A stunning debut about a young Greek-American woman and the history she shares with her mother and grandmother.
Imam is a recipe known throughout villages in Greece, handed down from mother to daughter. If you come from these villages, your history is passed on through your body.
Its full name is imam baildi, and it means the priest fainted. Perhaps the priest was given a bit of bitter and sweet pleasure, and the power of everything behind the dish pushed him off his rock, just for a moment. Perhaps, when he was tumbling through the air, sighing with fear and ecstasy, he saw a glimpse of a new life to come.
Layered with love affairs, family squabbles, poignant misunderstandings, moments of wonder, and more, The Priest Fainted is nothing less than the recipe for a young Greek-American woman's life. Using her imagination and the stories passed through her bones as ingredients, Catherine Temma Davidson uses memories, Greek myths, recipes, and family gossip to uncover a hidden history, which is the story of one woman's year in Greece as it crosses and doubles back over the lives of her mother and grandmother.
A stunning debut about a young Greek-American woman and the history she shares with her mother and grandmother.
Imam is a recipe known throughout villages in Greece, handed down from mother to daughter. If you come from these villages, your history is passed on through your body.
Its full name is imam baildi, and it means the priest fainted. Perhaps the priest was given a bit of bitter and sweet pleasure, and the power of everything behind the dish pushed him off his rock, just for a moment. Perhaps, when he was tumbling through the air, sighing with fear and ecstasy, he saw a glimpse of a new life to come.
Layered with love affairs, family squabbles, poignant misunderstandings, moments of wonder, and more, The Priest Fainted is nothing less than the recipe for a young Greek-American woman's life. Using her imagination and the stories passed through her bones as ingredients, Catherine Temma Davidson uses memories, Greek myths, recipes, and family gossip to uncover a hidden history, which is the story of one woman's year in Greece as it crosses and doubles back over the lives of her mother and grandmother.
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Overview
A stunning debut about a young Greek-American woman and the history she shares with her mother and grandmother.
Imam is a recipe known throughout villages in Greece, handed down from mother to daughter. If you come from these villages, your history is passed on through your body.
Its full name is imam baildi, and it means the priest fainted. Perhaps the priest was given a bit of bitter and sweet pleasure, and the power of everything behind the dish pushed him off his rock, just for a moment. Perhaps, when he was tumbling through the air, sighing with fear and ecstasy, he saw a glimpse of a new life to come.
Layered with love affairs, family squabbles, poignant misunderstandings, moments of wonder, and more, The Priest Fainted is nothing less than the recipe for a young Greek-American woman's life. Using her imagination and the stories passed through her bones as ingredients, Catherine Temma Davidson uses memories, Greek myths, recipes, and family gossip to uncover a hidden history, which is the story of one woman's year in Greece as it crosses and doubles back over the lives of her mother and grandmother.
Product Details
| ISBN-13: | 9781466862098 |
|---|---|
| Publisher: | Holt, Henry & Company, Inc. |
| Publication date: | 01/07/2014 |
| Sold by: | Macmillan |
| Format: | eBook |
| Pages: | 272 |
| File size: | 350 KB |
About the Author
Catherine Temma Davidson has received numerous accolades for her poetry, including awards from the Academy of American Poets, the Dorothy Daniels Award from PEN, and First Prize at the L.A. Poetry Festival. She lives in London. The Priest Fainted is her first novel.
Read an Excerpt
The Priest Fainted
By Catherine Temma Davidson
Henry Holt and Company
Copyright © 1998 Catherine Temma DavidsonAll rights reserved.
ISBN: 978-1-4668-6209-8
CHAPTER 1
Imam Baildi
Imagine a country built on dead rocks. The rocks are dead because they have already been lifted from the ground, shaped, and reworked into temples, houses, and streets. They have been columns where men breathed together in small groups, deciding the fate of civilizations. They have been paving stones that kept the heat of the day in them long past midnight, when courtesans full of intelligence and power would walk barefoot across them, holding jugs of wine.
The people born out of these rocks are broken by the past. They remember, but they do not know. They come of their mothers' wombs looking in the wrong direction: down, not up. They have been sat on for hundreds of years of foreign occupation, and once they lifted the chains they could find nothing to build on but dead rocks. So they keep their women huddled together in houses, and the men go out into the streets day after day, gathering together as if to find a solution.
If you are a man born into this tribe, you might be able to find yourself in the stories of the past, in heroes and glories and the idea that through you and you alone your family's name will pass. What if you are a woman? You have no interest in sifting through dust.
