Ernest Hemingway’s Favorite Hamburger Recipe

Image via Wiki­me­dia Com­mons

In 2013, the food writer Cheryl Lu-Lien Tan stum­bled across an arti­cle in the Boston Globe describ­ing a trove of dig­i­tized doc­u­ments from Ernest Hem­ing­way’s home in Cuba that had been recent­ly donat­ed to the John F. Kennedy Pres­i­den­tial Library and Muse­um, home of Hem­ing­way’s per­son­al archives. One line in the arti­cle caught her eye: “And the more mun­dane, like his instruc­tions to the house­hold staff, includ­ing how to pre­pare his ham­burg­ers: ground beef, onions, gar­lic, India rel­ish, and capers, cooked so the edges were crispy but the cen­ter red and juicy.”

Tan, a Hem­ing­way fan and the author of A Tiger in the Kitchen: A Mem­oir of Food and Fam­i­ly, set out to find the recipe and try it. She report­ed her expe­ri­ences on the Paris Review Dai­ly blog. “I had made burg­ers before, count­less times on count­less evenings,” Tan writes. “This one was dif­fer­ent; I was­n’t mak­ing just any burg­er — I was attempt­ing to recre­ate Hem­ing­way’s ham­burg­er. And it had to be just right.”

Here is Papa’s favorite recipe for pan-fried ham­burg­ers, as report­ed by Tan:

Ingre­di­ents–

1 lb. ground lean beef

2 cloves, minced gar­lic

2 lit­tle green onions, fine­ly chopped

1 heap­ing tea­spoon, India rel­ish

2 table­spoons, capers

1 heap­ing tea­spoon, Spice Islands sage

Spice Islands Beau Monde Sea­son­ing — 1/2 tea­spoon

Spice Islands Mei Yen Pow­der — 1/2 tea­spoon

1 egg, beat­en in a cup with a fork

About 1/3 cup dry red or white wine

1 table­spoon cook­ing oil

What to do–

Break up the meat with a fork and scat­ter the gar­lic, onion and dry sea­son­ings over it, then mix them into the meat with a fork or your fin­gers. Let the bowl of meat sit out of the ice­box for ten or fif­teen min­utes while you set the table and make the sal­ad. Add the rel­ish, capers, every­thing else includ­ing wine and let the meat sit, qui­et­ly mar­i­nat­ing, for anoth­er ten min­utes if pos­si­ble. Now make your fat, juicy pat­ties with your hands. The pat­ties should be an inch thick, and soft in tex­ture but not run­ny. Have the oil in your fry­ing pan hot but not smok­ing when you drop in the pat­ties and then turn the heat down and fry the burg­ers about four min­utes. Take the pan off the burn­er and turn the heat high again. Flip the burg­ers over, put the pan back on the hot fire, then after one minute, turn the heat down again and cook anoth­er three min­utes. Both sides of the burg­ers should be crispy brown and the mid­dle pink and juicy.

Spice Islands stopped mak­ing Mei Yen Pow­der sev­er­al years ago, accord­ing to Tan. You can recre­ate it, she says, by mix­ing nine parts salt, nine parts sug­ar and two parts MSG. “If a recipe calls for 1 tea­spoon of Mei Yen Pow­der,” she writes, “use 2/3 tsp of the dry recipe (above) mixed with 1/8 tsp of soy sauce.”

Hem­ing­way’s wid­ow, Mary, pub­lished the same basic recipe in 1966 in the sixth vol­ume of the Wom­an’s Day Ency­clo­pe­dia of Cook­ery. The one-pound of beef was intend­ed for only two serv­ings. For more on Hem­ing­way’s ham­burg­er recipe and his culi­nary tastes, includ­ing a fas­ci­nat­ing list of gourmet foods he had shipped from New York to his home in Cuba, be sure to read Tan’s arti­cle at the Paris Review.

Update: You can also now enjoy Ernest Hemingway’s Sum­mer Camp­ing Recipes.

