Give a girl a knife A memoir

Amy Thielen

Book - 2017

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Location Call Number   Status
2nd Floor 641.5092/Thielen Checked In
New York : Clarkson Potter/Publishers [2017]
Main Author
Amy Thielen (author)
First edition
Item Description
Includes index.
Physical Description
311 pages ; 22 cm
  • Prologue
  • I.
  • 1. My Kitchen Affliction
  • 2. Sugar and Color
  • 3. Home Cooking
  • 4. Meat Versus Vegetables
  • 5. Herring Dares and Chicken Turtles
  • 6. Twenty-Five Pies
  • II.
  • 7. The Sweet Smell of Home Fries
  • 8. Give a Girl a Knife
  • 9. The Perpetual Popcorn Pot
  • 10. Old Five-and-Dimers
  • III.
  • 11. Are We Going to Bake This Bread in My Lifetime?
  • 12. The Old Time of My Youth
  • 13. If You Don't Look You Don't See
  • 14. Circus of the Ridiculous
  • 15. Good Neighbors
  • 16. Chef Salad, No Eggs
  • IV.
  • 17. Pounds and Pennies
  • 18. Morbid Sugar
  • 19. Stalking the Beast Called Dinner
  • 20. Primary Sources
  • Author's Note
  • Acknowledgments
  • Index
Review by Booklist Review

From her childhood in a rural town north of Minneapolis, through years homesteading with the artist who would become her husband, on to New York's hottest restaurants, and then back to rural Minnesota with a new baby, chef, Food Network host, and cookbook author (The New Midwestern Table, 2013) Thielen sensuously traces a life laced together by food and its preparation. The author credits her outspoken mother with handing her a knife at a young age, trusting her to cut apples for pan dowdy without cutting herself, and setting her on the path that would lead her to work as one of the few women in the kitchens of chefs David Bouley and Daniel Boulud. Thielen is as supple and precise a writer as she is a cook, whether she's talking about fries as crispy and light as balsa wood or the cool fleshiness of Medjool dates. Her writing is as earthy as a plate of her grandma's sauerkraut hot dish, and her life as intriguingly complex and varied as a tasting menu.--Quamme, Margaret Copyright 2017 Booklist

From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review

In this enjoyable memoir, James Beard Award-winner Thielen (The New Midwestern Table) takes readers on a culinary journey from the Midwest to New York City and back. For years, she and her artist husband, Aaron Spangler, bounced between the food and art worlds of New York City and their tiny, unplugged home in the woods of Minnesota. Simultaneously sincere and funny, Thielen writes of her path to becoming a chef and understanding her German and French roots. She graduated from Macalester College in 1997 and two years later left her hometown for New York City, where she attended cooking school and landed jobs in the kitchens of restaurants run by Daniel Boulud and Jean-Georges Vongerichten, among others. She often returned to Minnesota, where she would tap into the culinary traditions of her family: her mother would prepare French classics with a hearty American twist, and Thielen also became intrigued by the cuisine of her German grandmother, who delighted in bacon, butter, and all things fermented, especially pickles. After the birth of her son, Thielen and Spangler decided to leave Brooklyn and move permanently to Minnesota. Thielen's writing is warm and welcoming, especially as she describes going back home: "You don't just jump into the same old story. You step back into your shadow, but into a totally new narrative." (May) © Copyright PWxyz, LLC. All rights reserved.

Review by Kirkus Book Review

A Saveur contributing editor and James Beard Award-winning cookbook author reflects on her Midwestern upbringing as inspiration for her culinary pursuits.The frenzied, behind-the-scenes activity within New York's leading restaurant kitchens has been well-documented in numerous cooking memoirs of recent years. Massive egos running rampant, razor-sharp precision and timing demanded at every moment, 80-hour work weeksThielen (The New Midwestern Table: 200 Heartland Recipes, 2013), who hosts a Food Network show, delivers plenty of these now-familiar revelations in her debut memoir. The author's journey begins in the late 1990s, when, freshly arrived from Minnesota with her boyfriend (and future husband), Aaron, she landed a job as a line chef at David Bouley's famed Danube. She later rose to more prominent positions under such notables as Jean-Georges Vongerichten and Daniel Boulud. For several years, the author and Aaron shuttled back and forth between New York and their home in a deeply rural section of Minnesota, where they live largely off the land. As Thielen contemplated how her future in the industry would unfold, her objectives stretched beyond the predictable aspirations of opening a restaurant or even continuing in New York. She reflects on the values of family and community bonds and recalls how her culinary instincts were instilled by her mother's less pretentious skills as a home cook: "Her caramels, her bacon-fried rice, and her Cesar salad (trademarked with a burning amount of garlic) made her a minor star in our neighborhood circle, and in our lives." Thielen's narrative journey evolves somewhat passively, and she offers few fresh insights into the food industry or the high-end restaurant scene, yet her musings on ingredients and flavors are engaging: "The joy of lemon cannot stand alone; it needs sugar or olive oil, something to bring it back to earth. Vinegar literally cries out for fat. Fat falls flat without salt or sugar. Chile heat sings with brown sugar. And bitterness, well, that needs it all." A warm, mildly immersive memoir documenting how Thielen found her calling by embracing her down-home influences. Copyright Kirkus Reviews, used with permission.

