My biggest question is about the use of the underscore, or is that just a really low hyphen? My next question is a story: I’m sitting alone at the counter at Mistral Kitchen, polishing off some kushi oysters, sipping something brilliant involving gin and waiting for my pork belly (served on a sweet steamed bun with cippolini onions-gone-asian and cilantro? Was that even cilantro? Might I never need to touch another actual burger?).
WAIT: My PORK BELLY. On day four of “taking a break from meat,” the day on which I reflected back on the smoked chicken I had Thursday (Jack Timmons had smoked it in his backyard for 14 hours! How could I resist? And he’s from Texas, that dreamy drawl…), the Seafood with our hand-shaven noodles on Friday…and…
Waiting for pork belly. Which was fucking delicious.
I’m not sure what the question is actually.
Look at her fingernails. The red of the poster and the red of the steak and the red of her FINGERNAILS! I am in the process of responding to interview questions from Cassie Marketos of Kickstarter.com, who asked:
Where did this idea sprout from? Meat is an interesting entry-point into conversations of sexuality and power. I’m curious to know how the idea evolved!
And I keep on wanting to respond with images. Because meat is simultaneously so un-ladylike to devour, and so owned-by-men in most narratives of “how labor has been divided” and such an essential part of the ideal American woman preparing food at home for her husband and children and used as an explicit stand-in for “penis,” for “a woman’s ass,” for woman more generally, in language, in images,
Which we could either say perpetuates the idea of women as commodity, as consumable/consumed…
Or acknowledges that this image in an almost magical realism way is a better representation of what it feels like to live in a female-marked body, or to work in the sex industry or pornography, or to wake up in the morning, and make it all into a day marked by meaning and whatever it is we each hope our days might be marked by…than this image
Finally, as the title of this post was written before the post itself, and it seems to plead for one more piece of Meat Art,
Roy Lichtenstein – Meat
acrylic/canvas 21 1/4″ x 25 1/4″ 1962
The chef in charge of pork belly came over and asked how it was. Fucking delicious, I told him. I asked my waiter where it was from, he asked said chef, and the relay response was Snake River, Idaho. Before leaving for the evening, I asked chef/owner William Belickis if I might come in some time and talk to him about meat: the hand-powered slicer, their butchering, charcuterie, sourcing, their menu. He said of course, Tuesday through Thursday, any time, and asked what I’d ended up deciding about love, women, immediacy, and patience. He remembered the conversation we had my first time in the restaurant, when multiple women felt like the most enormous metaphors of decision-making: protection v. vulnerability, immediate return v. investment, love v. fear. I made the right choice I told him–didn’t you meet her the next time? I did, he said, I just didn’t know which one it was. That, I think, is a special thing: to have someone, particularly someone you have only met twice, remember what matters to you most.
Mistral Kitchen – Pork Belly
Saturday March 27, 2010