Wednesday, March 18, 2009

Cookbook as Journal

For the past decade I have been recording notes in my cookbooks. By now they are a journal of sorts; a gustatory camera.
     Bullets in the index rank my achievements. Scrawls throughout the chapters denote changes made, mistakes to avoid, and a surprising amount of recollections: the Antipasto Italian Roll-Ups were not only great for camping, but just the words Tony Grove July '04 bring a rush of memories: the toy turtle on the rocks I mistook for a real baby, and cycling for only the second time since college.
     Cookbooks also are a great way to use of many of my favorite paper products. I use Russel and Hazel sticky-notes at the back of the books to remind me "best lunches" or "worth a repeat" categories. By now, they also boast a bevy of yet-to-try dishes I'd need three more lives of cooking to catch up to. I also use Chronicle Book's fancy labels on the inside front covers to remember entire menu's. A great way to retain what would otherwise have been transient treasures, such as Jill Bliss and Lotta Jansdotter's inspired work. I even use Bob's Your Uncle page markers when cooking from multiple pages in one book. Basically, my cookbooks have transcended their utility as food resource. Sometimes they feel like napoleons of paper delights!

Monday, March 2, 2009

Noa Noa / Chronicle Books


Noa Noa was an impulse buy in college. Little did I realize it was the beginning of a passionate relationship with Chronicle Books. After I had accumulated a few more extraordinary books I started noticing this curious little eyeglass logo and decided I needed to learn more about Chronicle. That was maybe 15 years ago. Since, I’ve gone out of my way to order their catalogue each year so I’d know what to save up for. Then I started finding myself influenced by their design aesthetics. Now it’s more than just a crush—I’ve grown to accommodate my life for Chronicle Books. Noa Noa (Fragrant, Fragrant) was an easy first fling. The construction was plainly attentive and of superior quality. Font choice and layout were so complementary I found myself as drawn to the elements as I was the content. I still don’t know what the book face is, but coupled with the curious distressed script and his actual handwriting—it’s a perfect marriage. Throw in an enchanting trip to Tahiti and a mix of judiciously-selected sketchbook drawings and one might never recover. It’s such an exotic and splendid journey, art history would be so much more interesting if other books were styled after this manner.