Copyright (c) Kirkus Reviews, used with permission.

Chapter 1 My Kitchen Affliction The place from which I'd come before cooking at Danube couldn't have been any more different if I'd imagined it--­and sometimes I think I did. To trace my journey to that kitchen in backward fashion, you have to climb up into a twelve-­foot U-­Haul truck with me and my boyfriend, Aaron, a truck whose broken-­down starter requires us to park each night on a downward-­facing slope that will flip-­flop-­flip-­flop the starter to life each morning and keep us driving . . . ​up, down, and around the tight hills of upstate New York; then along the thick blacktop artery that clings to the southern coast of Canada, stopping periodically--­without cutting the engine--­to pick up foam clamshells of fried perch-­and-­chips in the finger of Michigan's Upper Peninsula; across the stubby acidic swamplands of Minnesota through ghostly towns called Ball Club and Remer and Federal Dam on thinning two-­lane blacktop; all the way to the dead-­end, minimum-­maintenance road that leads us back to the house Aaron built in the Two Inlets State Forest: a tall, one-­room log cabin best described to others for what it lacked--­running water, electricity, all modern amenities--­but to us as the scrappy home we'd known for the previous three years. This humble place of origin, whose housekeeping hardships we generally ignored, gives you a pretty good idea why it never occurred to us to return a rental truck with a nonworking starter. Aaron and I hadn't just driven a few thousand miles from northern Minnesota to Brooklyn; we'd also jumped forward a good hundred years. Our early life together was nothing if not a creative use of the time machine. At the house in the woods, we pumped water by hand from our own sand point well and hauled it into the kitchen in plastic jugs. We kept our meat cold on blocks of ice, lit oil lamps for light when the sun went down, and showered outside in the breeze. On the hill jutting out into a swollen creek, home to a natural stand of wild rice and a community of honking swans that separated us from neighbors for miles, we basically lived on an island of the 1880s within a sea of the late 1990s. I liked to think of it as our own private epoch, but looking back, I'd say we pretty much lived in our heads. I admit, when we first started dating and Aaron told me about his house--­at ages twenty-­four and twenty-­one, respectively--­I thought the whole enterprise sounded a little suspect. But that was before I came to understand his pragmatic optimism, his gift for turning flamboyant fantasies into realities that parade around the room as common sense. Before we dated, I'd known of Aaron vaguely for years. He was my childhood friend Sarah's unusual older brother, one of our hometown's only ratty-­haired punks, the sequin-­caped lead singer of a glam rock band, and a sculptor. By the time I met him, he had graduated from art school in Minneapolis, was recently divorced from his high school sweetheart, and had moved back home to Park Rapids to build his house in the woods. He thought of himself as an old man and mockingly referred to himself as "retired"--­a joke that hid a key shift of perspective. Going against the prevailing wind that nudged all artists toward backup plans, he reacted by throwing himself a retirement party and signing up for AARP. Making art would not be a secondary pursuit for him, but plan A. And the new retiree was looking for a cheap retirement outpost. By building an off-­the-­grid house out in the country, he whittled his expenses down to nothing so that he could afford to work on artwork full-­time. That was the public story. Privately, he also built the house because he was convinced that he was going to die. Only twenty-­four years old but plagued with a bunch of mysterious physical symptoms (foggy thinking, odd blood tests, an unusual new tremor in his rib cage) he thought would kill him, he figured he'd better build the house he'd always dreamed of out on his family's hunting and camping land. Later we'd find out this wasn't just run-­of-­the-­mill hypochondria talking, but instead the first bubble of a sedimentary anxiety--­the artist's malaise--­to burst to the surface. His sensitivity was largely spatial, ticklish to place. Sprawling big-­box stores with thrumming fluorescent lights, suburban houses with overly wide hallways, and blinding expanses of Sheetrock--­those were bad. But a small, low-­lit house with high ceilings lots of head space, sitting out in the middle of the woods, felt right. Fortunately, his health problems faded as his house rose up. Without any power tools--­just a shovel, a cordless drill, his grandpa Annexstad's old Swede saw, and his own young back--­he built his place right where his ten-­year-­old self had thought it should go: on a far hill overlooking the creek, miles away