoiler', robbing her of the triumph of her professional success, forcing her to relive the calculated betrayal that destroyed their friendship.

Perhaps in some cases distance doesn't give perspective. After a twenty year hiatus, Clara's judgement of Lillian and her intentions, remains unchanged, suspended in time. And now Lillian lies in her garden.

Ding, dong, thought Clara. The witch is dead. (A Trick of the Light, Kindle, p.53)

After such an arduous journey to artistic success, Clara's feelings of resentment, and even rage towards Lillian and what she has yet again stolen from her, are understandable. Myrna knows this -- Myrna, who is the friend that friendships can be judged by, where there is balance and openness, a sense of affinity and mutual respect and support. Why settle for less? We all need a Myrna in our life!

“...she ruined your big day.” It was a statement. And it was true. She had. Lillian herself, it must be admitted, had not had a great day either. (A Trick of the Light, Kindle, p.80)

While Clara tries to explain her bitterness based on her manipulated relationship with Lillian, Myrna provides wise counsel likening it to 'the frog in the frying pan', and acknowledging her eventual assertiveness.

"... if you put one into a pan at room temperature then slowly raise the heat, what happens?” Clara thought about it. “It’ll jump out when it gets too hot?” Myrna shook her head. “No.” She ... leaned forward again, her eyes intense. “The frog just sits there. It gets hotter and hotter but it never moves. It adjusts and adjusts. Never leaves.” ... “You stood up for yourself. For your art. You left. And she hated you for it.” (A Trick of the Light, Kindle, p.81)

To complete the episode Louise Penny helps to assuage our feelings of hurt and disappointment for Clara's situation with Myrna's heartwarming, albeit cryptic, quoting of the headlines from the New York and London Times' art reviews to her, lauding her work.

“Hope takes its place among the modern masters.” ... “Clara Morrow’s art makes rejoicing cool again.”

Balance is restored. Aren't true friends more than not the bearers of good news, and regardless, leave us feeling better?

There's much to value in this episode, not least Louise Penny's use of humour as counterpoint to  the grim reality of traumatic events. I suppose from Clara's perspective it seems pretty black and white. But Louise Penny reminds us, as the story evolves, that people are capable of change, or at least can learn how to get back in touch with that better part of themselves. Clara comes to appreciate this, too.


The delicate, summery flavours of the lunch at the crime scene are a stark contrast to the dark feelings of turmoil experienced by Clara. I chose to make the soup as I was curious about what flavours would work well together and how best to judge the right balance between them. It's always enjoyable experimenting with ingredients and exploring flavour possibilities. Cucumber and honey dew melon blitzed together make quite a refreshing drink, but to put them together in a soup a few other key ingredients are needed to lift flavours from the bland to more interesting and tasty heights.



Cucumber Soup with Mint and Melon

 

This delicate, tangy soup, served at room temperature or slightly chilled, is perfect for a warm day and is all about fresh seasonal ingredients. It is quite delicious and reaches more complex heights with a lime and cardamom yoghurt topping and a little 'quick' cucumber pickle.

Simply made in a blender until it has a silky-smooth consistency, the trick to this soup is to balance the flavours as you make it. A very sweet melon, for example, might mean that you need a little more acidity so add more lime juice or rice wine vinegar. Extra ginger or a little more white pepper brings a more spicy note to the soup. The flavour of the soup will come alive by getting a balance between spiciness, sweetness, sourness and saltiness.  That is why tasting it, as your make it, is so important.

The thicker consistency and stronger flavour of Greek yoghurt adds a creamy texture to the soup and contributes to a more savoury flavour. If you prefer a creamier, thicker soup, then add more yoghurt. All the liquid you need in the soup comes from a thorough blending of the ingredients. Don't be tempted to add water as this will dilute the flavours considerably.

This recipe will serve four for lunch, or six as a starter for dinner.
 



1 long Lebanese cucumber
1 honeydew melon
2 tbsp fresh lime juice
several sprigs of mint, stems removed
1tsp of finely grated root ginger

2 tbsp rice wine vinegar
1/2 cup Greek natural yoghurt (creme fraiche can be substituted)
1/2 tsp sea salt flakes
1/2 teaspoon ground white pepper




1. Peel and deseed the cucumber and melon and chop into small pieces.

2. Blend the cucumber and melon together until liquified. Taste for sweetness.

3. Blend in 8-10 small mint leaves and taste.

4. Add the ginger and lime juice and blend.

5. Add the rice wine vinegar. Blend and taste. Add a little more rice wine vinegar, if required, to add a sharper note to the soup.

