Afternoon Adventure: The Tavern Club

Happy December! I've just returned from a whirlwind trip home to Cleveland for Thanksgiving, and it was wonderful to see family and take long walks and eat lots of delicious (modern) food. Around the holidays we often reflect on the past--not only our recent past and childhoods, but the "family past," stories about my grandfather's grandparents and early Cleveland. Occasionally trips downtown are involved. Yes, I come by my history obsession genetically.

This time around, my sister and I had the chance to visit the Tavern Club, a venerable men's club in downtown Cleveland. Our grandfather is a long-standing member of the club (and he owns the striped tie to prove it!), and he escorted us to the club's yearly Father-Daughter Tea the evening after Thanksgiving. This is the one time women are allowed in the club, and while we weren't allowed to take documentary photos, I took careful mental notes to report back to you.

(Cleveland Area History, 1904)

Back in the 1890s, when Cleveland hadn't yet experienced its troubles of the mid-twentieth century and was still home to millionaires like John D. Rockefeller, many well-to-do men belonged to clubs. As Warren Corning Wick, chronicler of Millionaires' Row, noted,

"Membership in these clubs was carefully noted in code next to a man's listing in the Blue Book, the Bible of high society."

Just as in England (where Cleveland men most likely got the idea), a man's club told a lot about him. And in the 1890s, the sons of prominent Cleveland families decided that none of the available clubs were quite right; they were too stuffy, too grown-up, with not enough emphasis on horse-racing and squash. So they got together and founded the Tavern Club in a humble house, though it quickly moved to its official, current building in 1904. The new building, "an adaptation of Elizabethian architecture," included squash courts upstairs, lockers, and plenty of dark rooms for playing poker and smoking cigars. While the squash courts have been improved, the building still looks remarkably like it did in 1904.

Founder and first president Henry K. Devereux (Heritage Pursuit)

My grandfather gave us the grand tour, and we took our time poking around. Dark wood paneling and chinoiserie accents make you feel immediately like you're in a turn-of-the-century club, and there's a massive fireplace surrounded by comfy leather chairs in almost every room. The walls are covered with tasteful paintings of female nudes (it is a men's club, after all), 1916-era photographs labeled with inside jokes, and portraits of club presidents and squash team champions. The bar on the first floor is plastered with old stock certificates, supposedly dating from the stock market crash in 1929--the certificates were worthless, so members papered the walls with them instead. Upstairs you can peek in the marble bathrooms, and in the basement wooden lockers remain from the days of Prohibition, where men could store a personal bottle of spirits away from home.

The whole building felt like such an old-boys' club. As my grandfather put it, it's the kind of place where "deserving young men" could get away from the rigors of business and relax with their closest friends in a congenial atmosphere. What's even more fascinating is how the club has survived, because it's such a hold-over from the days when men and women relaxed in segregated circles. I'm not sure you'd find any all-male clubs being founded in America today. More's the pity: despite the exclusivity, the Tavern Club was a cozy place to while away a late November afternoon.


Works cited: My Recollections of Old Cleveland by Warren Corning Wick. Excerpt from Cleveland Town Topics, May 7, 1904.

Colonial Cookbook: The Art of Cookery Made Plain and Easy

Meet Mrs. Hannah Glasse. By day, she is a plain English housewife, struggling to scrape by in the mid-1700s. By night, however, she works on her revolutionary new idea: a cookbook designed for the masses of untrained servants working in fine English homes.

source: Wikipedia

By 1746, when Glasse began to write The Art of Cookery Made Plain and Easy, a growing middle class was settling into the cities of England. Hoping to set themselves up comfortably, they hired servants, but very few of those servants actually knew how to cook. Glasse aimed to fill that void with her cookbook, offering a collection of original recipes and those rewritten from other sources. She was clear about her motives: "I do not pretend to teach professed Cooks, my design being to instruct the ignorant and unlearned...and that in so full and plain a manner, that the most ignorant Person, who can but read, will know how to do Cookery well," she stated in her introduction.

And instruct she did. According to food historian Karen Hess, Glasse's book sold well in England and her colonies in North America following its publication in 1747. Many noted Americans owned copies (including Thomas Jefferson and George Washington), despite their growing discontent with Mother England. In the mid-18th century, many Americans still relied on English foods, as they still saw themselves as British subjects. Yet ingredients found only in North America crept into their English recipes, as Glasse's special "American Mode of Cooking" section proves.

