A Fish Story

dad whaler

Dr Constable pilots Belle 76 to Weakfish Thoroughfare, Brigantine Bay, 1976.

My first apprenticeship was at the helm of a Boston Whaler, hunting for flounder and weakfish in the back bays of South Jersey with my dad in the summers of the late 1970s. I could pilot a boat years before I had my driver’s license, and still recall my discomfort having to sit at the wheel to drive a car. I was used to standing at a center console for better balance and sight lines, and still prefer a throttle lever to a gas pedal. My dad bought the boat in 1976 and named her Belle 76 after the devastating hurricane of that year. We both took the Coast Guard Auxiliary Seamanship course at a local library the winter before launching, learning our knots, rights of way and the emergency maneuvers appropriate to our vessel, an open hull, center-console 17’ Boston Whaler Sport.

My family has always been mildly obsessed with fishing during summers on the Jersey Shore. Baitcasting from docks and rented skiffs or surfcasting on the beach, we’ve caught our share of snapper, flounder, porgie, sand shark, sea robin, king, tautog and eel, and know well the patterns of our waterways. On special occasions when I was a kid, we’d go for ‘Night Blues’ on an all-night party boat miles offshore. I’d watch the crew grind chum while we motored out- butterfish, mackerel, smelt- the fishy smell mixing with diesel exhaust in a nauseating cocktail I somehow managed to ignore. We’d watch the pre-casino shore lights of Atlantic City fade over the horizon and knew we’d arrived when the captain cut the engines and the crew made a chum slick of ground fish, sprayed over the rails with giant ladles in a greasy soup meant to attract the frenzy-feeding blues.

Into the slick we’d lay our hooks, loosely baited with chunks of the same chumfish, while the boat drifted and bobbed noiselessly in the black ocean swell, waiting for the first strike. Sometimes you’d see shiny flashes of the blues’ broadsides through the slick as they emerged in giant schools from the deep; sometimes they’d be chasing schools of squid, who’d boil to the surface in fear, sometimes darting into the night air. You knew they were starting to strike when you’d sense the frantic quiver of poles bending and hear the whirring chatter of slackened star drags spinning under a load. Most of the fishermen on board were what my Dad called ‘old salts’, so they made not a sound, stoic in their workmanlike chore as the fish flopped on board in waves along the rails. You could barely keep your hook in the water as the bluefish piled on board, filling trash cans, laundry bags and coolers to the very brim. For the majority on the boat, a good catch meant food for the family in the freezer. We’d fillet a few of the brightest from our catch, but you can only eat so much bluefish, especially the big ones, whose flesh is dark, greasy and gamy, so we’d give most away.

We ‘went for blues’ offshore several times in our Whaler, but without electronics on board or proper trolling gear, never had much luck finding the migrating schools. Mostly we were content to poke around the back bays of Brigantine and along the inland waterway drifting and jigging bucktail for flounder while hoping to hook the elusive weakfish. After a couple of summers voyaging and fishing with my dad, I earned the privilege of taking the boat out on my own, and loved taking friends and family out to our favorite fishing grounds, even if just for fun. I began to dream of an extended cruise down the inland waterway, and planned alterations to the Whaler to accommodate camp cruising. The only one I realized was also my first real wood-working project, a mahogany windscreen to shield the pilot in a headwind or foul weather. I had plans for a canvas canopy to attach to this, and for a folding ‘boom’ to support a sleeping tent, but my need for a summer job to make money for college soon trumped my boyhood dreams, and we sold the boat after a summer of its barely being used. I shifted from catching fish to cooking it, working several consecutive summers as a line cook at the island’s popular seafood restaurant into my early twenties.

Still, I’m grateful to have found wood-working through an apprenticeship in fishing and cruising with my dad, and will always pull from my training in piloting and seamanship. And I still make a mean fried fish.

Ulmus Americana 3-22-12

deep deck 3-22-12

My boards measure 44″L x 9.5″W, cupped and cambered, with a slightly lifted pintail.

I recently finished another small batch of my Deep Deck longboards in American Elm. The design has taken about three years of prototyping to perfect, and is proving popular with a wide range of riders, from street cruisers to downhill carvers. I source only sustainably milled, air-dried wood from local horticultural salvage, and stamp the latin name of the species on the underside of each deck, along with the date the deck comes off the bench. Since I’m currently the sole supplier and each deck is essentially made to order, I’ve been keeping track of who owns each one. I plan to follow up with an interactive database that allows people to upload images, share info and connect with other Deep Deck riders and collectors.

ulmus americana

Country Commune Cooking

commune cooking

I love this timeless culinary classic from 1972.

I love to cook and always have my antennae up for folksy recipes and offbeat eateries. I was rewarded on both fronts recently when I stumbled upon Lucy Horton’s classic spiral-bound ‘Country Commune Cooking’ in the free-bin at Hardcore Espresso, my favorite spot for coffee and one of several popular hangouts for the defiantly un-reconstructed freaks of West Sonoma County. The book, published by Coward, McCann & Geoghegan, Inc (NY, 1972) and illustrated by Judith St Soleil, is in mint condition, and features several recipes native to our region from back-in-the-day.

lucy horton

I especially love the graphics and art direction of the book’s back cover.

I have yet to finish reading the book but know I’ve found a new literary and culinary heroine. Trained in Classical Archeology at Bryn Mawr, followed by stints as a waitress at Max’s Kansas City and as a maid and cook on Park Avenue, Lucy’s writing holds up, the foodie equivalent of the Velvet Underground. Her two year odyssey of hitchhiking across America between 1970-72 to visit over 45 communes to gather recipes defining the counter-culture movement reveals nothing less than the origins of an organic, ‘locavore’ ethos, predating the beginnings of what became known as ‘California Cuisine’.

