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The George Mehl Story

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Along about the mid 1980s, a local developer decided to build a world-class resort in the foothills. That resort became La Paloma, but the developers George Mehl and his brother David, ran into some stout opposition. For one thing, the Mehls proposed to build a Jack Nichlaus 27-hole golf course with lots of grass and ponds, pretty as you please and needing a ton of water.

In those days, Tucson was a serious tree-hugging community. The outrage swelled not only over the amount of water to be spilled for this play land of the rich, but for all the beautiful flora that would be destroyed as well. But then some very smart people suggested Mehl could irrigate his golf course with reclaimed water. He need only build a pipeline from the city’s resources to the La Paloma site. Mehl quickly agreed and paid for it. There wasn’t much argument.

The Mehls also agreed to hire an outfit to map and preserve all the flora on the development site (not in the golf course area). After the development was in place, the flora was put back.

The La Paloma course was the first private course to use reclaimed water. Today about half the courses in the county use reclaimed water.

George Mehl did the right thing for his community. And the community reciprocated, sort of. The county changed the name of the Foothills Park off River Road just east of the Tucson Jewish Community Center to the George Mehl Family park. It was to honor Mehl and the four other members of his family. All five died in 1991 when the private plane he was piloting crashed near Cortez, Colorado. Mehl was 41. I don’t have an age for his wife, Deborah. His daughters were Natalie, 12, Laura, 8 and Jenna,3.

While the park is named for the George Mehl family, there’s no plaque or other explanation saying who he was,what he did or how he died. Sooner or later, I’m sure, that will change. He did far more than build a beautiful resort.

Beware the Preposition

I have a thing about prepositions. I like them OK. But I think it’s a good thing to keep them at arms length. I try not to get really chummy with them because they have a way of turning on you and biting you in the arse. You have to watch them like a hawk. They do not play well with others. Do not employ them often because if you do, you will suffer and learn the hard way about the law of diminishing returns.

I will admit these are glittering generalities, that a few writers are so skilled as to  force them to do hard labor, to exceed all expectation. There are, for example, more prepositional phrases in this sentence than you could shake a soft-lead pencil at:

“It is rather for us to be here dedicated to the great task remaining before us — that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion — that we here highly resolve that these dead shall not have died in vain — that this nation, under God, shall have a new birth of freedom — and that government of the people, by the people, for the people, shall not perish from the earth.”

I count 15 prepositional phrases, none of which should be excised and all of which do exemplary work. They were wielded, fitted precisely and expertly by their creator. But this is rare phenomenon. Such sentences appear less frequently than Haley’s Comet.

The abuse of prepositions is far more common. And it’s not pretty. I have in my time seen prepositions gather five, six, seven, eight and (God forbid) nine times in a sentence to create an unmanageable riot of phrases, dangling participles, splitting bloody infinitives and battering passive voices. Of this you can be certain (of). And do not make the mistake of thinking this is just a prose problem, that high and mighty poems tower far above this plug-ugly prepositional street crime.  For example, I just discovered this first line of a recently published poem:

“Where is your father whose eye you were the apple of?”

I will not summon the now-centuries-old schoolmarm rant about placing prepositions at the end of sentences. But one ought to recognize the wisdom of the ages in the rule. One of the best lessons one can learn about casting sentences is to understand  parts of the sentence —  beginning, middle and end — and the import of them. The most powerful part is the end, then the beginning and middle in which you find mostly flab sometimes laced with drivel. You must reserve your primo stuff for the end.

It is another generally agreed glittering generality that prepositions are best deployed as links. To leave a preposition at the end of a sentence is to put your toes over the edge of a steep cliff, bend your knees and lean forward. You could stumble, fall and get hurt. In any event, I leave it to you to judge whether placement of the preposition at the far edge energizes the cliché:

Where is the stitch that saves time in?

Where is the leap you look before?

Where is the love and war that all’s fair in?

Where’s the look whose bright side to look on?

Where’s the tree whose acorn from the tree does not fall far from?

Where’s the time you have hands on?

Where is he who from hell like a bat took off?

‘Season Tickets’ by Dan Gilmore

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If you ever had season basketball tickets, this poem will feel familiar. If you haven’t, it will become so. “Season Tickets,” is the title. It is also the title of the book, by Dan Gilmore. He is a man of many talents, a jazz bassist, biz consultant, novelist, short story writer, raconteur and holds a doctorate in Great Expectations. He just recently has a bunch of poems accepted by a bunch of quarterly poetry publications. I don’t know when because he is afraid to ask said bunch. His novel, “A Howl for Mayflower,” is filled with characters you would like to know because you like them. It is set in Tucson’s Coronado Hotel. The “Mayflower” in the title is a lovely woman, one of the most attractive characters I have met. And I happen to know the narrator personally. You can get it through Amazon, and there is a Kindle edition. “Season Tickets” is out of print, but easy enough to find via Amazon used or Abe.Books.com.