And we see "American" ingredients and recipes in this book because I'm using the 1805 edition. By this point, foods in America began to take on a more distinctly "American" flavor, just as the newly-minted nation began to form its unique identity. This edition comes at a major turning point in American history, and the recipes and ingredients reflect that, harking back to the colonists' European origins while looking ahead to New World foods.

I'll try to highlight that cross-section with the recipes I choose from Glasse's book, but of course you can expect some recipes just for fun, too. How could I have resisted those stewed pears?


Works cited: "Hannah Glasse: The original domestic goddess" (Independent). British Library. Karen Hess introduction.

Afternoon Adventure: Vanderbilt Mansion, Hyde Park

About a month ago I met up with my parents in Hyde Park, New York, for a weekend of sight-seeing and poking around historic places (this is the order of the day with my family). After touring two painters' homes on the first day, we headed to the Vanderbilt Mansion bright and early on Saturday. Now, I have seen my share of Vanderbilt mansions, and those of their friends. Living so close to Newport, it's basically a law that I have to make a yearly pilgrimage to the Breakers or Marble House. But I'd never seen the mansion in Hyde Park.

the entrance hall

Friends, it was worth it. It was the American version of Downton Abbey.

The Vanderbilts were one of the wealthiest families in the 19th century. Patriarch Cornelius Vanderbilt created a shipping and railroad empire in the early 19th century, and his children and grandchildren used that money to build magnificent mansions during the Gilded Age, following the Civil War. Only a few of his descendants used their inheritances wisely--most of the family, including those who lived at Newport, became famous for throwing money around and trying to marry their children off to British royalty. However, grandson Frederick William actually grew his inheritance, and he got to build a bunch of beautiful residences to boot. So we made our way to his "country palace" in Hyde Park.

Frederick and his wife Louise purchased the estate as a country home, and while they often entertained friends there, for the most part it was just the two of them. Well, and loads of servants.

Louise's bedroom, because we all need a gated bed

The mansion is a gorgeous example of late-Gilded Age architecture and decoration, complete with servants' quarters that mimic the design of the public rooms. The first floor, designed for entertaining, is laid out in an oval, with dining and sitting rooms fanning off to the sides. The second floor is no different, with a gallery in the center to let light filter down to the first floor. From there you can peek into bedrooms, ranging from "simple" quarters for guests to the his-and-hers bedrooms designed to look like the palace at Versailles. A few rooms were even set up as though the Vanderbilts had left for the season; white cloths covered all the furniture and only a single lamp lit the interiors.

What fascinated me about this house was the sharp contrast between upstairs and downstairs. This is Downton Abbey-speak for the employers (who lived "upstairs") and employees (who lived "downstairs") of the Gilded Age in America. Though the basement servants' floor was laid out in the same manner as the first and second floors, the decoration was completely different: dark wood free of ornamentation, small windows that didn't let in much light, simple furniture. The servants' staircase was painted silver to mark the shift from the gold in the public rooms.

A staff of over 60 kept the house running during the entertaining season, while the Vanderbilts only ever entertained, at maximum, 16 guests. It was easy to picture a Downton-like lifestyle at Hyde Park, and in a way that's what the Vanderbilts were going for.

Wealthy Americans in the 19th century longed for the class and distinction they felt came with a European background. They traveled to Europe and purchased all the old art and sculpture and furniture they could find, because they felt American art and furniture wasn't refined enough. By building such a palace and staffing it to the nines, the Vanderbilts, like many wealthy families, were trying to become European. No wonder the place felt so English!

The Next Big Thing Blog Tour!

Most of the time this blog is all about history and homesteading. But today you'll get to hear about another interest that takes up a big chunk of my days: creative writing. (And of course, there's a lot of history involved in that, too!)

For the past few years I've been working on a YA historical novel with a wonderful critique group in Providence. Gaia Cornwall, fellow crit-member and fabulous writer/illustrator, tagged me to participate in the Next Big Thing Blog Tour, which moves from blog to blog to highlight the latest projects of writers and illustrators. Thanks, Gaia! (Learn more about her picture book Jabari Jumps, about the challenges of jumping off the high dive, here.)

I'll answer ten questions about my novel below (complete with fun historical photos) and tag two writers/illustrators that you should all check out. And without further ado, here we go.

1) What is the working title of your next book?

Drawing from Life.

a few of the family letters

2) Where did the idea come from for the book?

