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Guest Post: Food and SF in Jewish Australia - Part 3 by Gillian Polack

Part Three

The recipes in The Wizardry of Jewish Women are Jewish food, but not as most people know it.

In the novel, two sisters (Judith and Belinda) are sent boxes that were stored in a garage for two generations. One box is full of culinary recipes from their great-grandmother Ada. The other box is also full of recipes, but for spells.

Belinda, the cook, takes the box with the recipes. She sends food parcels to Judith as she tests the recipes. In one of the parcels is feminist biscuits, because Belinda believes profoundly in teasing her feminist sister. The recipe box was terribly important. I wanted to show readers that lost culture could be fascinating and familiar. Also, I wanted to balance magic with memory.

Ada’s recipes are mostly from Belle Polack, my grandmother, because Ada and Belle are from near-identical cultural backgrounds. Jewish cooking followed a really interesting historical path from London to Australia and that is the path I used for Ada’s recipes.

Now for some recipes. First, the feminist biscuits (which would probably be called “˜cookies’ in North America) and then, some of my grandmother’s recipes.

Anglo-Jewish Australian cooking has some significant differences to other Jewish foodways. Ask me sometime, because this is one of my favourite subjects. I often start by saying something like, “My people cook, but we have no family bagel recipe.” The family lost many recipes for a generation. Only my first cousin believed we had family recipes for Christmas until my grandmother’s notebook was found hidden in my father’s study after he died.

The only metric recipe is the one for feminist biscuits, because it’s the only modern recipe. All the other recipes use British Imperial measurements. The cups are pre-metric Australian cups: a cup of sugar is 6 ounces and one of flour is 4 ounces. Here is a conversion tool for some of the rest.

I admit, I use a table at the back of a 1970s cookbook when my memory fails me, or I do conversion using my family’s classic “By guess and by G-d” technique.    

 

Feminist Biscuits

Ingredients

  • 150 g butter or equivalent amount of oil
  • 1 large egg
  • 1 small cup sugar
  • 1 cup self raising flour
  • 1 drop vanilla (optional)
  • Desiccated coconut
  • Green food colouring
  • Purple food colouring (red and blue combined)  

Method

Melt butter. Add everything except the food colouring. Mix well. Swirl the food colouring through the mix. Drop a teaspoon at a time on well-greased trays. Bake in a moderate oven for 10-15 minutes. Try not to eat them all at once.  

 

Christmas Pudding

This is my grandmother’s recipe, transcribed. I haven’t modernised it or translated it at all. I did, however, add a comma. Note: Do not even think of making the milk variant of this Jewish Christmas pudding for anyone who keeps kosher.  

(Medium Rich) 1 lb suet, ¾ lb fine breadcrumbs, ¾ lb brown sugar, ¼ lb flour, 1 lb sultanas, 1 lb currants, ¼ lb mixed peel, ½ teaspoon mixed spice, a good pinch salt, 1 lemon, 4 eggs, ½ pt beer or milk, ½ gill brandy. Prepare all the ingredients. Sieve flour & mix with crumbs & finely chopped suet. Add fruit & chopped peel & grated rind of lemon & sugar. Mix in the beaten eggs, beer or milk. Stir well. Cover a clean & put away until next day. Add the brandy, turn into greased basins & cover with the greased paper & pudding cloths. Boil for 8 to 10 hrs. Remove the paper & cloths, let puddings cool & recover with fresh paper & dry cloths. Store in a cook, dry place. Boil for a further 2 hrs before serving.  

And now for a few more less contentious recipes.  

 

Belle Polack’s Honey Cake for Jewish New Year  

Ingredients

  • 1 lb honey
  • 1 ¼ cups plain flour
  • 1 small cup sugar
  • 2 eggs
  • 1 small cup oil or melted butter
  • 1 tsp cocoa
  • 1 tsp mixed spice
  • 1 tsp cinnamon
  • a heaped tsp bicarbonate of soda  

Method

Melt the honey and sugar over a low flame. When they are cold, add the eggs (which should be well-beaten first””a form of domestic discipline), the oil and the remaining ingredients. Put the bicarbonate of soda in last.

Pour into a well-greased cake tin and bake in a moderate oven for 1 ½ hours.    

 

Madeira Cake  

This cake is from Belle’s maternal grandmother who left London in the 1860s.  

Ingredients

  • 5 oz butter
  • 6 oz sugar
  • 6 oz self raising flour
  • 2 oz plain flour
  • 2 eggs
  • ½-1 cup milk
  • 1 tsp vanilla  

Method

Cream butter. Add vanilla. Beat in eggs well, one at a time. Add flour then milk and vanilla. Bake for 1 ½ hours in a moderate oven.


