A midnight snack: Caerphilly and Jamon Serrano

They say you can’t go home again, and generally speaking, you can’t. Mostly, you shouldn’t. In some cases, you don’t even necessarily want to, which is why I haven’t been back to Forest Hills in almost 30 years. The idea of visiting the place where I grew up, without having two key life-supporting elements of my childhood—my father, and my grandmother—along for the ride or just around to talk to, was just too off-putting and fraught for me. So I studiously avoided it.

But when my artist cousin Mishka Jaeger told me that she was part of a group show at Long Island City’s Climate Gallery, I said to Susan “it’s time.” And it was. Forest Hills is exactly eight minutes by car from Long Island City, so I had no excuse. Finally, after ten years together, Susan would see the place where I lived so long ago, and it would cease being a mystery for her, and a vaporous, shrouded memory for me.

Naturally, everything looked a little bit smaller; the building I’d grown up in now seemed to be three quarter-size, like Main Street in Disneyland. We drove down 67th Avenue, and I showed Susan all the places that had some meaning for me: the nail salon that used to be the pizza place that produced a pie against which I still measure all others; the corner candy store, where Charlie, the guy behind the counter, used to make me a grilled cheese sandwich, oddly sliced into thirds; the low-rise apartment building down the street, where my great Aunt Millie and her corset-wearing husband Ben (he had a bad back) lived, and where, every Saturday morning around eleven, their second-floor neighbors’ Harlequin Great Dane, Danny, used to fling himself out of the plate glass living room window and onto the sidewalk, for no apparent reason.

We parked just off Austin Street, and walked, dodging baby carriages and teenagers and older people pushing shopping carts. Susan stopped, and pointed to a small storefront across the street.

Cheese of the World?”

There, amidst the big chain stores that signify the malling of what once had been a thriving town of independently owned businesses, it stuck out like a sore thumb. And I remembered, almost instantly: this was the place where, in 1975, at twelve years old, I made two important discoveries: first, not all ham is the boiled dreck that comes in a can, and second, some people treat food far differently than others. This was where it had all started for me, and all this time, I had forgotten. Every time an interviewer has asked me the inevitable “how did it begin for you—” I could never answer clearly, because I’d conveniently lumped Cheese of the World together with the existential gnarl that was my young life in this town.

We walked in, and there they were: sitting on a shelf, the loaves of square, dense, black bread that my friend Rachel’s mother used to buy from the German guys who owned the place in the 1960s and 70s. I’d spend almost every day after school with Rachel and her family, and was always included on shopping trips; other families shopped at Key Food, or Associated, but my friend’s mother would walk us all the way down Austin Street to this odd and alien store, and Rudy would say to her “I have a cheese that I think you’ll love,” and he’d give her, and us, a sliver, and she’d take half a pound that he would wrap up in old-fashioned white butcher paper. The store was packed with things I’d never seen: there were twelve different kinds of mustard from France and Germany; piles of Landjaeger sat on the counter; and the cheeses? This was Cheese of the World.

One afternoon, Rachel and her mother and I walked in, and Rudy presented us with hair-thin slices of Prosciutto di Parma; it was earthy and salty and sweet all at the same time. We brought some back to Rachel’s house, and her mother made us a snack of dark bread sliced into four squares, spread with sweet butter, and topped with the ham.

We did not snack like this in my house.

My grandmother would sometimes make a mid-afternoon batch of latkes, but this was different. Very, very different. And all this time, I’d forgotten.

Rudy is probably gone now, and I have long since lost touch with Rachel and her family. But when Susan and I walked into Cheese of the World yesterday and bought half a pound of Jamon Serrano for me, and half a pound of Susan’s beloved Caerphilly, I remembered it all. When I posted my doings on my Facebook page, a dozen friends from Forest Hills—people I haven’t seen in three decades—responded, and swooned. The store meant as much to them as it did to me, only I never knew it. My old high school friend Joey responded that he used to make up bedtime stories for his little girl, involving a family of mice that lived at Cheese of the World, in a crack in the wall. I cried. And then I wondered: did we all know that one small cheese shop in our home town meant so much to all of us?