The biggest surprise by far is Lucy’s agility as a writer, her ease at convincing the reader of her sincere attachment to ‘the movement’ as a kind of embedded journalist, while simultaneously providing a wry and subtle social critique. As a trained scientist, Lucy writes with an objective clarity that transcends the time, like a double agent from the future; she provides the loving detail of an insider coupled with the wary reluctance of one steeped in official culture. Here’s a recipe from her stint at Wheeler’s Ranch, a site and community that still hobbles along just down the road:

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stuffed eggplant

Click here to read another article about this book, with a very freaky and fun recipe indeed.

Frizelle Enos Feeds

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The original Frizelle Enos in downtown Sebastopol.

Everybody loves Frizelle Enos, and Frizelle Enos loves us all right back. Whether you’re a rancher, apple farmer, hippy or weekender, we all need our Carhartts, straw bales, wood stoves and chicken feed, all served up with a smile at Frizelle Enos in downtown Sebastopol since 1938. Named after the two proprietors who built the store’s reputation from 1947- 66, Frizelle Enos Feeds, whose motto is “Feeds, Seeds ‘N Country Needs”, stewards the agricultural soul of West Sonoma County.

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Need livestock, rooster or truck? Check the community chalkboard at the store’s entry.

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The rear of the building captures the region’s agricultural character.

Downtime in Downtown Denver

libeskind museum

Daniel Libeskind designed the new wing of the Denver Art Museum, completed in 2006.

Thanks to Airbnb, Ene and I were able to rent a very cozy apartment in the Capital Hill neighborhood of downtown Denver during our recent three day sojourn. The majority of our Tsuru-related business took place in Denver’s Civic Center, a mile long stretch comprising the city’s major cultural and governmental institutions, so our days consisted of commuting on foot from our brick-faced, art deco apartment building typical of the neighborhood, to a corridor of Starchitecture just down the hill. The daily walk gave us a collapsed sense of the city’s history through its architecture, and we agreed that one of Denver’s most unique attributes is its easy juxtaposition of building styles and scale. As the highest altitude corner of the Great Plains, on the edge of the Rockies and with about 300 days of sunshine annually, Denver is the ideal setting for exuberance in architecture.

ponti bldg

I love the high modern/midieval mashup of Gio Ponti’s wing of the Denver Art Museum, from 1971, his only building in the US; “AS TO BE IN PLAIN SIGHT” by Lawrence Weiner, in the foreground.

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The stairwells in Ponti’s building are sublime.

denver brick

Most of the brick-faced apartment buildings have names in Denver’s Capital Hill neighborhood. ‘Helene’ on Pearl Street is a lovely example of vernacular craftsmanship and design.

Tsuru Update: Denver Site Visit

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The Ralph L Carr Judicial Center designed by Fentress Architects nears completion.

Our public projects always involve an element of collaboration, and Ene and I have learned that it’s a good idea to get everyone together in one place as a project nears completion and timing and coordination become critical. No matter how sophisticated the communications technology, nothing compares to simply shaking hands and looking each other in the eye. Our efforts were well rewarded when we met with the key stakeholders on site at the nearly complete Ralph L Carr Judicial Center in Denver yesterday to discuss timing and strategy for installing our Tsuru sculpture in the building’s West-facing courtyard. We were reassured by the level of professionalism and congeniality of our esteemed crew, and are honored to be working with Denver’s very best on a project designed by the legendary Fentress Architects.

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Ene reviews plans with the key stakeholders in the courtyard where Tsuru is to be sited.

Our Tsuru project features a cast bronze sculpture depicting a crane soaring over a 9′ diameter, domed mound of earth planted with native grasses. We designed four stone benches surrounding the mound at ninety degree intervals, to be fabricated of granite salvaged from the demolished Justice Center that formerly occupied the site. After the meeting adjourned, we drove with Scott Davis of Rock & Company to scope out the stone to be used in making the benches. Rock & Company will be fabricating the benches by laminating the stone slabs and cutting the contours with their giant CNC saw. Scott took some extra time to treat us to a tour of their facilities just outside of Denver, which already has us thinking about future projects.

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Ene and Scott Davis survey salvaged slabs of granite.

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Ene poses by the giant CNC stone saw at Rock & Company in Brighton, Colorado.

To follow the progress of our Tsuru Project, please click here and scroll down.

Pieds-a-Mer

ene aboard suddenly

Ene’s hat and scarf complement ‘Suddenly’s late 1970’s vintage.

Ene and I spent our first afternoon together aboard ‘Suddenly’, which Ene has been calling our ‘pied-a-mer’. It was a blustery day after a long overdue rainfall, so Ene sat in the cabin reading while I replaced the dock lines and installed a portable head. We picked a color for the cabin’s interior, aired out the damp seat cushions, and thought through the logistics of spending our first night on board next week, when we return from Denver after scoping out our Tsuru Project.

Thinking about cruising and spending time on board I’ve been enjoying reading one of my favorite books, ‘The Rudder Treasury: A Companion for Lovers of Small Craft’, a compilation of the best writing from The Rudder magazine, published from the late 1800’s until the late 1940’s. I especially love the recipes included and hope to modify a few to suit our tiny galley and weekend larder, which will combine canned and dry goods stowed on board with fresh ingredients we bring along. I look forward to developing a few signature dishes when we invite friends for a sail or just to hang out aboard ‘Suddenly’. If you have any ideas for elegant, one pot meals, please send them along. Meanwhile. here’s a sample recipe from The Rudder:

cocktail sauce

self portrait on boat

I found just the right necktie to leave on board for the inevitable emergency.