Your grandmothers and your great-grandmothers gave up their names to their husbands, went inside their houses, and were never heard from again. If you wanted to trace the story of their lives and find yourself in them, you could not look in books or history. You would have to start with secret clues. You would have to start with imam.
Throughout the Levant, on any given day, the aroma of imam rises, a scent of onion and oil, garlic and tomato. There are as many versions of the recipe as there are bays and mountains. In the geologic twists and passages of northern Greece, villages that never make it onto postcards hide in valleys far from the sea. Not much goes in and not much gets out, and little has changed in four hundred years. Recipes are passed hand to hand, mother to daughter. Girls helping their mothers to prepare simple meals acquire an unspoken knowledge in their palms and fingers. If you come from these villages, you must find your history in your body.
This is our version. We take plump, feminine purple eggplants and slice them into round discs, pale as moons. Next, we gather zucchinis, hairy, wiry, and long, and slice them lengthwise so they resemble the bottoms of boats. The piles of vegetables are fried in olive oil and dripped on thick paper. Then we mix a rich paste to marry them together. We chop garlic — more garlic than you think you want — carrots, parsley, tomatoes, and throw them in with lemon and salt and pepper. The mix should have a bite, should make you want to pucker your lips and almost cry, and then should fill your mouth with salty pleasure. Layer the moons and the boats together, bind them with the tangy red paste, and bake.
The full name of the recipe is Imam Baildi, and, in my family, it means The Priest Fainted. Why did the priest faint? No one knows. Priests in Greece live on high rocks built up to the sky, where they ask for food in baskets to be lifted up to them and where not even the animals they eat are allowed to be feminine. Perhaps the priest was given a bite of bitter and sweet pleasure, and the power of everything behind the dish pushed him off his rock, just for a moment. Perhaps, when he was tumbling through the air, sighing with fear and ecstasy, he saw a glimpse of a new life to come.
CHAPTER 2A Greek Myth:
There Is Only One Way To Tell This Story
Every woman needs a story, and perhaps this is how the story should go.
Sometimes, in the middle of a great battle, the taste of blood in your mouth, you close your eyes. Against the dark of your lids a scene rises, a bay encircled by olive trees, morning sun piercing the water clear through to the heart of sand rippled by tiny currents. Maybe you once owned a memory of the island but lost it during years of war. Maybe its name was spoken by a woman in passing who did not know you knew her language. Maybe it is something that does not exist, that you have dreamed up yourself in a moment of pure despair to comfort you in your need. Maybe it sounds like home. One day, you put down your weapons and decide to try to return to the island. You set off.
You come to the land of the Cyclops first. Each has a handsome body, and their one-eyed glances are enough to make you forget where you thought you were going. You stay with them for many years, or one, or a lifetime. Sometimes you bear them children. Sometimes you devour the children or they devour you. One way or another, it turns out to be costly stopover. If you are lucky, the spell breaks early and you continue on your voyage.
When you set out, the storms include various ill winds. A narrow passage with towering cliffs blocks your route. The sea swirls dangerously. Traditionally, monsters who were once beautiful creatures guard the way and demand that you recognize them — or at least pay a bribe — before you go past. When my mother went by here, two women leaned over the edge, one with teeth like knives, wearing an apron and holding the hands of three little children, and another who wore too much makeup and blew dangerous, tobacco-stained, alcoholic fumes down from above.
After you pass the monsters, you come to a lovely bay, an island in a poster ad. Perhaps this is it. A woman there sells pigs, and she tells you to rest and stay with her for a while. The faces of the pigs look strangely familiar; one of them reminds you of an ex-boyfriend. You find you have developed a sudden desire for pork. She feeds you wonderful dinners and long, luxurious lunches, and you have a good time laughing over the antics of the pigs. Eventually, you see that all this feasting will keep you from your true destination, but when you say you want to leave she is so angry you sneak off at dawn.
In this story, when you ask the crew to tie you to the mast, the sirens on shore have the faces of your aunts and the bodies of beautiful birds. They hop around one another, smoking cigarettes and flicking their wings back and forth. Their gossip lifts up over the waves and catches you as you float past. They speak in a language you only half understand, and they know perfectly well where you are going and the best way to get there, but they do not look up. You want to jump ship, ask them a few questions, certain things you always wanted to know. The current pushes you along; their words are almost clear, almost yours.
