Eat Drink Son Daughter: A Saturday Morning In The Kitchen
It’s a recent September Saturday morning and I’m by myself in the kitchen thinking about a 1990’s movie from Taiwan. The sun is up, a window is open. The sailboats from the 79th Street boat basin are moored well past 100th Street, and the West Side Highway is weekend morning quiet.
I’m making an omelette, eggs scrambled into a mixing bowl, the other ingredients chopped or sliced in their own little plates waiting to be poured into hot oil one after the other, the order and timing based on size, protein and fat content (how quickly they cook), trying to coordinate each being done just right so the ingredients in the omelette will arrive at done-ness all at the same time.
Kitchens are the best chemistry labs. All of the ingredients are in the pan now, melding together. Fatty acids separate from glycerol from contact with the hot oil. Proteins unfold and unwind in what used to be the nuclei of the eggs. I lower the heat, run the edge of a spatula around the perimeter of the pan to keep the omelette from sticking, turn on the ventilation fan, open another window and hit the button on the Nespresso machine, pretending I’m making espresso with a burr grinder and the real Gaggia machine that I struggled with for years before sticking it in a high shelf in the pantry. I flip one half of the omelette onto the other, trying but not quite succeeding to make the edges match so that the top melds to the bottom, making it into one.
In the movie, a father prepares dinner for his three adult daughters. It’s a Sunday, he does this every week. While he collects vegetables from his garden, strips leaves from various plants and grinds them into spices and arranges a drum set’s worth of kettles and pans and pots over the stove over a huge stove, we learn about each of his daughters, and the challenges they face. Gradually each makes her way home. They eat together, plates of food and words and smiles and raised eyebrows crossing the table rapidly, managing never to collide.
I’ve seen the movie a couple of times. It’s more of a still photo than a film for me, the four characters pausing life for a couple of hours and recharging their energies together. It’s a beautiful image, and one that means much more to me now than in 1994, three years before Nikhil and six years before Tarana.
It’s a good omelette. I clean up and head out, feeling content in that sunny and breezy September morning way. Nikhil and Tarana are both settled in their new homes, working and studying and moving forward. I’m thinking about cooking and kitchens and making sure that they keep coming back.