from the nearest electrical box, at the eighty-­acre plot's most scenic, most inconvenient spot. When he was done, he dug out a garden and planted a few lilac bushes and thought of it in the future tense, as a homestead--­in the evenings, a dreamer's somewhat lonely homestead. Soon after, he got a girl to live back there with him, and that girl was me. My decision to move to a rustic one-­room house way out in the middle of the yawning forest was a puzzlement to my parents, my friends, and initially even to myself. Aaron's house lay only a precarious twenty miles away from Park Rapids, the hometown to which I'd never expected my postcollege self to return. As I drove past the green Park Rapids sign population, 3,976, I saw my former isolation with clear eyes. My two-­stoplight hometown was deep in lake country, four hours north of Minneapolis-­St. Paul, and hours away from any town that might be considered a city. It was flush with nostalgia and pine trees but pretty short on great restaurants, bookstores, or cultural events--­everything I'd come to love during my college years in Minneapolis. It wasn't exactly where I envisioned myself settling. I can track this trajectory shift back to a single moment, the coda to my Park Rapids childhood: When I turned sixteen, the winter my parents split up, I learned how to properly whip my car into a doughnut (what we called a "shitty") on the icy tundra of the empty nighttime grocery-­store parking lot. My friends and I were good girls and didn't usually do such things, but we assiduously practiced our car twirls--­speeding, whipping the wheel, and spinning wildly out of control--­feeling the circadian swoop low in our bellies, as if by mastering it we could conquer our fears of moving out and moving on. When my family split and we left a few months later, it was as though I'd been interrupted midspin, leaving me for years afterward with an irrational surplus of feeling for my hometown. It was like a dumb phantom limb that wouldn't stop tingling. Going almost home, to Aaron's house twenty miles north, felt close, but reassuringly out-­of-­bounds. It wasn't exactly a homecoming, but a do-­over. At the time I pinned my attraction to the place--­in addition to the romance of shacking up with my new boyfriend in the woods--­on our large garden and the chance to grow all our own food. As was typical of a late-­1990s liberal-­arts college graduate, especially one who had spent her senior year combing through farm women's journals in search of poetic quotidian verse for her thesis on outsider American lit, I was burning with desire to cook like the pioneers. As I drove past my childhood split-­level house in Park Rapids, the obsession felt incongruous. I'd grown up with a mother whose cooking was so outsized that she could have almost cut a window in her back door and gone commercial. She was a shopper, not a gardener, a woman who beat a five-­block path to the Red Owl grocery store once a day and sometimes twice. Her caramels, her bacon-­fried rice, and her Caesar salad (trademarked with a burning amount of garlic) made her a minor star in our neighborhood circle, and in our lives. But it was the area's rustic woodstove history, mixed with my grandma's memories of her farmhouse childhood, that gave me daydreams. Homemade sausage patties preserved under a thick frosting of white lard, horseradish-­grinding sessions that drove everyone from the house in tears, long canning days that fogged the windows until they wept with steam, soaring homemade potato bread baked in twelve-­loaf batches, four at a time. Installed now on a rough-­board porch in the woods shelling a basket of peas from the garden, I had effectively driven myself two generations back in time to find the only things that my buttery, voluptuous, well-­fed Midwestern childhood had lacked: baby greens and deprivation. I wanted to cook like my Midwestern great-­grandma had, with the feeling of scantness at my back. I wanted to pick a bowl of peas in the afternoon and bathe them in butter a few hours later, because I'd read tall tales of their fleeting sweetness. If I had refrigerated them (if I'd had refrigeration), their sugars would begin to turn to starch, like any old grocery-­ store pea. My cooking bug, which had begun innocently enough as a way to stave off the agony of writing papers throughout my college years, was growing into a serious habit. Or as Aaron described his own art practice: It was becoming an affliction. In our kitchen, my turn-­of-­the-­century farmhouse dream was distressingly accurate. At just four feet by six, it was my foxhole. Its compactness made it oddly convenient. A massive propane-­powered 1940s Roper stove sat in the middle, its four burners set wide in an expanse of milky-­white porcelain. Standing at the stove, I didn't have to move my feet to reach the sink or the shelves, and a