It seems as if the gods do not want you to land. But if you persist, you will reach the island at last. You will find that the calm face waiting for you is your own calm face. The woman there has fought off every suitor and learned how to spin. She weaves a story every day, a story that has the noisy mist of the ocean in it, and the quiet shift of a pile of sand. At the end of the day, she unravels the story, happy to let it go and begin again, knowing the journey itself is the best thing, knowing she carries the voyage and the island and the day together in the same palm of the same hand.
* * *
My mother went to Greece in 1955, or that is what I have been told.
Women in those days wore tight, waist-defining clothing, and I can imagine her stepping out of the green convertible in which she has just driven across Europe. She hands herself over to the impoverished Italian count, who admires the way the wool of her dress winds itself around her body as he helps her step into the street. In the stories, the count has come with her and her best friend, Daphne, and Daphne's new husband as they traveled from London to Athens. The rest of what we know about him has faded around the edges, like a photograph left too long in the garage. After this he goes back to the small apartment where he lives with his mother forever, in a tiny corner of the old palazzo they still own, filled with furniture they can no longer afford. Now, he dusts himself off in our imagination. He is wearing a white dinner jacket, long at the waist, and sports a thin mustache. His skin is sallow, the way men's skin always used to be, with pale purple circles under his eyes. He looks out at the world sadly, since he knows he is destined to play a minor role. But the more I imagine my mother, the clearer she becomes. Across her shoulders she has wrapped a chiffon print scarf, the kind women wear in old movies. She wears dark, sharp, pointed glasses, and she does not take them off as she looks up at Daphne's new honeymoon apartment.
The white of the new building is dazzling as marble, and the sky looks clean and wide and blue. We know they are in Glyphada, which we must imagine not as it is now, with the unfinished air of a suburb that has been surpassed by other suburbs, wearing its age with embarrassment. Their Glyphada is new, freshly minted, pristine. Identical rows of white boxes mark the new end of Athens, and in the distance there are only the honey- colored fields of Attica. Beyond, they can imagine the villages, which still sleep their village sleep, the rhythm of boats gone out and nets pulled in. Behind them, the pulse of traffic reveals a city that moves just quickly enough to spare a few of its citizens to live by the sea on a hill, from which they can feel young and modern and rich.
The apartments have double-basined sinks in their bathrooms, and room for appliances in the kitchen. When he bought it, Daphne's future husband told her she would feel she had never left New York; he was taking her back to modern Greece, the new old world. Their apartment seems to be the biggest, the best, built at the very top of the hill. Like a moat, the street wraps itself around the building and its sleek nautical lines. The asphalt has barely dried. The street will be important later in the story, as will the veranda that opens from the guest bedroom below. A bit of mud has stained the bottom of the wall running the outer length of the building, a rich red that will remind anyone who looks at it of the soil, pungent and wet.
Why is my mother there? A year before, she was in the back room of her parents' apartment. She had dark circles under her eyes because she never went out, and even her parents, who had told her to come home after college to help the family, were worried. She was only twenty, and she thought her life had finished.
How do I know this? Of course, she never told me. She let things slip. Stories spilled accidentally or turned up on the back of old photographs, caught in a box hidden deep in the garage. Neither of us knew there were other ways into the past, other routes. Every story can be told, and in so many different ways.
This is how I know about a scene she has kept — a scene she must have kept — from her childhood.
She is almost eight. Her mother and her mother's sisters are gathered around the kitchen table, heaps of multicolored silk and wire piled on the table and pooled in soft bunches of color around their feet. My mother has been enlisted to wind the wire around the folds of silk the women have molded with their fingers, the large bunches making the shapes of roses and tulips and marigolds. Since the women get paid per flower, they trade fabric across the table quickly. Their hands have been blunted by years of work, cut by knives when they were young and careless, healed over in rough patches, peeling a bit around the fingers where they have touched lime and bleach, broken along the edges of their palms by salt and dryness. (I can confirm this by looking at my own hands, where the skin along the fingers is starting to pucker and go rough; or my mother's, whose thumb after rolling grape leaves is crisscrossed with calluses that withstand the brine.)
My mother's hands are small enough to perform the delicate winding of the wire, but she is impatient. Outside, her brothers play in the street. Her family moved to this apartment, one of a series, small and dark between other buildings. They have moved for so many years, escaping landlords, trying to find a safe harbor, and now they say it will get better with the war. My mother sleeps with her brothers in one room. They have had a hard time making friends; the rough neighborhood boys are still testing them.