We got home late last night after Mishka’s gallery opening—it was after midnight, the usual time for refrigerator and pantry grazing. We broke out the ham, and the Caerphilly, and poured ourselves glasses of a cheap Portuguese red, and these three things comprised one of the best late-night meals I’ve had in forever. At 2 am, it was time to go to bed, so we packed everything back up in the same, old-fashioned white butcher paper that Cheese of the World still uses, after all this time.

We’re not particularly big movie buffs in my house; I think that in the ten years we’ve been together, Susan and I have seen maybe six, total. I don’t remember most of them. But recently we launched an experiment: the only television we actively watch is PBS, Andrew Zimmern, Bourdain, and sometimes, The Office (although rarely, because it looks far too much like my office, which I’d frankly rather leave at work). So why not cut way back and join Netflix instead? We did, and so far, so good. Of course, most of the rentals have had some connection to food, except for the most recent one, Away We Go. Or so I thought.

I didn’t know much about this movie, admittedly, and expected two hours of hipster angst; the wonky glasses, the studied sloppiness, the flannel shirts, the beards, the indefinable ennui. And there was a good amount of that, certainly in the character of Burt Farlander, played by John Kasinski, who, together with his wife Verona, played by Maya Rudolph, have one foot in adulthood and one in screaming immaturity (evidenced by the frequent use of sophomoric language) and always look like they’re about to cry. But there was a lot more.

There was a lot of hunger.

Short version, if you haven’t seen it: Burt and Verona, an unmarried couple in their mid-30s are about to have a baby. They live in Colorado, and when his self-indulgent yahoo parents (Catherine O’Hara and Jeff Daniels) announce that they’re going to Antwerp a month before the baby is due, they decide that it’d be a good idea to relocate and make a home for themselves someplace where they have a connection—to close friends, to a sister, to a brother, to a former boss. And that’s what the movie’s about: trying to figure out where home is, based on external stimuli.

Naturally, what they find wherever they go are packs of crazies, misfits, and malcontents: They travel to Phoenix to visit friends Lily and Lowell, who, together with their children, run the gamut from inappropriately rude to just this side of lobotomized. A wildly pretentious, neo-new age childhood friend in Madison, Wisconsin eschews strollers and nurses her children until they’re big enough to attend graduate school. Burt’s brother’s wife has just run out on him and their kid, in Miami. Wherever they go, it’s like a visit to the Island of Misfit Toys.

In Arizona, they see Verona’s bad relationship-prone sister. Up in Montreal, their friends Tom and Munch (the former played by Chris Messina, of Julie & Julia fame) have adopted a small brood of children, and it’s revealed, when Munch does a public pole dance at a bar, that she’s just had a fifth miscarriage.

You can see it: Burt and Verona are voraciously hungry for family and stability—all those things that they believe mean home—but they desperately search for it through other people. And the individual denouement at almost every location they visit happens around food.

Is food the binding factor in our lives? Does it hasten decision? When we eat with others, does food become the means through which we know what is possible in our lives, and what isn’t?

Does food mitigate neuroses and fear?

At the end of their visit to Montreal, Verona and Burt and their friends sit together in a diner, where Tom, opining on the meaning of life and family, constructs a home out of a plate of food. The syrup—the love—is what holds the home together. External factors—geography, crazy family, troubled friends—have nothing to do with it. Saccharine, perhaps, but there you have it.

There’s no spoiler alert here; Verona and Burt find home in the most obvious of places—the house where she grew up, to which she hasn’t returned since the death of her parents when she was in her twenties. What still hangs on the barren orange tree on the property—the remnants of a tradition started when her father planted it and it failed to blossom? The only bit of color in an otherwise gray landscape: the plastic fruit that she and her sister and mother hung years before, and that create an Eden amidst the ghost of a childhood refuge that’s been all but abandoned for more than a decade.

Proving the point: if you look for the food, you’ll almost always find the home.

indiebound

 

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