【 眾生報：每日人事物 2025 1118 週二】陳淑芳 「唉唷，戴這些頭銜也太辛苦，只要記得，我們朋友一場就好了。」史藝廚藝， 作家，主廚， 傳記作家 ( biographer)專輯 ：“History Matters," by David McCullough. 讀McCullough著《杜魯門》 (Truman ,1992 有中文本）The Great Bridge: The Epic Story of the Building of the Brooklyn Bridge BY David McCullough’s History Lessons《杜魯門》(Truman ,1992）.The Bridge: To Brooklyn Bridge by Hart Crane. 。 吳相湘（1912—2007），湖南常德人，中國歷史學家。《三生有幸》是其回憶錄；《晏陽初傳：為全球鄉村改造奮鬥六十年》； 《中華民國國父──孫逸仙先生傳》。代表性主廚，包括 「Gubami Social」、「小樂沐」的亞洲最佳女主廚 陳嵐舒，「MUME」、「MMHG」創辦人 林泉、「AKAME」 彭天恩、 「Sinasera 24」楊柏偉、「Marc L3」 廖偉廷、「阿霞飯店」吳健豪、台南辦桌天王「漂亮宴會廳」 阿勇師等等。台灣新秀如丹麥哥本哈根、世界50最佳餐廳 BBVA 獎學金得主劉詩絜，任職於美國舊金山「 Benu」 的魏宏丞、傅昭蓉
Fine dining 是我翻過來又反過去的一個題目，多年來用許多形式輸出內容。這個看似他者的出發點，最終都會歸結到自身，因為本我有時得透過和他者的比較才更清楚。也就是說，如果法國菜制定了現代fine dining的規則，以餐飲評鑑（米其林）、廚房編制與烹飪語彙建立了征服各地的文化霸權，那台灣在其中扮演什麼角色？受到何等影響？
A "gastronome" is a person who is a connoisseur of good food and drink, and who has a serious interest in the art of preparing and eating it. The term can also refer to other things, such as the Danish restaurant Gastromé, an ingredient company Gastrome Professional Ingredients, or a specific medication GASTROME Granules 66.7%.
「美食家」指對美食美酒頗有鑑賞力，並對烹飪和享用美食藝術抱持濃厚興趣的人。該詞也可指其他事物，例如丹麥餐廳 Gastromé、食材公司 Gastrome Professional Ingredients，或某種特定藥物 GASTROME Granules 66.7%。
吳相湘著，《晏陽初傳 : 為全球鄉村改造奮鬥六十年》，台北：時報文化出版，1981(859頁)From Wikipedia, the free encyclopedia The Rural Reconstruction Movement was started in China in the 1920s by Y.C. James Yen, Liang Shuming and others to revive the Chinese village. ..
The Great Bridge: The Epic Story of the Building of the Brooklyn Bridge BY David McCullough’s History Lessons《杜魯門》(Truman ,1992）.The Bridge: To Brooklyn Bridge by Hart Crane.
“Mitchell’s sketchbook drawing of the Brooklyn Bridge seen through a window speaks to her interest in working from the view immediately before her. With a few quick strokes, she situated herself within a spare, shallow interior anchored by the outline of a table. The planes of the tabletop and the window frame interlock and recede into a darkened landscape…”
-Karli Wurzelbacher
Interspersed between the biographical chapters in Joan Mitchell, the retrospective catalogue published in January by Yale University Press and SFMOMA San Francisco Museum of Modern Art, are concise texts that each focus on a particular work by Mitchell. The first of these interludes, penned by Karli Wurzelbacher, highlights early sketchbook drawings by Mitchell, from around 1948, and illuminates the role Mitchell’s sketchbooks played in her practice.
Wurzelbacher writes, “Mitchell used her early sketchbooks sporadically, over months or years, flipping to blank sheets at random. The volume in which bridge views predominate features other imagery executed in an array of styles: portraits and figure studies are interspersed with drawings of the human body dissected into shards and heavily cross-hatched; recognizable still lifes and city scenes follow compositions with no discernible subject.”