BIO: Dr Gillian Polack is a Jewish-Australian science fiction and fantasy writer, researcher and editor and is the winner of the 2020 A Bertram Chandler Award. The Green Children Help Out is her newest novel. The Year of the Fruit Cake won the 2020 Ditmar for best novel and was shortlisted for best SF novel in the Aurealis Awards. She wrote the first Australian Jewish fantasy novel (The Wizardry of Jewish Women). Gillian is a Medievalist/ethnohistorian, currently working on how novels transmit culture. Her work on how writers use history in their fiction (History and Fiction) was shortlisted for the William Atheling Jr Award for Criticism or Review.


If you’re an author or other fantasy and science fiction creative, and want to do a guest blog post, please check out the guest blog post guidelines. Or if you’re looking for community from other F&SF writers, sign up for the Rambo Academy for Wayward Writers Critclub!

This was a guest blog post.
Interested in blogging here?

Assembling an itinerary for a blog tour? Promoting a book, game, or other creative effort that’s related to fantasy, horror, or science fiction and want to write a guest post for me?

Alas, I cannot pay, but if that does not dissuade you, here’s the guidelines.

Guest posts are publicized on Twitter, several Facebook pages and groups, my newsletter, and in my weekly link round-ups; you are welcome to link to your site, social media, and other related material.

Send a 2-3 sentence description of the proposed piece along with relevant dates (if, for example, you want to time things with a book release) to cat AT kittywumpus.net. If it sounds good, I’ll let you know.

I prefer essays fall into one of the following areas but I’m open to interesting pitches:

  • Interesting and not much explored areas of writing
  • Writers or other individuals you have been inspired by
  • Your favorite kitchen and a recipe to cook in it
  • A recipe or description of a meal from your upcoming book
  • Women, PoC, LGBT, or otherwise disadvantaged creators in the history of speculative fiction, ranging from very early figures such as Margaret Cavendish and Mary Wollstonecraft up to the present day.
  • Women, PoC, LGBT, or other wise disadvantaged creators in the history of gaming, ranging from very early times up to the present day.
  • F&SF volunteer efforts you work with

Length is 500 words on up, but if you’ve got something stretching beyond 1500 words, you might consider splitting it up into a series.

When submitting the approved piece, please paste the text of the piece into the email. Please include 1-3 images, including a headshot or other representation of you, that can be used with the piece and a 100-150 word bio that includes a pointer to your website and social media presences. (You’re welcome to include other related links.)

Or, if video is more your thing, let me know if you’d like to do a 10-15 minute videochat for my YouTube channel. I’m happy to handle filming and adding subtitles, so if you want a video without that hassle, this is a reasonable way to get one created. ???? Send 2-3 possible topics along with information about what you’re promoting and its timeline.

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Guest Post: Sheryl R. Hayers Stirs Up Crockpot Short Ribs of Hope

Image of crockpot short ribsI’m not the world’s best cook by any means. If given the option, to steal more time for writing I will order in or use prepackaged dinners. But there are things I make when I need that extra comfort that take-out or microwave meals won’t provide. It was no surprise that one of my favorite home-made meals made its way into my novel Chaos Wolf.

In that scene, Jordan is due to present herself to the alpha werewolf of the Black Oak Pack for one final test. Alpha Shane has made it clear that if she can’t prove that she is in control her shapeshifting, he will kill her. She has just confronted Montgomery, her vampire mentor, about information he has withheld from her. Her trust in him is shaken when she needs his support the most. She’s exhausted emotionally and physically and needs something she can look forward to beyond mere survival. So she cooks.

Jordan doesn’t toss something into the microwave that warms up in two minutes. She doesn’t reach for the take-out cartons from the dinner the night before. She chooses to make a meal that will take a half hour to prepare and ten hours to cook.

In an act of quiet defiance against all of those who think she’s going to fail, Jordan chooses to hope that she will be there to eat it when it’s done. In her mind, it’s not her last meal, but her next meal to look forward to when she returns home.

I have made crockpot short ribs many times. It’s a recipe my mother taught me, and now I make it for her. I can throw it in the slow cooker when I leave for work and it’s ready when I get home. Any crockpot with a low, medium, or high heat setting can be used. I make it when I know I’m going to have a rough day and want something comforting when I get home. While it won’t win any plating awards on cooking shows, it is a delicious and satisfying meal.

Crockpot Short Ribs

3.5 Lbs. Bone In Short Ribs
6 Russet Potatoes
1.5 lb. Carrots
2 large Yellow Onions
3 Tablespoons Garlic Salt
7 Quart Crockpot

  1. Peel and slice half the potatoes into coins and cover the bottom of the crockpot.
  2. Cut the carrots into chunks and layer over the potatoes. I cheat here by using bagged baby carrots.
  3. Cut your yellow onion into eights and layer over the carrots.
  4. Sprinkle 1 tablespoon of garlic salt on top.
  5. Repeat with another layer of potatoes, carrots, onions and garlic salt.
  6. Place the ribs on top of all the vegetables. Sprinkle with the rest of the garlic salt.
  7. Cover with lid and cook on low heat for ten hours. If you want to do it the “fast” way and don’t mind tougher meat, cook on high for four to five hours.
  8. By the end, the fat on the ribs should have melted and the potatoes and carrots will be tender. Remove the bones and serve in a bowl.

