Tuesday, November 26, 2013

BREADS & OTHER BEAUTY AS I HEAD HOME FROM VANCOUVER ISLAND

I’m headed back to Toronto… My early departure from Victoria, headed to Swartz Bay for the ferry across to Tsawassen, was a real gift, for the landscapes I drove past were more like dreamscapes. Green pastures were enrimed, it’s the only word really, coated with hoarfrost. That cold ground, as the sun came up and warmed the air a little, created an ethereal mist that floated tantalisingly, a gauzy drift of scarf that hid and revealed at the same time. What a beautiful farewell to Vancouver Island.

Now I’m parked out by some green grass near the water and near the airport, enjoying fresh air and the light-shade-light of the cloud-patched sky, before I submit to the closed-off atmosphere of the airport and the airplane for the rest of the day. I’m listening to the CBC, an interview on Q with Bryce Destner, a member of the group The National who has been composing for the Kronos Quartet; his work is on a new recording by the quartet called Aheim. I’ve been a fan of Kronos for a long time, but this interview makes me realise that I haven’t kept up with them at all. Time to break out of old patterns and explore new recordings, new music.

Yesterday gave me good time with my cousins, and then a wonderful dinner of reconnection with old friends I haven’t seen for nearly ten years. 

But before that I had a very interesting visit to Cliff Leir’s bakery Fol Epi (meaning a stalk of wild grain). I’d met him over a year ago at the Kneading Conference West. But I hadn’t realised all that he does at the bakery. He’s milling all his own flour, (bakes with it after a one-week rest), uses Red Fife as his wheat, and also bakes with rye. He made his own mill, using stone millstones from the eastern US, and he also built his bread oven. The oven is deep, brick lined, and wood-fired. But instead of making the fire ahead on the baking surface and then brushing it away so he can bake, Cliff has the firebox under the oven. The hot air then circulates through the oven (and there are several options for directing its flow). The result of the design is that he can do a large number of bakes, and can adjust and add to the fire or raise the heat without interfering with the baking.

I’m not sure if any of what I have just written  makes sense to you. I hope it does. I found the whole design very practical and impressive…it’s also beautiful, especially when side-lit by slanting winter morning sun.

If you are ever in Victoria, do go and have a look at the bakery, just across the bridges from downtown Victoria in Esquimault. Cliff is also playing around with other kinds of fermentation, making kimchi and sauerkraut, both of which he uses as flavourings in the sandwiches on offer at the bakery.

It’s the first time I’ve seen the details of a bakery where the baker has taken control of everything except growing the the grain. Milling is so important, and is such a wild-card variable for many artisanal bakers. It’s great when grain is milled at the farm, but I think this baker-miller way of working must be even more satisfactory for the baker, giving more control, and more chance to experiment.


Now it’s time to go and hand in this rented car. I’ll post this online in the next hour or so, once I’ve checked in and found a place to connect to the internet. 

I am sorry to leave the beauties of the west coast, but I am really looking forward to getting back to working on recipes for Persian World. And this bakery visit has made me impatient to start playing around with sangak and other Persian breads in my home oven.

Sunday, November 24, 2013

POSTCARD FROM THE COMOX VALLEY - MOTHER NATURE'S WONDERS

It’s early morning here on Vancouver island. I’m staying with my aunt and uncle north of Courtenay. Their house looks out westward over green pasture, fruit trees, and some conifers to a spectacular view of Mount Albert-Edward and Mount Washington, already snowy and soon to be deeply snow-covered. Sunrises are limpid pale beginnings with all the moisture in the air, and sunsets a glorious burst of gold and then a lingering glow of light from behind the mountains, like a mirage. Each morning, six or seven of the trumpeter swans who over-winter in the Comox Valley fly overhead, beautiful big white birds, honking loudly, their wings moving in strong unhurried strokes.