My mother listens to her aunts gossiping. They are speaking her first language, the words she was told to put away when she went to school. Their voices are melodious and fluent in a way they never are when they speak to their children, their tongues bumping against the edges of an alien language. They move through the thick vowels of their native language quickly, water running downstream. They know a girl who has just come from Greece who is marrying someone outside the community, and they enjoy their own outrage, passing it between them, kneading it over and over again. My mother imagines Queens outside the window, the tiny box houses and cracked streets that flow all the way to the East River and the bridges that span the waters with the speed of light, the towers of Manhattan and the beautiful women.
On the stove, the women have left a chicken to boil in a large pot of salted water. They are waiting for the meat to be so soft it falls off the bones, and then they will clear the table and begin to separate the sweetness of the meat from the gristle. The windows fog over with steam, leaving a small line of gray to mark the outside. My mother watches the last bit of bright sky outside, waiting for steam to cover the top of the glass. She does not notice when the fire begins, when the flame from the stove, pushing out from the bottom of the wide pan, catches the end of an oil-soaked rag. The women have jumped up, thrown the rag into the sink, and doused it with water. They all laugh, talking to the stove as if it were a child or a god, as if they could convince it not to perform such an evil act in the future. My mother says, without looking up from the wire, It wasn't the fault of the stove, you left the rag too near the heat.
Her aunts are amused. Her mother does not look at her but says to her sisters, So the egg stands up on its legs and gives advice to the chicken. They come back to the table and do not speak to her, to let her know they disapprove, but they hand her another flower because they still love her and disapproval should be punishment enough. The words she forms in her mind are English, and she builds them block by block, a defensive wall they will never penetrate. She has put her allegiance down on the side of the oven, on the side of steel and pipes, on technology that is not to blame for its own errors.
* * *
Now she pulls her sunglasses onto her head and smiles as she looks at the count, who is helping Daphne and her husband pull their luggage out of the trunk. She is scheduled to return to New York in a month, and what she does not know yet is that she will cash in her ticket and stay until the money runs out. Her best friend in the world has just run up the steps and is opening the gate of her new apartment. She hugs her husband with squeals of delight because he found them this home and she is married and wealthy and only nineteen. She is about to run over to my mother and give her what in those times was considered an acceptable girlish squeeze. My mother looks away for a moment, out over the tops of the hills to the horizon. Then it wells up inside of her once more, the feeling that is still new, of an opening into a field that has always been hidden, of looking out a window and expecting darkness and finding, to her surprise, a wide sea bright with sunlight. The sky stuns her, more blue than it will ever be in New York. She has crossed the Atlantic on a luxury liner, the Atlantic her mother crossed years ago in steerage during the First World War. She has driven through Europe with her wealthy young friends and a handsome companion, seen the Bayeux tapestries, and drunk the wines of regions whose roots go deeper than nations and borders.
For the first time in her life she is on her own, away from her family, her country, the ambiguity of first and second languages, and she likes the way the breeze feels on her face. She knows what the world looks like around her. That is all she needs to know.
What she does not see, so far away it might almost be the future, is a tiny dark cloud rising over the horizon. Black at the center, it glows at the edges with a weird green light. It is a cloud that did not want to rise from the earth, a cloud that never meant to be formed, a cloud that is reluctant to rain. It will hold on to its burden for as long as it can, but when the time comes it will fall, pushing the waters back into a new channel. It is a cloud attached to my story, the story of her daughter, who will go to Greece thirty years later.
(Continues...)
Excerpted from The Priest Fainted by Catherine Temma Davidson. Copyright © 1998 Catherine Temma Davidson. Excerpted by permission of Henry Holt and Company.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
Contents
Title Page,Copyright Notice,
Dedication,
Imam Baildi,
A Greek Myth: There is Only One Way to Tell This Story,
Psyche and Aphrodite,
Demeter and Persephone,
Athena, Daughter of Zeus,
Rhea on the Water,
The Evil Eye,
Going to the Seashore,
Next Door to Olympus,
Heroes,
Echo and Narcissus,
Archaeology,
Medea's Longing,
Pandora's Jar,
A Very Simple Recipe,
The Song of the Rembetis,
Platonic Love,
Historical Truths,
Artemis,
For Three Golden Apples,
Eastern Customs,
The Real Magiritsa,
Breaking the Fast,
Easter,
Priests Will Faint,
Virgins and Goddesses,
Bread,
Acknowledgments,
About the Author,
Copyright,