Karli Wurzelbacher is curator of The Heckscher Museum of Art in Huntington, New York. She has contributed to such publications as the exhibition catalogue for Odyssey: Jack Whitten Sculpture, 1963–2017, the Journal of Glass Studies, and Charles Burchfield 1920: The Architecture of Painting. You can read her essay on Mitchell in the Joan Mitchell retrospective catalogue: https://yalebooks.yale.edu/book/9780300247275/joan-mitchell.
Pictured here: Joan Mitchell Sketchbook, ca. 1948. Pages 88 and 89 of 182. Graphite on machine-made wove paper, open: 101/4 x 153/4 in. (26 × 40 cm). Joan Mitchell Foundation Archives, New York.
Our current Scene Through Wood exhibition celebrates the centenary of the Society of Wood Engravers, founded in London in March of 1920. Wood engraving may be the only art form with English origins, beginning in the late 18th century with Thomas Bewick. Wood engraving involves incising the polished end-grain surface of a block of hard wood, using sharp steel tools, before inking and printing it. Wood engravings are notable for astonishingly fine detail and astounding tonal range. This FREE exhibition shows the diversity of wood engraved prints in the last 100 years, with works from our collections, complimented by loans from important private collections. This engraving is by British artist Anne Desmet RA, who is the curator of this exhibition. Part of a series featuring Brooklyn Bridge, it is called New Day and was made in 2015. See the full work, as well as the others in this series, in our Scene Through Wood exhibition in Gallery 8. Please note that this exhibition is FREE, but booking is essential for General Admission to the Museum due to our new safety measures.
As though the sun took step of thee yet left. Some motion ever unspent in thy stride,—. Implicitly thy freedom staying thee! Out of some subway scuttle, cell or loft. A bedlamite speeds to thy parapets,. Tilting there momently, shrill shirt ballooning ...
The Bridge, first published in 1930 by the Black Sun Press, is Hart Crane's first, and only, attempt at a long poem. (Its primary status as either an epic or a series of lyrical poems remains contested; recent criticism tends to read it as a hybrid, ... Contents · Critical reception · Composition
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Two men standing on a catwalk surveying the construction of the Brooklyn Bridge, with Manhattan in the background, 1870s [2048x 1379]