Not far from here is the shoreline of the inland passage, and beyond it a view that always feels like a mirage to me. First is the expanse of calm and (at this time of year) blue-grey water with low humped islands. Beyond are the jagged snowy mountains of the coastal range on the mainland, blue-ish and mauve and gleaming white. They feel like a painted backdrop. It’s hard to believe that Mother Nature has laid on such a glorious spectacle.

The Comox River flows past the flat green fertile fields of the Comox Valley and out into the bay to merge with the salt water of the inland passage. This was a paradise for salmon, where huge trees grew, and the berry-picking was generous. CaptainVancouver passed this way in the 18th century, and then loggers and settlers arrived in the nineteenth century, pushing aside the native people who had fished and farmed in the region.

Went up to Elk Falls yesterday, up the Campbell River from the town of Campbell River… Despite many trips out here over the years I had never seen the falls, a lovely rush of water with glowing green moss lighting the rocky far bank and tall straight Douglas Firs making everything look upright. When I say tall, I mean around 200 feet tall, with lowest branches at 60 feet or so, and a diameter of over 6 feet on the largest of them. It’s all awe-inspiring and a reminder that there are still natural treasures in this world. We owe it to ourselves and our children and to those who came before to respect them and to try to do less damage….


And then I will get in my car and drive three hours to Victoria, rather than taking public transport, a bus or whatever And after that I’ll be in a plane back to Toronto. So what exactly am I doing to reduce my carbon footprint?

Monday, November 18, 2013

RICH POSSIBILITIES AS I WORK ON MY PERSIAN WORLD BOOK PROJECT


A lovely November sunset this evening to the west, as I pedalled home in the dusk, with car headlights bright on the streets and people hurrying home from work along the sidewalks.

It’s an exciting time of year, but days are so short that each moment of daylight feels precious. I thought it would be easy enough to get work done here in Toronto in November and December, with no warm sunshiny days to tempt me outside to play. But in fact it doesn’t seem to work like that. As long as it’s not pouring rain or wildly windy outside, I find I yearn to catch a little sun and air, not just a little but a good dose, rather than diligently working away at the computer. Hmmm

Perhaps this is just another expression of procrastination. I think though that it’s a lifelong urge in me, to be active and moving, to be outside rather than inside, and that weather (and obligations) have only a small influence. When I was a kid my mother used to say, “It’s such a beautiful day; why are you inside reading/studying/sitting around when you could be out in the sun and air?” Perhaps that’s part of the origin of my deep-seated guilt at staying in or sleeping in when the day is beautiful.

My kids say to me (when I start talking like my mother about not wasting a beautiful day): “That was your mother’s line, because she was raised on a farm, where a beautiful day was an opportunity to get necessary work done outside. It’s not relevant to us”. I feel fortunate to have the push-back from them; it helps keep those still-active mother-inspired feelings of guilt at bay.

(AND THREE DAYS LATER, ON A MONDAY MORNING)...

I was interrupted right after finishing those first paragraphs and then the weekend swept me up. Here it is now a windy blustery Monday morning, not cycling weather, for sure.

The week is starting well: Lillian is visiting from Grey County and that’s a treat. But also in the last ten days, including on the weekend, I have managed did get a lot more recipe work and writing work done. Each bit, however rough and approximate, is a necessary part of constructing this complex thing that is a book. And each bit of progress makes the rest feel less difficult.

Why is that? I wonder, each time. Part of the answer of course is that each bit of work or recipe tested or reading or travel adds to my understanding, sheds a little more light, and makes my footsteps surer. But the other, arguably more interesting reason lies in the whole process of starting out, or initiating any new project. Those early decisions set the tone, and the course, of what comes after. They are an embarkation in a certain direction. And so they feel very determinative of what follows.

Hence the procrastination, hesitancy, fear, frozenness, paralysis - there are many words for this state – that afflicts me intermittently at the start of each project. I’m talking about book projects here, but in fact a milder version of “starting-out-paralysis” strikes when I go to plant the garden in the spring for example…the first decisions, or optings, eliminate some options right away and narrow the possibilities. There’s thus a big pressure to “get it right”. That is the negative view.