After my freshman year of college, I discovered a big collection of family letters, most of them written by my great-great-grandmother Maud Kerruish and her family. Maud traveled to Europe on the Grand Tour from 1890 to 1892, and she wrote about everything, including the fact that she would never get married and would spend the rest of her life as a "wanderer."

I ended up writing my senior history thesis about her travels, and during the research I found out some tantalizing information about her (and my) family. Her sister Mona, for example, never married, but the letters refer to Mona's fiance Tom. What happened to him? What was the "unhappiness" that Maud and her family members referred to in the letters? Because I couldn't find out anything more through straight research, I decided to make up the answers. And this book was born.

3) What genre does your book fall under?

It's a young adult historical novel.

4) What actors would you choose to play the part of your characters in a movie rendition?

Since I have photos of the actual people I'm writing about, it's hard to imagine actors in their place. Nevertheless...

Maud would be played by someone with quiet strength, like Romola Garai, who was wonderful in I Capture the Castle.

Her older sister Mona would be played by Jodhi May, who did great work in Daniel Deronda.

And her friend and potential love interest Owen would be played by Andrew Garfield, my crush from the latest Spider-Man movie.

sisters L to R: Maud, Mim, Helen, Grace, Mona

5) What is the one-sentence synopsis of your book?

In 1883, 17-year-old Maud Kerruish pursues her dream of leaving Cleveland to become an artist, while struggling against the confines of her gender and a tragedy that still haunts her family.

6) Who is publishing your book?

I wish I knew! My goal is to have the book revised and ready to submit to agents by December.

7) How long did it take you to write the first draft of the manuscript?

I'm finishing up the draft now, and it's taken an embarrassingly long time to get to this point. I began research in 2010, and I started writing in 2011.

8) What other books would you compare this story to within your genre?

Maud struggles with some of the same feelings of family duty that Mattie does in Jennifer Donnelly's A Northern Light, and she and Mattie both want to follow their passions. She also has the same pluck and independent spirit as Hattie from Kirby Larson's Hattie Big Sky.

the real Maud, c. 1883 (age 17)

9) Who or what inspired you to write this book?

The real Maud Kerruish is the main inspiration. I loved her independence and determination to see the world.

Major subplots of the book were inspired by my ongoing interest in gender issues, both past and present. In the 19th century, many women suffering from depression or anxiety were diagnosed under the catch-all term of hysteria, when in reality they were struggling to care for their families while ignoring their own passions. Hysterical women were confined in sanitariums or at home for long periods of time, and they were treated terribly (like the heroine of the story "The Yellow Wallpaper"). I began to wonder under what circumstances a woman might be diagnosed with hysteria, and the ideas just wove themselves together.

10) What else about the book might pique the reader's interest?

Maud's life revolves around her family, not her friends, unlike most main characters in YA novels these days. Her close relationship with her older sister Mona provides a unique perspective on teen friendships.

Now for the tagging!

Next week check out Christina Rodriguez, a fellow crit-member in Providence who writes and illustrates picture books. She brings a unique perspective to whatever project she's working on, and I love reading her work every month. Find Christina's blog here, where she'll be writing about a book she's illustrating for Arte Publico. She writes:

"The main character is a little girl, a daughter of Mexican immigrants, whose mother cleans houses in order to provide a better life for her family. This story recounts a time when the little girl accompanies her mother to her job in a rich suburban neighborhood, and what happens when she meets the wealthy homeowner there."

Shelley and Haggis

And in a few weeks be sure to check out Shelley Sackier, a writer who blogs at Peak Perspective. We first got in touch over a year ago, when I had the chance to critique her fun middle-grade novel Dear Opl. And I've just learned that her first love is historical fiction, too! About Opl, Shelley writes:

"After two years of hiding beneath a sugar-laden junk food diet meant to soothe the bitter loss of her dad, thirteen-year-old Opl Oppenheimer is told she's gained so much weight she's pre-diabetic and now must start weighing more than she bargained for. DEAR OPL is a middle grade humorous novel."

Happy reading! 

Afternoon Adventure: Longwood Gardens

A month ago my family met up in Philadelphia to celebrate my sister's graduation. We had some free time before the festivities began, so we drove about an hour outside of the city to the Brandywine Valley, former home of painter Andrew Wyeth and current location of some absolutely beautiful estates and gardens.

We spent the early afternoon at Longwood Gardens, a stunning estate with acres of gardens and a classic conservatory. Because it was Mother's Day, we had to navigate wandering crowds, but the whole place is so big that we hardly noticed most of the time.