Owen Hsieh杜魯門總統如何面對期中選舉慘敗？ 羅斯福總統於1945年4月12日病逝，副總統杜魯門繼任總統。1946年11月期中選舉，杜魯門返回家鄉密蘇里州獨立市投票，投完票，立即搭火車返回華府。車上他與幕僚及隨行採訪的國際合眾社及美聯社記者打橋牌消遣。火車抵達辛辛那提時，知道民主黨敗選，同時失去國會參、眾兩院多數席次。這是半世紀來，民主黨最大的挫敗，也是1928年以來，讓共和黨首度掌控國會兩院多數。 選民不滿民主黨執政的原因，是當時市場牛肉供應短缺，批評杜魯門總統過於儉樸的性格，其實後來這是杜魯門最為人稱讚，聲譽不墜的特質。但當時共和黨僅憑簡單的兩個字“ 夠了沒（Had enough ?）” ，就橫掃選民情緒，贏得半世紀來的最大勝利。共和黨的新生代政治人物尼克森、麥卡錫和民主黨的甘迺迪都在那次選戰中首度進入國會。 當敗選消息逐步傳出時，杜魯門的情緒並沒有太大起伏，俟橋牌告一段落，他對隨行記者發表唯一的簡短評論說：“ 對選舉結果，我最主要的遺憾是，會弱化我在國際間的努力”。面對政治災難般的敗選，他情緒平和的令人訝異。回到華盛頓的聯合車站，發現只有國務次卿 Dean Acheson 一人孤伶伶地站在月台上恭候迎接。在總統面臨政治低潮時，Acheson 優雅忠誠的形象，讓杜魯門印象深刻，日後並將他提拔為國務卿。 依據傳統的政治觀點，杜魯門是繼位的看守總統。 期中選舉的重創，立刻出現試圖弱化他總統地位 的逼宮戲碼。年輕的阿肯色州參議員 Fulbright 要杜魯門提名資深的共和黨參議員 Arthur Vandenberg 為國務卿，在副總統已出缺的情況下，使 Vandenberg 卡位僅次於總統的職缺。杜魯門深知這是赤裸裸的逼宮，若妥協，下一步就是找機會要他辭去總統職位。杜魯門對 Fulbright 從此芥蒂甚深，見面都不打招呼, 私下譏諷他是 半吊子先生 Mr. Halfbright. 不過，Fulbright 後來在政壇得意，擔任國會參院外交委員會主席近20年，雖多次問鼎總統參加初選失利。卸任後，美國國務院還以他的命字設立提供外國學者赴美短期研究的"傅爾布萊特獎助金”。 從密蘇里州回到白宮，杜魯門馬上召開幕僚會議，說選舉的災難，反而使他心中有種獲得解放的感覺，當時幕僚都不解其意。他的助理 Clifford 回憶說，當時內閣職位多由保守派佔據，並推動一整套的國內政策，在期中選舉前，讓選民困惑，杜魯門總統究竟是走哪一種政策路線? 選民認為似乎偏離了羅斯福總統的新政路線。Clifford 認為，選舉結果顯示，選民的訊息很清楚：民主黨必須走民主黨路線，而不是向共和黨人取暖過頭的保守主義政策。內閣職位雖多保守派，但次閣員級仍有諸多服膺自由主義政策，來自不同部會的青年才俊。期中選舉後，他們認為有必要成立非正式的小組，每週一晚間聚餐後，就如何推動正統民主黨自由主義的政策交換意見，會談不作任何記錄，重點在形成共識，影響總統的政策，並在自己的崗位上提出倡議。雖然是討論自由主義取向的政策，但是不會把追求意識型態的純粹性置於政策的實際考量上。通常作出的決定都是在理想與可能，完美與務實之間。他們瞭解政府代表所有人，必須在各種壓力之間取得平衡，因此通常思考的焦點是什麼是最可能達成的方案，或最好的可能結果是什麼? 小組運作一段時間，成效卓著，先後完成民權法案、各軍種整合、設立國安會及否決 Taft- Hartley Act ( 俗稱奴工法案）。之後，因成員職務異動頻繁，難以持續而停止。 期中選舉之後，杜魯門總統的施政日上軌道，政策走向益見清晰，兩年後，在外界普遍不看好中，贏得總統大選，那已是大家熟悉的歷史了。The Great Bridge: The Epic Story of the Building of the Brooklyn Bridge BY David McCullough’s History Lessons《杜魯門》(Truman ,1992）.The Bridge: To Brooklyn Bridge by Hart Crane.
David McCullough’s History Lessons The author on how learning about the past can serve as an antidote to self-importance and self-pity
Brooklyn Bridge, New York. 1905. colorized picture.
PHOTO: JASON GROW FOR THE WALL STREET JOURNAL
By
Alexandra Wolfe
Despite all of the turmoil in U.S. politics lately, David McCullough thinks that the country isn’t in such bad shape. It’s all relative, says the 83-year-old historian and author of such books as the Pulitzer Prize-winning biographies “Truman” (1992) and “John Adams” (2001). He points to the Civil War, for instance, when the country lost 2% of its population—that would be more than six million people today—or the flu pandemic of 1918, when more than 500,000 Americans died. “Imagine that on the nightly news,” he says.
History gives us a sense of proportion, he says: “It’s an antidote to a lot of unfortunately human trends like self-importance and self-pity.”
Mr. McCullough aims to spread that message in his latest book, “The American Spirit,” a collection of speeches that he’s given over the past few decades. Ranging over various topics, from presidential lives to storied places such as Carpenters’ Hall in Philadelphia (“one of the most eloquent buildings in all of America”), he calls on his readers to see history “as an aid to navigation in such troubled, uncertain times,” as he puts it in the introduction.