But there’s another much more positive way of thinking about each project (book or garden or whatever): to see it not as a task directed at achieving a perfectible goal but instead as a process of engagement. Each decision then, or each bit of progress, generates its own new insights and possibilities, enlarging the field of vision. I love this mindset. I love the idea of the process being the source of creativity and pleasure. It means that there are huge possibilities awaiting, just around the corner. My project will not be limited to just what I can imagine now. It will take on its own life and become bigger and richer than I can possibly know in these early stages.

Strengthened by this more generous idea, I’m pumped by the ideas and insights I have gained from work I’ve already done. And I am moving forward into the rest with enthusiasm rather than anxiety.


It feels like a kind of rebirth, this new attitude. It certainly is life-giving in all kinds of ways.

POSTCRIPT: What recipes? I can imagine you asking. Well I've made three different soups, the word is "ash" in Farsi, all of them easy thickly satisfying, loaded with green herbs and other greenness, one vegetarian (ash-e-reshteh) and two extremely light on meat. And I've made a delectable grilled eggplant dish that's flavored with raw shallot/onion, dried mint, and loads of pomegranate seeds. I learned it from a home cook in Shiraz. Last week I also made a roast chicken Azeri-style, stuffed with tart fruit and walnuts and glazed with saffron water, and to go with it a classic herbed Persian rice. Some of these need another test-drive, but they're all good additions to the book.

Thursday, November 7, 2013

AFTER-TRAVEL REFLECTION & CREATION

A week ago today I was on a flight from Istanbul to Toronto, having flown out of Tabriz (in northwestern Iran) two days earlier. In my checked bags I had a kilo of honey, some dried apricots, halvah, a selection of sweets from Yazd, sour pomegranate fruit leather (called robb in Iran), fresh pistachios, a second-hand Farsi-language cookbook, and a bundle of small kilims, as well as my well-worn clothing. My other luggage weighed next to nothing physically, but was a rich load: memories, emotions, early understandings, jam-packed notebooks, and digital photos.

I’ve been thinking about this process of travel, memory, and story. People have different ways of remembering. Mine tend to be visual: I have pictures in my mind after a trip. They’re not so much of actual events. Instead they are images generated by my thoughts about events or people or places. I would call them secondary images of events. At the same time I also have hundreds of photos, moments preserved, you could call them.

Because my memory works with past experiences, digesting and processing them in sometimes surprising ways, in the weeks right after a trip I like to keep that set of mental pictures uninfluenced by the “reality” of the photos I have taken. Once that digesting and processing is well underway, many memories have reshaped themselves as stories or vignettes that are informative or tell a small story in themselves.

When I then look at the photos I often notice the gaps between my (processed) “memories” and what I see in the details of the shots. The differences between them interest me. Sometimes they are due to the fact that I failed to notice certain elements of a scene, perhaps because I was caught up with other details, or with an emotional context that kept my focus elsewhere. Sometimes the differences are because I have subconsciously “forgotten” inconvenient, or ugly or uncomfortable details…

At the moment I am still early on in the digesting process. Stories and cross-connections, ideas about place and people, food and attitudes, are still taking shape, and will be for the next month or two. I’ll try to help that process along by doing recipe work. I find that as I draft recipes and shop and prep and cook, I often become more sure about the importance of particular details, or I get a flash of memory or insight.

This is why I am such a believer in developing and testing my recipes on my own to start with. It leaves me with a free head and imagination…so that unbidden thoughts can surface freely.

All of this probably sounds rather abstract and perhaps unreliable or fabulist to you. After all, am I not, in writing cookbooks, supposed to be transmitting information rather than invention?