Season Tickets

Fifteen years we had them,

the two seats at the end of Row 29,

Section 20. We were real fanatics

back then, screaming, high-fiving,

thinking this would last forever.

We hardly noticed when,

seven seats down, a woman

in her sixties, a city-league

tennis player, stopped coming.

Turned out she’d had a stroke

and died. Next season the woman’s

husband had a heart attack. During March

Madness the person five seats down —

an irrepressible man with a white

beard and a Greek fisherman’s cap

who called himself Uncle Charlie —

died of throat cancer. Treatable

was the last word we heard him say.

Next season, Uncle Charlie’s nephew,

a despondent accountant who

quoted Rush Limbaugh, disappeared

one day. Died from cancer, we heard

from his wife who sold their tickets

to a woman who was killed jaywalking.

Her seat was empty the entire season

but filled with waiting. JoAn is next

in line, then me. The team is younger

this season, less experienced, losing more

than winning. JoAn and I watch

with greater discernment, nod and clap

instead of scream, take deep breaths

between baskets, and look forward

to time outs. An obese adolescent

sits in the seat next to JoAn now.

He eats hot dogs and yells Go Cats

at odd times. We both wish him well and hope

he lives a full and happy life, but it’s apparent

he knows nothing about the game.

 

Boomers

I don’t mean to complain, really I don’t. But I today received this e-mail:

Dear NYTimes.com Reader: We are pleased to announce the launch of Booming, our free weekly e-newsletter for baby boomers.Led by baby boomer, Michael Winerip, the Booming e-newsletter is sent every Tuesday and covers news, information, debates and essays about the topics that interest you most.

Sign up today to receive all this and more delivered right to your in-box.

 

All right, I lied. It is annoying to know that from the moment you were born Madison Avenue and the rest of the world has stalked you like a rich relation, trying to sell you deodorant, Ozzie and Harriet, real estate, insurance, The Price is Right and nostalgia in movies, books and bottles. Boomers provide work for Meryl Streep and Robert DeNiro, preserve the memories of Janis Joplin and Jimi Hendrix and will not permit the world to forget “IN A GADDA DA VIDA.”

I cannot but wonder, albeit idly, what the Times and Mr. Winerip will select as the alleged topics that interest me most. At the moment, I am most interested in how it is that some morons manage to get elected to the U.S. House of Representatives. Somehow, I don’t see the newsletter tackling that subject.

FOOTNOTE: Yesterday, Oct. 2, was the 45th anniversary of the Massacre of Tlatelolco at the Plaza de Tres Culturas, in which mostly students in Mexico City were slaughtered by the troops and police of President Gustavo Diaz Ordaz. Reports were that 300 were killed, then thousands. But the documented dead are only 44. Did I really say only.?

 

Marcella Hazan, 1924-2013

Marcella Hazan is my hero.DSC_0006 She showed me how to cook Italian, do it sensibly and trust your tastebuds.

I got to know her just a little. We spoke a couple times many years ago. She was living in Florida with her husband Victor. I was writing a food/cooking column for the Star called “Kitchen Patrol.” In those days, the paper had a marvelous Wednesday food section edited by Kristen Cook. I wrote the piece that appears below and sent it to Marcella. She said it gave her a boost because she was working on a new project (Amacord), and it was difficult.

The New York Times put her obituary on Page One this morning, exactly where it belonged. Her influence was enormous. Unlike many cookbook writers who seem to have reinvented the assembly line, Hazan wrote just five books over more than 40 years.  It is a marvelous legacy.

Fan of Italian food savors Marcella ‘s cookbooks

The Arizona Daily Star – Wednesday, April 7, 2004

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Author: Steve Auslander

The problem with cookbooks is that they are written mostly by cooks.DSCF2467

It may be a safe assumption that cooks can cook, but it isn’t necessarily true that cooks can write. Which is to say coherently. Or cogently. It is for this reason that not all cookbooks are – how to put this delicately? – palatable. This difficulty is compounded by the fact that not all cooks have a lot to say. Or that what they have to say is helpful.

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I am grateful for a public library that allows me to peruse a cookbook before I decide to acquire it. I also have been known to spend a couple of hours in a Barnes & Noble, reading cookbooks and buying nothing but a roll and a cup of Joe.*

Finding a really good cookbook is by no means commonplace. I do not have many books and do not collect books as much as I collect cookbook writers. My favorite is Marcella Hazan . Her five books are lucid, informative, entertaining and, above all, helpful.

It helps that I adore Italian food. Hazan was born in Cesenatico, a small town on the Adriatic coast in the province of Emilia-Romagna.