quick pivot squared me to the large butcher-­block counter to my left. The stove's two identical rust holes burned out on either side were the telltale signs of a lifetime spent firing double-­wide boiling water-­bath canners, so it had good genetics--­but bad mechanics. To light the tiny oven, I had to turn on the gas, shove a lit match into the pilot peephole, lean back, and wait for the loud whoof of the burner plate erupting into flames. Water was our daily preoccupation. Every morning Aaron heaved a full five-­gallon spigoted water container onto the high counter over the double sink, under which we had positioned two five-­gallon buckets, one for each drain. When I turned the spigot, the water ran into the sink and then down into a plastic bucket. When the bucket was empty, the echo of the water sounded loose and floppy; the echo sounded tighter--­more nervous--­when the water neared the top, as if to warn me that it was getting full. (Certain mistakes you make only once, and letting one of those drain buckets overflow is one of them.) To do the dishes, I filled a three-­gallon kettle, heated it on the stove, poured the boiling water into the sink, and tempered it with the cold until I could submerge my hands, red and ringing, long enough to wash a pot. I liked it hot. By my estimation, on a normal day, we used about three-­and-­a-­half gallons of water, and about five gallons when we had people over. I was surprised when visitors looked at this jury-­rigged setup with lopsided grins because it seemed to me like a perfectly good system. With it in place I cooked everything we ate--­breakfast, lunch, and dinner. In the beginning, I picked all the green things from our garden, boiled them, soaked them in butter, and served them in a moat around a central chunk of meat--­as my mother had fully equipped me to do. But soon I realized that unless I wanted to drive into town every other day for meat, I would have to cook differently. I'd have to focus on the vegetables from the garden. At that single-­slab counter, I learned how. In the mornings I fried eggs in butter with grassy, peppery rings of Hungarian wax pepper and steamed them until the yolks clouded over. I whisked aioli in a bowl perched on my belly to serve with the lone steamed artichoke we had coaxed to grow. I peeled buckets of apples we picked from an abandoned tree on an old homestead nearby and stewed them into coppery mounds of sauce. I simmered plum tomatoes with the sticky, resiny tufts o rosemary, then pummeled a lump of pasta dough, hooked a hand-­cranked pasta machine to the butcher block, and painstakingly cut out long pappardelle. Underestimating how long this operation would take, I think we ate at ten that night by lamplight, Aaron cramped with hunger, me with none at all. Sitting under a dark cloud, I picked moodily at the too-­thin delicate noodles, which really would have been better with a cream sauce. I had so much to learn. When word got out that a young lady was living back there in the woods with a rustic kitchen, older women--­some of them virtual strangers--­came bearing their abandoned preserving gear: stacked boxes of dusty pint jars, old dented water-­bath canners, ancient pressure canners whose gaskets and dials and clamps made them look as intimidating as bombs. Following the fine print in the Ball jar canning book, I set out to assemble an old-­time pantry, an arsenal of flavors that couldn't be found anywhere but here. Some were wild successes: chokecherry syrup that raced with tannins; crab-­apple juice as tart as vinegar; fermented dilly beans as tingly as my grandma's brined dill pickles; wild-­berry bachelor's jam embalmed in high-­proof rum, instantly intoxicating. Other things--­such as pickled eggplant (the texture of cotton balls) or wild Juneberry jam (which tasted only like its added sugar) or chowchow (just not into it)--­felt like the waste of a good free jar. For three years we lived like Minnesota snowbirds: "up north" at the house outside Park Rapids for the six months of the gardening season and four hours south in Minneapolis for the winter months. To fund this routine we hoarded the income we made from our city jobs and coasted on it through our underemployed summers, during which we had no bills to pay. Aaron's summer days were filled with making sculptures and pumping water. Mine were taken up with cooking--­at home and, eventually, three mornings a week at a diner on Main Street in Park Rapids, where I earned five dollars an hour, a paycheck that just about covered the gas it cost to get there. At some point into our third summer in Two Inlets, after we'd gradually updated our situation to include a landline phone, a single solar panel, and a propane-­powered fridge, I hit a plateau. Excerpted from Give a Girl a Knife: A Memoir by Amy Thielen All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.