Relat­ed Con­tent:

The Recipes of Icon­ic Authors: Jane Austen, Sylvia Plath, Roald Dahl, the Mar­quis de Sade & More

MoMA’s Artists’ Cook­book (1978) Reveals the Meals of Sal­vador Dalí, Willem de Koon­ing, Andy Warhol, Louise Bour­geois & More

David Lynch Teach­es You to Cook His Quinoa Recipe in a Strange, Sur­re­al­ist Video

How to Actu­al­ly Cook Sal­vador Dali’s Sur­re­al­ist Recipes: Cray­fish, Prawns, and Spit­ted Eggs

The Story of Lee Miller: From the Cover of Vogue to Hitler’s Bathtub

In late-twen­ties Man­hat­tan, a nine­teen-year-old woman named Eliz­a­beth “Lee” Miller stepped off the curb and into the path of a car. She was pulled back to safe­ty by none oth­er than the mag­nate Condé Nast, founder of the epony­mous pub­lish­ing com­pa­ny. Not long there­after, Miller, who’d been study­ing at the Art Stu­dents League of New York, appeared on the cov­er of Vogue. It’s tempt­ing to call this the first major episode of a charmed life, though that descrip­tor fits uneasi­ly with the arc of her sev­en­ty years, dur­ing the last few decades of which she could nev­er quite recov­er from hav­ing wit­nessed first-hand the lib­er­a­tion of the con­cen­tra­tion camps at Buchen­wald and Dachau — sights she shared with the Amer­i­can pub­lic as a war pho­tog­ra­ph­er.

Miller took pic­tures of not just the con­cen­tra­tion camps, but also events like the Lon­don Blitz and the lib­er­a­tion of Paris. At the end of the war, she posed for an even more famous pic­ture, bathing in Hitler’s tub on the very same day that the Führer lat­er shot him­self in his bunker.

Behind the cam­era in that instance was Life cor­re­spon­dent David E. Scher­man, one of the notable men in Miller’s life. Oth­ers includ­ed the artist-writer Roland Pen­rose, the busi­ness­man Aziz Eloui Bey, and, before all of them, the sur­re­al­ist pho­tog­ra­ph­er Man Ray, each of whom cor­re­spond­ed to a phase of the pro­fes­sion­al jour­ney that took her from fash­ion mod­el to fear­less pho­to­jour­nal­ist.

You can see and hear that jour­ney recount­ed by gal­lerist-Youtu­ber James Payne in the new Great Art Explained video at the top of the post. Just above is a British Pathé news­reel that shows Miller at home with Pen­rose in 1946, the year between the end of the war and the birth of their son Antony Pen­rose, who re-dis­cov­ered and re-pub­li­cized his moth­er’s pho­tog­ra­phy after her death in 1977. How­ev­er belat­ed her pub­lic recog­ni­tion, it’s still sur­pris­ing that a life like Miller’s, the events of which stretch even Hol­ly­wood plau­si­bil­i­ty, only became a movie last year. Lee still awaits wide release, but much has been writ­ten about the pas­sion of star Kate Winslet that got it made. She’ll undoubt­ed­ly impress as Miller — but nei­ther, rumor has it, is Sat­ur­day Night Live alum­nus Andy Sam­berg’s David E. Scher­man a per­for­mance to be missed.

Relat­ed con­tent:

The For­got­ten Women of Sur­re­al­ism: A Mag­i­cal, Short Ani­mat­ed Film

Man Ray’s Por­traits of Ernest Hem­ing­way, Ezra Pound, Mar­cel Duchamp & Many Oth­er 1920s Icons

Why the U.S. Pho­tographed Its Own World War II Con­cen­tra­tion Camps (and Com­mis­sioned Pho­tographs by Dorothea Lange)

Meet Tsuneko Sasamo­to, Japan’s First Female Pho­to­jour­nal­ist and Now, at 107, Japan’s Old­est Liv­ing Pho­to­jour­nal­ist

Great Art Explained: Watch 15 Minute Intro­duc­tions to Great Works by Warhol, Rothko, Kahlo, Picas­so & More

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The Original Alice’s Adventures In Wonderland Manuscript, Handwritten & Illustrated By Lewis Carroll (1864)