Mr. McCullough was born in Pittsburgh, the son of a businessman and a homemaker. After getting a degree in English at Yale University, he moved to New York, where he worked at magazines including Sports Illustrated. In the 1950s, “it was much easier to find a job than to find an apartment,” he says. When President John F. Kennedy “called upon us to do something for our country, I took it to heart.” He moved to Washington, D.C., to work for the U.S. Information Agency, which supported U.S. foreign policy abroad and was then under the direction of the great broadcast journalist Edward R. Murrow.
There Mr. McCullough ran a magazine published for the Arab world, and he used to visit the Library of Congress and the Agriculture Department to search for material. One day, he ran across photographs of the 1889 Johnstown Flood, which occurred when the South Fork Dam broke in Johnstown, Pa., killing more than 2,200 people. “I could not believe the level of destruction in the photographs,” he says. Wanting to learn more, he borrowed a few books about the flood, but he quickly saw that they weren’t very good.
He thought back to something that the playwright and novelist Thornton Wilder had said while a fellow at Yale during Mr. McCullough’s undergraduate days. When Wilder heard a good story and wished to see it on the stage, he wrote the play himself. When he wanted to read a book about an interesting event, he wrote it himself.
‘Once I started doing it, I knew it was what I wanted to do for the rest of my life.’
So Mr. McCullough went to work. “Once I started doing it, I knew it was what I wanted to do for the rest of my life,” he says. His first book, “The Johnstown Flood,” was published in 1968, and “The American Spirit” is his 11th.
He continues to take a similar approach to his subject matter. “I have never undertaken a subject about which I knew very much,” he says. “I tell that to my academic friends, and they just think that’s pitiful, but if I knew all about it, I wouldn’t want to write the book.”
One book can lead to the next. When he was working on “The Path Between the Seas” (1977), about the making of the Panama Canal, he became intrigued by Theodore Roosevelt and “how this frightened little boy turned into the essence of masculine vigor,” he says. In 1981, he published “Mornings on Horseback,” about Roosevelt’s life.
Beyond writing, Mr. McCullough is also known for his rich, deep voice. His audio career started when filmmaker Ken Burns interviewed him for a 1981 documentary on the Brooklyn Bridge. Mr. Burns was so taken with his voice that he asked Mr. McCullough to narrate the whole film. He has since narrated many documentaries and served as the host of “American Experience” on PBS from 1988 to 1999.
Even today, Mr. McCullough doesn’t use a computer for research or writing. He still goes to libraries and archives to find primary sources and writes on a typewriter. He lives in Hingham, Mass., with his wife, Rosalee, who edits his work and often reads his drafts out loud to him so that he can hear how they will sound to a reader. They have five grown children and 19 grandchildren. For leisure, he enjoys painting and drawing.
Mr. McCullough is currently working on a book about settlers in the Old Northwest Territory, an area formed in the late 1700s including the lands that became the states of Ohio, Indiana, Illinois, Michigan and Wisconsin. The settlers fought wildcats and snakes and had difficulty farming the heavily forested land. Local Native Americans tried to drive them away with tactics such as killing all the wild game around the new towns the settlers tried to build. They also weathered floods and “virtually any adversity you can imagine,” he says. Almost all of them were veterans of the War of Independence who had been given the land in lieu of pay for their service.
Mr. McCullough laments the fact that students today don’t seem to be as interested in history as he was in his youth. “I think in some ways I knew more American history when I finished grade school than many college students know today,” he says. “And that’s not their fault—that’s our fault.” History, he adds, is “often boiled down to statistics and dates and quotations that make it extremely boring.” The key to generating interest, he says, is for professors and teachers to frame history as stories about people. He takes comfort in the fact that great works of history remain widely available. “I do know this,” he says. “There are still more public libraries in this country than there are McDonald’s.” ~David McCulloug
The Great Bridge: The Epic Story of the Building of the Brooklyn Bridge [David McCullough] on Amazon.com. *FREE* shipping on qualifying offers. The dramatic and enthralling story of the building of the Brooklyn Bridge, the world's longest ...
Truman ( By David McCullough)
名著：McCullough, David Born名著《杜魯門》(Truman ,1992 ）(台北：麥田，1995）不過，讀者如我，需要指引為什麼傳主是Drucker 先生說最偉大的總統。
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