Longwood began as a farm and arboretum built by the Peirce family, who purchased the property from William Penn way back in 1700. As Quakers, the Peirces respected the land and focused on planting and preserving native trees. By the time industrialist Pierre du Pont purchased the land from the Peirces in 1906, Longwood was already known for its collection of trees and aesthetic beauty.

But it was Pierre du Pont who slowly molded the property into what we see today. He used his immense fortune and his interest in conservation to develop the property, designing a range of gardens, building a gorgeous conservatory to house indoor plants, and installing of-the-moment fountains around the grounds. Inspired by the world's fairs he visited in his youth, he referenced the architecture and horticultural designs he saw at these fairs, making for an estate that is at once rooted in the past and forward-looking.

We could have spent all day at Longwood. Because we wanted to check out another estate (and eat lunch), we had to drag ourselves away after a few hours, but I definitely want to go back. We wandered through the fountain gardens, where my dad marveled at the 1930s-designed pumps.

I took a few too many pictures of utterly indulgent garden fixtures that I really, really want in my someday-garden, like follies and walls of sculpted fountains.

We spent a long time in the vegetable and fruit gardens, where I took copious notes on scenic fencing and supports for climbing vines. (And I crushed on rows of raspberry bushes.)

Horticultural Dome, Chicago World's Fair

Just before we left, we stopped in the conservatory, which reminded me of all those long-ago photographs of the Chicago World's Columbian Exposition, with its huge hanging plants and light-filled rooms. (It also made me feel like I'd stepped into the steampunk world of Bioshock Infinite, which begins at an alternate version of the 1893 Exposition.)

Longwood is the perfect place to slow down and relax for a day if you're in the Philadelphia area. We left inspired and refreshed, and that's exactly what we needed on a busy graduation weekend.


Works cited: Longwood Gardens History. Paul V. Galvin Library, World's Columbian Exposition of 1893.

How to render suet for cooking

Back when I first started this blog, I learned a few things right away about historical cooking. First, some old recipes are very similar to their modern counterparts (like pie). Second, animal fat is wonderful. From salt pork to lard, it's all delicious.

Lard may have fallen out of favor with the onset of fat-free food, but used sparingly, it can make all the difference in a recipe. It gives pastry dough that beautiful flaky texture, and it adds depth to dishes when used to grease pans before cooking or baking. Historical cooks knew this well, since they didn't have margarine or canola oil at hand (though butter was a delicious alternative). Today, it turns out there's a small but thriving population of cooks who use (and talk about) animal fat regularly, including those paleo enthusiasts who only eat what our hunter-gatherer ancestors would have eaten. (We're talking waaay back when.)

You can substitute butter for animal fat in most historical recipes, but if you'd like to see what all the fuss is about, you'll need to prepare the fat. Alas, this was a hard-learned lesson for me, one that explains why I had so much trouble making those delicious apple turnovers a few years ago. But you, ah! dear reader, you can benefit from my experience.

First, you need to find out what kind of animal fat you're dealing with. In the United States, you'll most likely wind up with one of two kinds:

• Suet, or raw beef or lamb fat
• Lard, or pig fat (can be rendered or not)

If you are lucky enough to wind up with rendered lard, your job is done! You can proceed directly to your favorite recipe. If you have suet or unrendered lard, you have a little more work to do.

Rendering fat refers to processing "waste" animal products, like the fat around kidneys (suet), into an edible form. If you look at raw suet, you'll see why: it's stringy and piece-y, and hard to work with. You need to cook it and remove the sinews in order to use it. (Whereas I just worked in bits of raw suet to the turnovers...a difficult enterprise.) Here's what to do:

1. Chop the suet or lard into small dice, removing as many sinews and tissues as possible.

2. Place a heavy Dutch oven over medium-low heat. Pour in enough water to cover the bottom of the pot, and place the diced fat in the pot.

3. Heat, stirring occasionally, until the fat has completely dissolved into something that looks like oil and there are little browned bits floating around in it. Time varies wildly; it took me about an hour and a half to render 1/4 lb of lamb suet, but that's also because I had to start over.

4. Strain through a cheesecloth to remove all the browned bits.

5. Store in a jar or other container and let harden, then refrigerate indefinitely.

Then try it out in your favorite recipe and see what you think. It's different! Do any of you cook with animal fat? What do you like about it?