On a sum­mer day in 1862, a tall, stam­mer­ing Oxford Uni­ver­si­ty math­e­mati­cian named Charles Lutwidge Dodg­son took a boat trip up the Riv­er Thames, accom­pa­nied by a col­league and the three young daugh­ters of uni­ver­si­ty chan­cel­lor Hen­ry Lid­dell. To stave off tedi­um dur­ing the five-mile jour­ney, Dodg­son regaled the group with a sto­ry of a bored girl named Alice who finds adven­ture in the most unex­pect­ed places. By the day’s end, Liddell’s mid­dle daugh­ter, also named Alice, was so enthralled by this account that she implored the math­e­mati­cian to write the sto­ry down. Some three years lat­er, Dodg­son would pub­lish Alice’s Adven­tures in Won­der­land under the nom de plume of Lewis Car­roll (the pen name is an Angli­cized ver­sion of “Car­o­lus Ludovi­cus,” the Latinized form of Charles Lud­widge). The peren­ni­al children’s read was imme­di­ate­ly pop­u­lar, count­ing Oscar Wilde and Queen Vic­to­ria among its ardent fans, and has nev­er been out of print since its ini­tial pub­li­ca­tion in 1865.

Alice’s Adven­tures Under Ground, the orig­i­nal ver­sion of the book that Car­roll pre­sent­ed to Alice Lid­dell in 1864, is present­ly housed in the British Library, which has gra­cious­ly made it freely avail­able online. You can view it here. The hand­writ­ten vol­ume includes 37 crisp ink illus­tra­tions, all per­son­al­ly drawn by Dodg­son. Dis­cern­ing Alice read­ers will notice that these illus­tra­tions dif­fer from the icon­ic images (and, to my eyes, very much supe­ri­or) cre­at­ed by famed Punch mag­a­zine polit­i­cal car­toon­ist John Ten­niel.

Title and illus­tra­tions aside, the orig­i­nal man­u­script is con­sid­er­ably slim­mer than the final ver­sion, con­tain­ing rough­ly 12,000 few­er words.

Those wish­ing to revis­it Alice’s adven­tures can do so at the British Library’s site.

Ilia Blin­d­er­man is a Mon­tre­al-based cul­ture and sci­ence writer. Fol­low him at @iliablinderman.

Relat­ed Con­tent:

See Sal­vador Dali’s Illus­tra­tions for the 1969 Edi­tion of Alice’s Adven­tures in Won­der­land

Meryl Streep Shrooms Her Way Through Mod­ern Alice in Won­der­land

The Real Alice in Won­der­land Cir­ca 1862, and Our Favorite Cul­ture Links on the Web

Martin Mull (RIP) Satirically Interviews a Young Tom Waits on Fernwood 2 Night (1977)

These days, ref­er­ences to sev­en­ties tele­vi­sion increas­ing­ly require prefa­to­ry expla­na­tion. Who under the age of 60 recalls, for exam­ple, the cul­tur­al phe­nom­e­non that was Mary Hart­man, Mary Hart­man, an absur­dist satire so faith­ful to the soap-opera form it par­o­died that it aired every week­night, putting out 325 episodes between ear­ly 1976 and mid-1977? And even for those who do remem­ber the show, it would sure­ly require a stretch of the mem­o­ry to sum­mon to mind its minor char­ac­ter Garth Gim­ble, an abu­sive hus­band who meets his gris­ly fate on the sharp end of an alu­minum Christ­mas tree. (We’ll set the ques­tion of how many remem­ber alu­minum Christ­mas trees aside for the hol­i­day sea­son.)

Garth Gim­ble was the break­out role for a musi­cal come­di­an turned actor called Mar­tin Mull, who died last week at the age of 80. Trib­utes have men­tioned the char­ac­ters he played on shows from Roseanne and Sab­ri­na the Teenage Witch to Arrest­ed Devel­op­ment and Veep.

But to those who were watch­ing TV in the sum­mer of 1977, Mull has always been — and will always be — not Garth Gim­ble but his twin broth­er Barth, host of a low-bud­get late-night talk show in the small town of Fer­n­wood, Ohio, the set­ting of Mary Hart­man, Mary Hart­man. Fer­n­wood-2-Night pre­miered as a tem­po­rary replace­ment for that show (and thus as yet anoth­er expan­sion of the tele­vi­su­al uni­verse cre­at­ed by mega-pro­duc­er Nor­man Lear), but it soon took on a coun­ter­cul­tur­al life of its own.

The fic­tion­al talk-show form of Fer­n­wood-2-Night was ahead of its time; more dar­ing still was its occa­sion­al arrange­ment of real-life guests. That ros­ter includ­ed a young Tom Waits, him­self a liv­ing embod­i­ment of the blurred line between real­i­ty and fic­tion. As the show’s announc­er Jer­ry Hub­bard, Fred Willard puts all of his dis­tinc­tive deliv­ery into declar­ing Waits “very famous for Fer­n­wood.” Mull plays Gim­ble as the kind of man on which the appeal of Waits’ art is whol­ly lost: “I know he sells a lot of albums, and he makes about half a mil­lion big ones in one year,” he says by way of intro­duc­tion. “In my book, that spells tal­ent.”