I spoke with her from her home in Longboat Key, Fla., which is on the Gulf Coast near Sarasota. She said she’s working on a sixth book. It takes about five years for her to write a book, which I suspect is one key to her enormous success. This book will contain about 100 recipes (her other books have many more). It will be based on her teaching courses, she said. Her new book is tentatively titled ” Marcella Says,” and it is scheduled to appear in October.

Hazan writes in Italian. Her husband, Victor, is her translator and a very good one. He manages, Hazan said, to retain her voice even in English. He is an authority on Italian wine and has written a book, “Italian Wine.” Her son Giuliano Hazan has written cookbooks as well.

Hazan wrote these books while she lived in Italy – mostly in Venice. She tested recipes there and then once again in New York City, using American ingredients.

In her last book, ” Marcella Cucina” ( Marcella Cooks, 1997), she used a quote from Richard Strauss, who once told an orchestra: “Gentlemen, you are playing all the notes perfectly, but please, let me hear some music.” Hazan says that when she eats meals prepared by “highly trained chefs, food that is ingeniously contrived, elaborately described in the menu, and eye-catchingly presented, that virtually nothing registers on my palate.” All notes, no music.

In ” Marcella ‘s Italian Kitchen” (1986), she sets out some rules. One I particularly liked: “Do not esteem so-called fresh pasta more than the dry, factory-made variety.”

I like this statement because I have difficulty with snooty cooks who look down their noses at plebeians like me who can’t take the time to make fresh.

Hazan ‘s philosophy combines passion, clarity and sincerity. The passion, she says, embodies the sensual nature of the cook. Clarity is to allow the ingredients to speak for themselves. Sincerity is, Hazan says, “speaking with your own true voice.” She is right when she says cooking “is a far more self-centered act than has been generally admitted. It is we who must, first and last, be satisfied with how we cook. The applause that may greet us is helpful encouragement, but it will ring hollow if it does not resonate within us.”

*The origin of this expression has to do with Josephus Daniels, who was editor and publisher and the owner of the Raleigh (N.C.) News and Observer. Daniels served as secretary of the Navy in the Wilson administration from 1913 to 1921. One of the reforms he imposed was to ban alcohol consumption aboard Navy ships, which in the British naval system was a long-standing tradition. It was thus, legend has it, that stewards would ask naval personnel if they would like a cup of Joe in lieu of grog.

 

Most of the time a man’s home…

….Is his castle.

And once in a while, a man’s castle is his home (observatories optional).cropped-DSC_0017.jpg

A Great Grande Tragedy

DSCF0614When I first started as a reporter at the Arizona Daily Star, I had not quite acquired a taste for the red. I had been a green chile fan. I still am. But nothing rivals a good bowl of red chile, and the place I first encountered Nirvana in the form of chile colorado was in 1971at the Grande Tortilla Factory, 914 N. Grande. My city editor, Bill Waters, showed me the way.

The GTF was but a five minute drive from the paper, which was on Stone Avenue, downtown where it belonged then and belongs today. The red chile burro was absolute perfection, wrapped in  the perfectly formed flour tortilla. The beef was as tender as a Hoagy Carmichael ballad. The gravy of meat juices and chile was a combination beyond what I thought humanly possible.

Of course, the GTF was not just about red chile. It was about all things comida Mexicana. There was a long line at lunch time. In late summer, the factory was busy grinding masa for tamales.  On the weekends, customers cued up with big pots in hand, waiting to be filled with menudo.

I have heard the carne seca was a legend unto itself. It was, alas, my misfortune to never discover it. I could never order beyond red.

The GTF is closed now, the windows shuttered. Every time I pass by, I wish the same wish — that it be 1947 and Frank Pesqueira is about to open for the first time.

But he does not. It’s still closed, a tragedy far greater than even Shakespeare could imagine.

Clouds

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When Howard Hughes ran Republic Pictures, he made a lot of two-bit B Westerns. After screening what my grandmother used to call a “shoot ‘em up,” he told the director who had spent a week or two shooting the movie in Arizona to go back. This time, he told the director, get some clouds in the movie. You cannot shoot a western in Arizona, he said, and come back without cloud shots.

I am tempted to say clouds in this part of the world decorate blue skies like no other. For all I know, they might look the same elsewhere. I’d like to know where. A week ago they were magnificent as they marched in with the last gasp of the monsoon. They were puffed up pretty, spectacular billowy ornaments against mountain backdrops, like a traveling roadshow. I often think that our clouds are not appreciated, but then on second thought I doubt that is true. I think they are taken for granted. They don’t provoke a lot of conversation. That might be because the language of clouds resides with poets.