Well, yes and no. I am not a journalist, digging out “the truth” in a factual literal sense. Yes I want to get the recipes right and to give them full honour and respect. But there are other truths that story-telling and imaginative reconstruction and reflection can elucidate. The aha! as I realise what anxiety or concern lay behind a comment someone made to me, may take me weeks to arrive at. But when I am able to understand the human, emotional, and social dimensions of a situation, then I think both the story-telling and the recipes gain strength and reliabilty of a deeper kind.

I hope that those of you who have had the stamina to read this far can make sense of what I am trying to say. I’ve been thinking about the connections between the “facts” on the ground, be they in Burma or Georgia or Iran, and the emotional reactions I feel or sense in a place. I admit that they are complicated.

It’s here, in the human complexities of place and perception, that I find the juiciest excitement and the largest potential for creative understanding. The trick is to not worry and to not force the pace. Sometimes at this stage right after a trip I begin to get impatient. I want to be further along in synthesizing my understanding. But things take the time they take.

And so, in the meantime, I plan to try making Tabrizi kofta, and sangak (bread baked on a bed of pebbles) and dizi, and more. I’m trusting that the same process of subconscious story-shaping that has happened before, most recently with the Burma book, will take over and allow me to create a rich and reliable set of stories and recipes in this new book of mine.


All I need is some tolerance and understanding from friends and family as I look or act a little dazed or distracted…

Tuesday, October 29, 2013

THIS WOMAN'S THOUGHTS ON BEING A FEMALE PERSON IN IRAN


NOTE: I wrote this last night, but had no way of posting it until I arrived with my aged laptop in Istanbul a couple of hours ago...

Well here I am on the last evening of my time in Iran. I’m in a rather basic hotel room in the historic trading city of Tabriz, in the northwest corner of Iran not far from the borders of Armenia, Azerbaijan, and Turkey. Tomorrow morning I have a Turkish Airlines flight to Istanbul, and two days later a direct flight to Toronto.

As you probably know, Iran still has substantial firewalls to block access to social media like Facebook and Twitter, and to many other sites too. In that way it feels a little like Burma did during the time I was making trips there for my Burma book, from early 2009 until late 2011. But in Burma not only were there firewalls, there was also virtually no access to cell phones or to wi-fi, and very few internet cafes except in Rangoon/Yangon. When I found an internet cafe in a town, I’d go and ask the young guys there (it was always young guys) to help me bypass the firewalls so that I could get access to my e-mails. Yahoo was blocked; Gmail was generally easier. And they’d always manage it, by using something I heard called a “proxy”.

Fast forward to Iran now in late 2013. Social media have continued to evolve, and so have cel phones. Iran has both. And many people here are on FB and Twitter. How? you ask. Well people download a proxy server for themselves (a sophistication not available to most people in Burma a few years ago) and then they can fly over the firewalls. 

I had no proxy server (failed to deal with the issue before coming) and no way of downloading one once I was here (because of course access to that is also blocked), until I got to Kerman, in southern Iran. A nice guy I met there who is IT-proficient helped me download Puffin, a proxy server, onto my smart-phone. He did it using his tablet and bluetooth. 

And suddenly after two weeks of blocked access I was reconnected to Twitter and Facebook. The whole process - of restriction and then evasion of restriction - reminded me of all the attempts by governments, from China to Iran to Burma and more, who try to shut off their citizens’ access to the rest of the world. It used to be possible to enclose people behind an “iron curtain” or just a flurry of propaganda. But now there are ways the determined can push through electronically. Perhaps only North Korea has managed to lock its citizens away. At least so we’re told. 

Anyhow, once Puffin was flying me over the firewalls, one of the first messages I tweeted was to the president of Iran, who is actively on Twitter. I suggested that people in Iran could have better access to his tweets if the firewalls here came down.

That is of course true, but what’s also clear from my time here, and from things people have told me, is that Iranians in general are brilliant at “work-arounds”. They don’t take no for an answer, but instead figure out alternative routes to get what they want or need. And so people here who want to be online and connected are managing to do so, despite the government. Still, if the firewalls came down many more, I imagine, would get confident and engaged with social media and the wider world.