Does Jordan get to enjoy her meal? You’ll have to read the book to find out.

Sheryl R Hayes Author PhotoAbout the Author: Sheryl R. Hayes can be found untangling plot threads or the yarn her cats have been playing with. In addition to writing, she is a cosplayer focusing on knit and crochet costumes and works full time at a Bay Area water company. You can follow her at her blog, on Twitter, or on Facebook.

Here’s a sneak peek at Chaos Wolf:

Bitten by a werewolf. Taught by a vampire. At this rate, she’s going to start a war.
Literature major Jordan Abbey ordered a double mocha latte, but it wasn’t supposed to come with a side order bite by a love-sick werewolf. When a vampire comes to her rescue, gut instinct tells her he has questionable motives. But he’s the only one she can trust to help get in touch with her inner animal.

Within a week, her smart mouth lands her in trouble with the hostile alpha of the local pack and the stiff-necked vampire elder. She now has less than a moon cycle to master shape changing… or else. And the besotted werewolf who started this whole mess is stalking Jordan and killing her friends. He won’t take no for an answer.

In the Northern California town of Rancho Robles where the children of the Wolf and the Bat share an uneasy coexistence, one woman makes an epic mess of the status quo.

Chaos Wolf Excerpt

He gestured toward the couch. “Would you like tea, coffee, or soda?”

“Soda, please.” Although she wasn’t thirsty, accepting what he offered seemed the polite thing to do. She sat down on the leather couch and rested her elbows on her knees. “Don’t you only drink”¦ um”””

“Blood?” Montgomery finished the question for her. “No.” He stepped into the kitchenette. “I can and do drink and eat other things. It’s kind of like eating junk food. There’s no nutritional value. I enjoy the flavors and textures. I don’t like to do it too often, though.”

Jordan tilted her head to one side. “Why not?”

His lip curled into a half smile. “I can’t digest matter like when I was mortal,” he explained. “I have to purge it in a different way.”

She blinked, puzzling it out. Understanding dawned on her face. “Oh”¦ Oh!”

One red-and-silver can in hand, Montgomery stepped out of the kitchenette. “When I last saw you, you were hightailing it out of here, never to return.” He gave her the soda and took a seat in the chair sitting at a right angle to the couch. “What happened?”

Jordan stared down at the soda and rubbed her thumb over the frosty top. “After I left, I went home. I didn’t tell anyone about you.” She gestured in Montgomery’s direction. “I went out to try to forget what happened. When I came back, I found out my roommate’s boyfriend had been mauled to death.”

Montgomery stiffened. “Did you see the werewolf?”

“No,” Jordan said. “I didn’t even think he was real until”¦” She paused and shivered, sloshing the soda in the can. “All I could think about was finding you.”

Montgomery’s lips moved to form a curse. “Did you come directly here?” He stood up and crossed the small space separating the chair and the couch. “Focus. It’s important. Do you think you were followed?”

“No. The police took me and Molly to the station. We’re not allowed to go back to our apartment until sometime tomorrow after the super gets someone in to”¦” Jordan’s voice broke. She swallowed. “Clean up. I spent two hours getting on and off buses to make sure I wasn’t followed.”

Montgomery sat down on the couch. “Good thinking. If the werewolf was following you by scent, that should have thrown him off your trail. If he was tracking you by sight, you would have spotted him. Or he would have broken in here by now. You’ve been lucky.”

“Lucky?” Jordan’s shoulders tightened and her fist clenched, denting the can inward. “I’m being stalked by something out of a horror film and you think I’m lucky?”

“Yes,” Montgomery countered. “If you had been there instead of your friend, the werewolf would have finished what he started.”

“Finished what he started?” Jordan put the soda on the table unopened. “You make it sound like he let me live.”

“He did,” Montgomery stated, as if it were the most obvious thing in the world.

She stared at him with an open mouth. All the movies and books she had seen taught that a werewolf would rip out her throat as soon as look at her. The female victim never survived the attack. “But why?”

“You haven’t figured it out yet?” Montgomery appeared nonplussed by her reaction. “He wasn’t trying to make a meal out of you, Jordan. He was claiming you as his mate.”

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Enjoy this writing advice and want more content like it? Check out the classes Cat gives via the Rambo Academy for Wayward Writers, which offers both on-demand and live online writing classes for fantasy and science fiction writers from Cat and other authors, including Ann Leckie, Seanan McGuire, Fran Wilde and other talents! All classes include three free slots.