Nat­u­ral­ly, Gim­ble is game to set the liquor-swig­ging singer up for an old groan­er by remark­ing on the strange­ness of talk­ing to a guest with a bot­tle in front of him. “Well, I’d rather have a bot­tle in front of me than a frontal lobot­o­my,” Waits growls in com­pli­ance. This comes after his per­for­mance of the song “The Piano Has Been Drink­ing (Not Me) (An Evening with Pete King)” from his then-most recent album Small Change. It’s safe to say that many view­ers on Fer­n­wood-2-Night’s wave­length became fans of Waits as soon as they heard it. Near­ly half a cen­tu­ry lat­er, they no doubt still remem­ber his appear­ance fond­ly — at least as fond­ly as they remem­ber the Won­derblender.

Relat­ed con­tent:

Watch Tom Waits’ Clas­sic Appear­ance on Aus­tralian TV, 1979

Watch Tom Waits For No One, the Pio­neer­ing Ani­mat­ed Music Video from 1979

Tom Waits Shows Us How Not to Get a Date on Valentine’s Day

Tom Waits’ Many Appear­ances on David Let­ter­man, From 1983 to 2015

RIP Nor­man Lear: Watch Full Episodes of His Dar­ing 70s Sit­coms, Includ­ing All in the Fam­i­ly, Maude, The Jef­fer­sons, and More

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Why You Do Your Best Thinking In The Shower: Creativity & the “Incubation Period”

Image via Wiki­me­dia Com­mons

“The great Tao fades away.”

So begins one trans­la­tion of the Tao Te Ching’s 18th Chap­ter. The sen­tence cap­tures the frus­tra­tion that comes with a lost epiphany. Whether it’s a pro­found real­iza­tion when you just wake up, or moment of clar­i­ty in the show­er, by the time your mind’s gears start turn­ing and you grope for pen and paper, the enlight­en­ment has evap­o­rat­ed, replaced by mud­dle-head­ed, fum­bling “what was that, again?”

“Intel­li­gence comes forth. There is great decep­tion.”

The sud­den flash­es of insight we have in states of med­i­ta­tive distraction—showering, pulling weeds in the gar­den, dri­ving home from work—often elude our con­scious mind pre­cise­ly because they require its dis­en­gage­ment. When we’re too active­ly engaged in con­scious thought—exercising our intel­li­gence, so to speak—our cre­ativ­i­ty and inspi­ra­tion suf­fer. “The great Tao fades away.”

The intu­itive rev­e­la­tions we have while show­er­ing or per­form­ing oth­er mind­less tasks are what psy­chol­o­gists call “incu­ba­tion.” As Men­tal Floss describes the phe­nom­e­non: “Since these rou­tines don’t require much thought, you flip to autopi­lot. This frees up your uncon­scious to work on some­thing else. Your mind goes wan­der­ing, leav­ing your brain to qui­et­ly play a no-holds-barred game of free asso­ci­a­tion.”

Are we always doomed to lose the thread when we get self-con­scious about what we’re doing? Not at all. In fact, some researchers, like Allen Braun and Siyuan Liu, have observed incu­ba­tion at work in very cre­ative­ly engaged indi­vid­u­als, like freestyle rap­pers. Theirs is a skill that must be honed and prac­ticed exhaus­tive­ly, but one that nonethe­less relies on extem­po­ra­ne­ous inspi­ra­tion.

Renowned neu­ro­sci­en­tist Alice Fla­her­ty the­o­rizes that the key bio­log­i­cal ingre­di­ent in incu­ba­tion is dopamine, the neu­ro­trans­mit­ter released when we’re relaxed and com­fort­able. “Peo­ple vary in terms of their lev­el of cre­ative dri­ve,” writes Fla­her­ty, “accord­ing to the activ­i­ty of the dopamine path­ways of the lim­bic sys­tem.” More relax­ation, more dopamine. More dopamine, more cre­ativ­i­ty.