Other work-arounds here have to do with the dress code restrictions. Women are still by law required to cover their head and neck when out in public and to dress “modestly”. The definitions have changed over time, loosening in the nineties, then tightening again when Amedinajad came into power, and now softening again. In general they mean at a minimum wearing a headscarf tied or crossed under the chin, and a “manteau” a garment that goes down to the knees or nearly, over trousers.

Many or most women dislike the restrictions. In less-conservative places, such as Teheran and Shiraz, women, especially those who come from more moneyed families, wear light wispy scarves, and often set them way back on their hair. And their versions of manteau are equally gestural, brightly coloured and very form-fitting, often worn with fashionable high heels. 

All the emphasis on the face, as the only free and clearly visible aspect of the woman, has led to another perhaps predictable result: plastic surgery is fashionable and very unremarkable, almost expected, among young urban women. They have collagen to pump up cheekbones, the lips are made fuller, and the nose is “fixed. The result is that noses with a white strip of bandage on top are a common sight. There’s also a lot of make-up, thickly applied, from foundation to eye shadow to lipstick. And eyebrows are plucked out completely and then redrawn in pencil, or tattooed on, in a higher wider sweep. 

Women in more conservative families or communities wear a black or dull-coloured manteau in the form of a loosely fitting trenchcoat closed up to the neck, with black pants and socks or stockings and black shoes as well as a scarf or other hair and head covering. Over that many wear a chador, usually black, a long one piece cape like a nun’s veil from another era, that rests on the top of the head and floats/drapes down to the ground. It’s open in the front, has no fastening, so women clutch it closed with one hand in front of them, or hold it in their teeth sometimes so they have both hands free.

The result is that in conservative towns, and at some shrines and mosques where it’s compulsory that women wear a chador, the women become a flock of black creatures... It’s disturbing to think about and to see. Only when you get close and are talking to a woman in a black chador can you sense her personal distinctiveness. Otherwise the outfit erases her, just as nun’s habits were designed to do to the women who wore them.

The wonder is that women here manage to function with confidence and strength in public, despite the censoriousness of the laws and the special police who enforce them.

I stayed two nights with a family in a village ten days ago. There were two daughters, aged 14 and 11, both alert intelligent people. I watched them dress for school the last morning I was there, a Saturday, the first day of the school week. Niloufer, the younger one, still in primary school, wore pants, a long manteau top, and a kind of pink wimple of stretchy knit material that framed her face and covered her hair and neck completely. Over that she wore a looser head-covering, a kind of scarf. The older daughter was entirely in black, as the school requred of girls her age: pants, manteau/trenchcoat, wimple and scarf over the hair, and on top of all that, a black chador to the ground. Her liveliness drowned in all the black coverup.

That kind of clothing requirement in school that tells girls to cover up and hide their bodies must cripple some. I remember how gauche and uncertain I was about my physical self, about what was acceptable or “ok”, when I was a teenager. But unlike these girls and young women,  who have not since early childhood been out in public with their hair floating free (just imagine!) I had never been told that it was my responsibility to hide my hair, my neck, my arms.

Of course as a women visitor here in Iran, I had to follow the rules. They have eased up, as I said above, or at least they are not as strictly interpreted and enforced as in earlier times.  I didn’t want to give offence. That’s how I felt at first.  But once I realised that most people disliked the rules, I didn’t worry about offending custom.  I was instead aware that I could be chided for having my scarf on so loosely (and incompetently let me admit) that “too much” hair was showing.