If you’re an author or other fantasy and science fiction creative, and want to do a guest blog post, please check out the guest blog post guidelines.

...

Guest Post from Richard Dansky: The Interesting Thing About Writing For Video Games"¦

Dansky dinosaurThe second-most interesting thing about writing for video games is that odds are, the bulk of the writing that you’ll be doing will have very little to do with the “main” plot and its showier expressions. Yes, there is dialog to write and there are cut scenes to script and they are shiny and sexy and cool, but the thing is, a player’s only going to run across those lines and those scenes once as they advance through a game’s storyline. On the other hand, if they’re playing, say, a first person shooter, they’re going to encounter the so-called systemic dialog about shooting (and getting shot, and needing to reload, and needing to get the hell out of the way of an incoming grenade) rather more frequently than that. And, that in turn, means that you’re going to be spending a lot of time working on those lines, and generating a lot of them. You’re also going to be writing things like story documents, and character writeups, and team documents, and a dozen other things that aren’t the sexy bits with explosions that everyone thinks of when they think of game writing.

And that’s perfectly cool. Because those aspects of the gig require just as much craft and care as the more obvious ones, which means developing a whole new set of tools to make sure you get them right. Don’t believe me? Then go play a game where the systemic stuff didn’t get that tender loving care – where they didn’t produce enough variants so you hear the same lines coming from dozens of different enemies who probably shouldn’t be comparing notes with one another – and see if that starts getting annoying after a while. Better yet, find a game with one jarringly out of place systemic line and see if that doesn’t turn into the equivalent of nails on a chalkboard long before you’ve picked up all of the game’s achievements. (Trust me. I was kind of responsible for one of those.)

So, yes. There’s an awful lot of game writing that most people don’t really think about that’s necessary and intricate and hard work, and if you’re good at that you’re worth your weight in gold.

But that’s the second-most interesting thing. The first is that you’re not actually writing the story. Your protagonist is not the hero. And your version of how things are going to happen is going to crumble in the face of an irresistible force: the player.

Because in games, the player is the hero. It’s the player who makes every decision so that their particular journey through the game is unique to them. Even the little stuff – deciding when to reload or change garments or duck instead of sprinting – personalizes their experience in a way that defies the cast-in-stone progression of other narrative forms. Which means that as a game writer, you’re writing the stuff that the player turns into the story through their interaction with it. The wittiest dialog, the coolest cut scene, the most interesting plot twist – they all sit there, inert, until activated by the player’s interaction with them. Then and only then do they become part of that player’s story, a story that inevitably starts with the word “I” (and not “Lara Croft or “Sam Fisher” or “Pac-Man”) when it is told to friends later.

That’s a hard thing to grasp sometimes. The urge is to want to tell our stories, to tweak the timing and hone the experience so that everything’s sparkling and perfect and immutable. But that doesn’t work in a space where players are the reason the whole shebang exists, and while you may want your narrative elements to draw them forward, forcing them to do the same is liable to get some pushback.

And make no mistake, game players do love their story. Look at the uproar over the ending of Mass Effect 3 – that was about player investment in game characters and story,. Look at the love for games as wildly diverse as Gone Home and The Last of Us and Kentucky Route Zero and the utterly insane but brilliant DLC Gearbox put out for Borderlands 2. The writing in all of these games is something players want to experience; they just want to experience it in a way that makes it theirs, something they did instead of something they read or heard or watched.

And this is so much of what makes writing for games fun. It’s seeing that moment when the player inhabits your words, picks them up and makes them their own, that makes the crunches and the meetings and the endless, endless iterations of “Arrgh, he shot me” more than worthwhile.

Which reminds me, there’s a third really interesting thing about writing for video games. But that’s another story entirely.

Bio: Writer, game designer and cad, Richard Dansky was named one of the Top 20 videogame writers in the world in 2009 by Gamasutra. His work includes bestselling games such as Tom Clancy’s Splinter Cell: Conviction, Far Cry, Tom Clancy’s Rainbow Six 3, Outland, and Tom Clancy’s Splinter Cell: Blacklist. He has published six novels and the short fiction collection Snowbird Gothic, and is currently hard at work as the developer for the 20th Anniversary Edition of classic tabletop RPG Wraith: The Oblivion. Richard lives in North Carolina with his wife, statistician and blogger Melinda Thielbar, and their amorphously large collections of books and single malt whiskys.

Enjoy this writing advice and want more content like it? Check out the classes Cat gives via the Rambo Academy for Wayward Writers, which offers both on-demand and live online writing classes for fantasy and science fiction writers from Cat and other authors, including Ann Leckie, Seanan McGuire, Fran Wilde and other talents! All classes include three free slots.

If you’re an author or other fantasy and science fiction creative, and want to do a guest blog post, please check out the guest blog post guidelines.

...

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