Oth­er researchers, like Ut Na Sio and Thomas C. Ormerod at Lan­cast­er Uni­ver­si­ty, have under­tak­en analy­sis of a more qual­i­ta­tive kind—of “anec­do­tal reports of the intel­lec­tu­al dis­cov­ery process­es of indi­vid­u­als hailed as genius­es.” Here we might think of Samuel Tay­lor Coleridge, whose poem “Kublai Khan”—“a vision in a dream”—he sup­pos­ed­ly com­posed in the midst of a spon­ta­neous rev­e­la­tion (or an opi­um haze)—before that annoy­ing “per­son from Por­lock” broke the spell.

Sio and Ormerod sur­vey the lit­er­a­ture of “incu­ba­tion peri­ods,” hop­ing to “allow us to make use of them effec­tive­ly to pro­mote cre­ativ­i­ty in areas such as indi­vid­ual prob­lem solv­ing, class­room learn­ing, and work envi­ron­ments.” Their dense research sug­gests that we can exer­cise some degree of con­trol over incu­ba­tion, build­ing uncon­scious work into our rou­tines. But why is this nec­es­sary?

Psy­chol­o­gist John Kounios of Drex­el Uni­ver­si­ty offers a straight­for­ward expla­na­tion of the uncon­scious process­es he refers to as “the default mode net­work.” Nick Stock­ton in Wired sums up Kounios’ the­o­ry:

Our brains typ­i­cal­ly cat­a­log things by their con­text: Win­dows are parts of build­ings, and the stars belong in the night sky. Ideas will always min­gle to some degree, but when we’re focused on a spe­cif­ic task our think­ing tends to be lin­ear.

The task of showering—or bathing, in the case of Archimedes (above)—gives the mind a break, lets it mix things up and make the odd, ran­dom jux­ta­po­si­tions that are the essen­tial basis of cre­ativ­i­ty. I’m tempt­ed to think Wal­lace Stevens spent a good deal of time in the show­er. Or maybe, like Stock­ton, he kept a “Poop Jour­nal” (exact­ly what it sounds like).

Famous exam­ples aside, what all of this research sug­gests is that peak cre­ativ­i­ty hap­pens when we’re pleas­ant­ly absent-mind­ed. Or, as psy­chol­o­gist Allen Braun writes, “We think what we see is a relax­ation of ‘exec­u­tive func­tions’ to allow more nat­ur­al de-focused atten­tion and uncen­sored process­es to occur that might be the hall­mark of cre­ativ­i­ty.”

None of this means that you’ll always be able to cap­ture those bril­liant ideas before they fade away. There’s no fool­proof method involved in mak­ing use of cre­ative dis­trac­tion. But as Leo Widrich writes at Buffer, there are some tricks that may help. To increase your cre­ative out­put and max­i­mize the insights in incu­ba­tion peri­ods, he rec­om­mends that you:

  1. “Keep a note­book with you at all times, even in the show­er.” (Widrich points us toward a water­proof notepad for that pur­pose.)
  1. “Plan dis­en­gage­ment and dis­trac­tion.” Widrich calls this “the out­er-inner tech­nique.” John Cleese artic­u­lates anoth­er ver­sion of planned inspi­ra­tion.
  1. “Over­whelm your brain: Make the task real­ly hard.” This seems counterintuitive—the oppo­site of relax­ation. But as Widrich explains, when you strain your brain with real­ly dif­fi­cult prob­lems, oth­ers seem much eas­i­er by com­par­i­son.

It may seem like a lot of work get­ting your mind to relax, pro­duce more dopamine, and get weird, cir­cu­lar, and inspired. But the work lies in mak­ing effec­tive use of what’s already hap­pen­ing in your uncon­scious mind. Rather than grop­ing blind­ly for that flash of bril­liance you just had a moment ago, you can learn, writes Men­tal Floss, to “mind your mind­less tasks.”

Note: An ear­li­er ver­sion of this post appeared on our site in 2014.

Relat­ed Con­tent:

Free Online Psy­chol­o­gy Cours­es

Where Do Ideas Come From? David Lynch, Robert Krul­wich, Susan Orlean, Chuck Close & Oth­ers Reveal Their Cre­ative Sources

How Walk­ing Fos­ters Cre­ativ­i­ty: Stan­ford Researchers Con­firm What Philoso­phers & Writ­ers Have Always Known

How To Be Cre­ative: PBS’ Off Book Series Explores the Secret Sauce of Great Ideas

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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