And finally it happened, that a man in authority insisted that I correct the thing he reproached me for: the front of my hair was showing too much. It was at a very holy place, the holiest place in Iran for Shia Muslims: the Shrine of Imam Reza in Mashad. (He is the eighth Imam, and was murdered not far from Mashad. About twenty million people visit the huge shrine complex every year.) I was outside, not yet in the grounds, and had asked directions of one of the guys who keep an eye on things, not guards exactly, but officials. He gave me a censorious look and gestured to his hair, to show me where I was at fault. Ony once I had adjusted my scarf did he answer my question.

The encounter was a small thing. But how would it feel if I had been born and raised here, and perhaps was especially sensitive to criticism, or just not confident? Surely it would make me over-compliant, anxious to make sure that my tenue was correct at all times.

And indeed, even unworried, after my first few days in Iran I found myself taking on the habits of the women here: you reach up and feel your head on top to check whether your scarf has slipped back. Then you feel with your fingers along the edge of the scarf, where it meets your face, and check that no hair has strayed forward and that the edges are even. It becomes a tic, endlessly repeated. A time-lapse of women in a bus or at a restaurant or in a car, or in a classroom I suppose too, would show a pattern of check, recheck, adjust, readjust, going on all over the female landscape.

Wild. And taken for granted by the women of Iran. They have to take it for granted or it would surely drive them around the bend. In any case they have more important thngs to worry about: They are doctors and teachers and filmmakers, mothers and grandmothers, sweepers and cooks, secretaries and managers, most of them managing all the cooking and other household matters as their second or third job. And they are strong.

AFTERWARD: In the plane this morning, as the doors were closed and we started to move off, there was a rustling sound here and there as most of the women passengers, including me, removed their headscarves and shook out their hair. And then of course most also shed their manteau, emerging, in some cases, with very skin-tight outfits of various kinds...

Friday, October 4, 2013

A BEGINNER'S VIEW OF ISTANBUL

A rather embarrassing number of weeks have passed since I last posted here. No excuses really. But I’m now in Istanbul, rather dazed by the lovely complexities of the city. And to anticipate your questions: no I have not yet been to see the Hagia Sophia (which I did see the only other time I visited Istanbul, long ago in 1982); nor any of the offerings in the Istanbul Biennal; nor much else except outdoor walking, ferry, bus, and light rail routes, and small restaurants of various kinds.

First to the transport: Where I live, in downtown Toronto, a large rich city of nearly 3 million, we have not built a subway line for a long time, and have only added a few tram/streetcar lines. In Istanbul, a large very complicated terrain loaded with historical obstacles, they’ve gone from 45 km of track to 145 or so and are headed for 400 km by 2020. Impressive. And it shows. I mean yes the traffic is snarly, but there is a dizzying number of transit options to cope with people’s need to move up and down hills and over large stretches of water. All of it can be done using a prepaid card, like the Oyster card of London or the Octopus card of HongKong, that gets scanned each time you enter a new mode of transport. It’s all much smoother-running because of the easy scanning: no tokens, no tickets…

Just to give you an idea: I am staying in an airbnb not far from Taksim Square (of May demos fame). To get to, say, the main tourist places or to the ferries, I walk up to Taksim, then take the funicular (underground cable car) down the hill to Kabatas, then get straight onto the tram, which carries me along the shore (past two or three huge cruise ships, big boxy apartment-buildings on the water) and over the new Galata bridge. From there I can walk two minutes and catch a ferry across the Sea of Marmara to Kadikoy, on the Asian side, a fifteen or twenty minute trip. And there, as I had been told before I left, is a lively market neighbourhood, fabulous walking streets and beautiful food scenes all around.

So that’s where I went yesterday nooontime (after spending the morning at the consulate of Iran, waiting, then getting instructions and forms, and then waiting again to hand everything back in; they tell me the visa will be delivered on Monday morning).

I’d been over to Kadikoy the previous day for a wander around, in company with an immersethrough friend B who happened to be in Istanbul for the first two days I was here. We rambled following our noses, choosing the most interesting looking streets, and got lost without knowing we were lost (or caring).