6. Blend in the Greek yoghurt and check the soup for a light creaminess. Add more if desired.

7. Bit by bit, season the soup with salt and white pepper and taste.


 
Lime and cardamom yoghurt 


This provides a zingy, aromatic and creamy topping for the soup. Generous dollops of this are a nice contrast with the thinner, silky consistency of the soup.

2/3 cup Greek natural yoghurt
1-2 tbsps of fresh lime juice
finely grated zest of 1/2 lime
1/4 teaspoon of ground cardamom

1. Sprinkle the lime zest and cardamom over the yoghurt and mix in. I cracked open half a dozen green cardamom pods in a mortar, removed the husks and then finely ground the seeds. This releases a wonderfully fresh and warm, aromatic flavour.

2. Mix in the lime juice, one tablespoon at a time, until the yoghurt has a slightly softer consistency. Taste and adjust the balance of flavours if required.


Quick cucumber pickle


This is a surprising sweet and sour addition to the soup that lifts it an extra notch, and is made in no time at all. So don't leave it out.

8-12 paper-thin slices of Lebanese cucumber
2 tbsp rice wine vinegar
scant tsp of sugar

1. In a small bowl dissolve the sugar into the vinegar.

2. Add the cucumber slices and mix in well. Set aside.


Serving the soup

Pour the soup into bowls. I prefer serving it at room temperature as chilling it tends to mask some of the more subtle flavours. Top each bowl with a generous tablespoon or two of the lime cardamom yoghurt, and slices of cucumber pickle. Finish with a small sprig of fresh mint.




6 comments:

  1. Oh, that soup looks so good! However, it has raised the imp in me - how can you tell if a cucumber is Lebanese? (couldn't resist - so sorry!) I will try this one, as it looks wonderful.

    This book is one in which I really understood Clara's hurt and feelings of betrayal. I was shocked when Lillian's parents were so upset with her - never thinking that they had been told a very different story. Poor Lillian - in the end, I think that she must never have been happy, and what a sad thing. This was one of the hardest books for Clara, I think - even though it should have been the peak of her career so far! You see how I worry about them all - they are all very real to me.

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  2. LOL, Julie! Funny that you should ask that though (even though you were joking :)), as I think it's actually a Continental cucumber that I used. Well that's what the longer variety are known as here...on checking. The ones known as Lebanese cucumbers are a much smaller variety.

    I felt the same shock with how Lillian's parents rejected Clara. I did like the way though that Louise Penny allowed us to see another, evolving side of Lillian, a redeeming one, further into the investigation. It was through the people she knew in Alcoholics Anonymous, and in the paintings they discovered she had been working on. It was as if Lillian's art had meaningfully emerged as she made efforts to be a 'better' person. Sad that it ended the way it did.

    These characters do have a way of getting under your skin, and striking a chord with feelings and responses in your own life. I think that's Louise Penny's greatest strength!

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  3. This soup looks great. I might even try to make it! Not sure if I know a Lebanese or continental cucumber.
    This book showed some of Clara growth, as she became a great artist and realized Peter needed to soul search. Peter left the same day Jean Guy called Annie. Changes changes. Lillian tried to make changes in her life. As always there is som much in these books. Sometimes it is growth, sometimes it is despair...

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    1. Hi Nancy, I think any cucumber will do really.

      Yes we certainly see Clara's capacity for growth in this book, particularly too in how she asserts herself with Peter.

      Oh yes, Louise Penny always seems to strike a balance between despair and growth, and hope. Tthis book has one of the most heart filling, hopeful endings of all, I think...never to be forgotten, never fails to make my eyes well!

      'As he turned back to the village he saw Ruth get to her feet. She was staring into the distance. And then he heard it. A far cry. A familiar cry. Ruth searched the skies, a veined and bony hand at her throat clutching the blue cardigan. The sun broke through a small crack in the clouds. The embittered old poet turned her face to the sound and the light. Straining to see into the distance, something not quite there, not quite visible. And in her weary eyes there was a tiny dot. A glint, a gleam.' (A Trick of the Light)

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  4. Yes, Ruth did not give up hope. The tiny dot in her eye is the same one Clara captured earlier when she painted her.

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    Replies
    1. Oh Nancy, i justI loved that connection back to Clara's painting, which showed just how much insight she had.

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