In front of me on the kitchen counter are 24 perfect, dusky gray-green sage leaves freshly picked from the garden and washed, now drying on a towel. I am trying a new recipe, Sage Mice, which I’ll serve with an herb-coated chicken currently roasting in the oven.
I beat an egg white and fold it in to the flour, egg yolk and water mixture to make a fluffy batter, and as I coat the first fresh leaf and lay it in the thin layer of bubbling butter in my frying pan I am self-consciously aware of the luxury of time, resources and opportunity that enables me to do this.
Perhaps this is because I’m still thinking about the presentation I saw a few days earlier by Rancho Santa Fe photographer Susan Madden Lankford. Images of San Diego’s homeless and incarcerated linger uneasily in the back of my consciousness like the sickly smell of smoke even after the wildfire has passed.
You don’t expect a nice lady from the Ranch to be hanging around prisoners and following homeless people through the streets.
Rancho Santa Fe, the Ranch, is only one town away geographically from where I live, but several more economically, and light-years away from the subjects in the photos. Its winding roads snake through eucalyptus groves planted by settlers looking to make a quick buck in railroad ties until they found out eucalyptus cracks and splits and isn’t good for making squat. But it’s good for hiding you from your neighbors and blacking out the sky enough at night to make you forget you’re only a mile away from Interstate 5, which is good enough. The Ranch is for people with enough money to live a very long stone’s throw away from each other, people who have horses and belong to country clubs and golf leagues, not people who befriend scruffy, homeless, crack-smoking black men.
The photographs propped up around the community room of the library where Lankford is giving her talk are from two books published by her company, Humane Exposures. “downTown U.S.A” covers her experience getting to know the homeless in San Diego, and “Maggots in My Sweet Potatoes: Women Doing Time” documents the lives of incarcerated women in a typical women’s jail in the U.S.
One of the photos is a large close-up of a very old white woman, at least I assume she is very old. Wisps of white hair frame eyes glancing upwards out of sad-shaped glasses. Her lips disappear into a deeply lined face, like those ones you used to see carved out of apples. Another shows a tall, disheveled black man with unkempt hair purposefully pushing an overloaded grocery cart up the street, a small black dog at his side.
I am drawn to this work the way I am drawn to accounts of child soldiers or the beleaguered denizens of Sarajevo under siege. I wonder which few flaps of the butterfly’s wings have kept my soul from embodying one of these embattled lives. The barrier between us is tenuous, like old parchment, or the skin over a baby’s fontanelle.
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I gingerly flip the sage leaves by their stems (the tails of the “mice”), browning them on the other side until they are golden and aromatic. A dash of salt finishes them off. At the table I bite into one of the battered and browned leaves, and the subtle flavor of the sage, heightened by a hint of salt, releases into the delicate crust, melting into my mouth. It is delicious.
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