Some of the fish in the market – Jake Tilson looked at the photo and says they are a kind of bonito – had their gilled pulled out and kind of separated so that they looked like dark-cherry-coloured flowers, very beautiful in a massed display. There were fresh hamsi (anchovies) all silver gleaming, and other fish I know nothing about and could only admire for their beauty. And there were ripe figs, large and small, as well as pale to deeper red pomegranates, always with a few broken open to show their juicy promise. Several shops had heads of leaf lettuce arranged in rows, each topped by a small bundle of red radishes, like a small bouquet, the red an almost shocking contrast to the bright green.

In the midst of all the plenty was an enticing-looking bookshop full of books in Turkish with beautiful leather bindings. Of course we went in to look. And when we asked, Yes, down a steep flight of stairs were books in English and French and more in Turkish. I found a Virago edition of a fantastical novel by Naomi Mitchison called Travel Light in which Constantinople plays a small role. Later, as we found our way back to the ferry again, I wondered out loud if I could find my way back to the bookstore again.

That was two days ago. When we went back to Kadikoy yesterday, though all the same market loveliness was on display, we were less observant, for we were on a mission to find Musa’s restaurant Ciya. We also wanted to spot a lachmacun place called Halil that the deeply knowledgeable Robyn Eckhardt of Eating Asia had told me about. After asking a couple of people, we found ourselves on a street we recognised from the day before. First we found Halil, and then, right opposite the bookstore – aha! – was Ciya.

We feasted at Ciya (I hadn’t eaten before leaping out the door for my visa and was starving). And it was like the best kind of home cooking, with layers of flavour and care, that’s the only way I can describe it. Of course I am too unknowledgeable about Turkish cuisine to tell you in detail, but the lamb with quince was wonderful, the kibbeh was perfect, the wheat berry and cheese stuffing in the vine leaves was fresh on the tongue… I am hoping to get back there, perhaps on one of the evenings I have on my way through after Iran… (And I have promised myself a visit to Halil too.)

After the luck of my first two days in Istanbul, today was more bumpy. I looked up a resto I wanted to try, Google sent me to a strange suburban location, but so what? I thought. There's light rail to nearby. In fact, no, there's not, because it has been torn up and is being replaced with a metro line. Meantime, take a bus said the man. I did, but it was very far, and then it turned out that Google had sent me to the right street address, but in a different quarter, not the right one. I was miles from where I wanted to be. I should have phoned first, of course, to check. But it wasn't wasted time, I said to myself firmly as I stood in a crowded bus hoping I was headed the right way on the return. I got to see parts of the city I'd never have been to, and to see how hard life is for loner-distance commuters.

All of this reminds me of the not-knowingness of travel. I have spent most of my travel time recently in Burma and Thailand. And while Burma was a layered puzzle that I have only barely begun to get familiar with, I did at least have some clue by the time I’d finished work on my book.

In Turkey, and even more so in the next weeks in Iran, I am again starting from scratch, and in a more visibly complex environment. At least here, thanks to Ataturk, who moved Turkish into a western alphabet, I can read the street signs and sound out other signs to try to make sense of them (taksi, bufe, etc). But in Iran I will be as illiterate as I was in Burma at the start.

That illiteracy forces me to use other cues, to be observant of details. You might almost say it forces me back into fuller awarenes. Just as, on that first trip to Kadikoy I noticed lots of market details because I was tuning in to what was before me, while on the second, as a hostage to a map and directions and a fixed goal, I noticed very little, so the illiterate is alert to more, whereas, when reading is an option, we tend to not see much beyond the signage.

Do I revel in my ignorance and the not-knowingness of my situational illiteracy? Yes, in many ways I do. It’s humbling (never a bad thing) and I like it as a reminder of how much I usually fail to notice. I always hope I’ll stay attuned to that reminder, and keep trying to tune in, even when I am in familiar surroundings. But mindfulness is easier to talk about than it is to practise, don’t you find?