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 mo.