Like these four lines from Gerard Manley Hopkins’ 1918 poem, “That Nature is a Heraclitean Fire and of the comfort of the Resurrection”:

CLOUD-PUFFBALL, torn tufts, tossed pillows ’ flaunt forth, then chevy on an air-

built thoroughfare: heaven-roysterers, in gay-gangs ‘ they throng; they glitter in marches.

Down roughcast, down dazzling whitewash, ‘ wherever an elm arches,

Shivelights and shadowtackle in long ‘ lashes lace, lance, and pair.

You can find the rest of the poem here.

Hopkins found a lot of God in nature. He was a priest, after all. He studied clouds more than most. Besides poetry, he also wrote a journal, and in 1871 he wrote this:

“— Clouds however solid they may look far off are I think wholly made of film in the sheet or in the tuft. The bright woolpacks that pelt before a gale in a clear sky are in the tuft and you can see the wind unraveling and rending them finer than any sponge till within one easy reach overhead they are morselled to nothing and consumed — it depends of course on their size. Possibly each tuft in forepitch or in origin is quained and a crystal. Rarer and wilder packs have sometimes film in the sheet, which may be caught as it turns on the edge of the cloud like an outlying eyebrow. The one in which I saw this was a north-east wind, solid but not crisp, white like the white of egg, and bloated-looking

“What you look hard at seem to look hard at you … . One day early in March when long streamers were rising from over Kemble End one large flake loop-shaped, not a streamer but belonging to the string, moving too slowly to be seen, seem to cap and fill the zenith with a white shire of cloud. I looked long up at it till the tall height and the beauty of the scaping — regularly curled knots springing if I remember from fine stems, like foliation in wood or stone— had strongly grown on me. It changed beautiful changes, growing more into ribs and one stretch of running into branching like coral.”

It is difficult to express what clouds evoke. It is frustrating, and so it is heartening that poet like Hopkins would write “It changed beautiful changes,” throwing the majesty and beauty of those clouds all back upon clouds because they defy description, define themselves.

 

The Harshaw Cemetery

I was over to Harshaw last week. It lies south of Patagonia on the east slope of the Patagonia Mountains, not surprisingly situated on the Harshaw Road. Will Barnes says in his essential book “Arizona Place Names” that the place was named for David Tecumseh Harshaw who settled there in 1875. Barnes says the Mexicans first named it “Durasno” because of peach trees “probably planted by some early padre.” I find it somehow agreeable that priests get credit for peach trees.

There’s a big sign that marks the town site so you can’t hardly miss it. A bit further there’s a very big tree — sycamore, I think — and beyond that the town’s cemetery. It sits on hill, and some of the graves are hidden and some overgrown. But the graves are adorned with colorful flowers and looked after with a good bit of affection and respect. It is a very peaceful resting place.

There are two graves side by side, Mariano and Josefa Soto. They seem to get the most attention. I would wager that come November there’s lot of activity here. November brings the Day of the Dead, Dia de Los Muertos, a great cultural tradition. The Day of the Dead reminds me of Thornton Wilder’s 1927 novel “The Bridge of San Luis Rey.” The last dozen lines in that book that are among the greatest of American literature:

” ‘Even now,’ ” she thought, ” ‘almost no one remembers Esteban and Pepita, but my self. Camila alone remembers her Uncle Pio and her son; this woman, her mother. But soon we shall die and all memory of those five willhave left the earth, and we ourselves shall be loved for a while and forgotten. But the love will have been enough; all those impulses of love return to the love that made them. Even memory is not necessary for love. There is a land of the living and a land of the dead and the bridge is love, the only survival, the only meaning.’ ”

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Bob Cauthorn, 1922-2013

If this town ever builds a monument to its conservationists, the memory of Bob Cauthorn should be thus enshrined.

Bob died this week after a long illness. He was 91.

As a member of the Tucson City Council, he led the monumental effort to impose conservation by sharply increasing water rates. This was done through the city water utility, today known as Tucson Water. The increases weren’t just sharp. They were shocking. Otherwise rational people became screaming, foam-at-the-mouth banshees when they saw their water bills. I have described what happened during this time in the city’s history elsewhere on this site.

While Bob was not recalled in an acrimonious recall election, it was because he found a very good job in Florida. He resigned from the council. His empty seat was filled in the recall election. The water war cost four incumbent council members their political careers. When faced with the necessity for conservation, the council successors retained the water-rate increases. Tucson became a national leader in water conservation.

Bob also was a key figure during another city crisis — the public safety strike. Tucson’s policemen left the city unprotected for a time.

After he retired, Bob returned to Tucson a widower. He struck up a friendship with the incomparable community activist and champion of worthy causes Joan Kaye, and they were married.

Politicians come and go without accomplishing much. They get caught up in minutiae. Few can claim a single major accomplishment during their service. Bob Cauthorn will always be among those few.