Beach House Waffles

“An adult polar bear can eat 60 kilograms of food at a single sitting,” my 10-year-old son says from his seat at the dining table. The annual beach house waffle breakfast is in its third year and we could have invited a polar bear to join us and still roll away stuffed to the brim.

“I want the first waffle.” His 8-year-old sister is used to getting what she wants. Those big brown eyes sucker everyone in. She waves a butter knife at the waffle iron as it warms up next to my place setting. “I haven’t had the first one, like, ever.”

“I think Mum should have the first one because she does all the work.”

“Suck up.” She sticks her tongue out at him.

“Selfish baby.”

I release the deepest sigh through small lips so no one would hear my frustration. “The first one or two always come out wrong. We’ll split them between the dogs.”

“Yeah, the dogs will get the first ones.” The agreement comes from the other adult at the table.

Their step-father.

Never one to venture an opinion I haven’t already voiced, he uses the tone of “yeah, you guys” like a playground taunt from the most irritating child in class. Instantly on the same side, the children roll their eyes. The little one glares at him for a moment, but he is looking at his phone, so she sticks her finger in the bowl of fresh cream, waggles it at her brother and mouths, “Yeah.”

The morning air is taut between the adults. Too much alcohol had fueled snarky words the night before. His perpetually hovering parents are calling him back to the family business. I am sulking at the early demise of our holiday. My desire to avoid “real life” is strong. The cracks are showing, and I am filling them with waffle batter.

“Stop it, you two.” The girl flashes those eyes, full of fire and mischief, at me.

“Sorry, Mum.” My son tries to hide his grin.

As I pour mugs of strong coffee and tumblers of fresh orange juice, I imagine myself wearing a crisp, clean apron, rather than my flour smeared yoga pants with a grubby tea towel slung over my shoulder. I imagine myself in control.

The waffle iron is flower-shaped and each petal is a love heart. It only makes one waffle at a time. It slows the process and drags out breakfast time, which is exactly why I love it. I swipe greased paper over the hot halves of the iron. They sizzle, sending up a heady, buttery smell.

The sign breakfast can start.

I ladle the batter, fluffy with egg whites, into the lower half and then close the top gently. I hold my breath and hope the mixture won’t ooze out the sides. Any extraneous mess, of any kind, makes the clean-up crew grumpy—and by clean-up crew, I mean the other adult—who is still bowed over his phone.

A little poof of steam indicates the first waffle is ready; light, fluffy, yet crisp on the outside. It is the rare, perfect first waffle. I divide it into four hearts and drop two each on the children’s plates. They contemplate the toppings; strawberries, fresh whipped cream, passionfruit, crispy bacon, syrup, honey or jam. They both give a piece of waffle to the dogs.

The bacon disappeared first. The girlchild ended up with cream on the tip of her nose. Jam blobs dot the table. Honey and syrup makes little fingers sticky. The process is warm and delicious.

It is the last day we would be together at his family’s beach house. It was the beginning of the end, but we didn’t know that yet.

A couple of years later, I decide to empty the storage unit which I filled when I took the children and left the marriage. The first box I open contains miscellaneous kitchen utensils I’ve managed to survive without. The waffle iron is at the bottom. It has been unused since that holiday.

The clean-up crew had overlooked it, and packed it away dirty. Micro-systems of mould have eaten away at the batter remnants and the surface of the iron. As I scrub and scrub at it, I feel all the pain associated with facing a sham of a marriage. Like me, it is pock-marked with the permanent damage of carelessness.

It hits the bottom of the wheeli-bin with a terrible, final thud.

This year, my son, now a 20-year-old, took me out for breakfast for Mother’s Day. When I order the waffles, he says, “I knew you’d get waffles. Remember our waffle breakfasts?”

I can only nod. I am desperate to believe they had good childhoods, that the ugly didn’t seep out like over-ladled batter.

“Do we still have the waffle iron? I loved those breakfasts. Such fun times. We should do that again.”

As we leave the restaurant, our bellies over-full, he says, “Did you know that a polar bear can eat 60 kilos of food in one sitting?”

I squeeze his hand. “Who would get the first waffle if I buy a new iron?”

“The dogs, of course.”

“No, I should. Because I do all the work, you know.”

He shout-laughs. “Yeah, but the first one or two don’t work out well. You’re better to have the third one. The first nice one.”

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This personal essay was written for the YeahWrite SuperChallenge #9.  The prompt was “comfort food”.  

Withstanding Nostalgia

Packed away, beautifully framed, is my Media with Expressive Arts degree. For four years I studied for that piece of paper while raising two children and working full-time. As a result of all that work, I watch films and television series with a critical eye and a reasonable understanding of the theories behind film making. It improves my film and television experience.

Which is why I was flummoxed when I couldn’t stomach the latest remake of a classic story. The emotive response was so strong it overwhelmed the theory.

I loved the mini-series, Anne of Green Gables (1985), before I read the books. To me, the televised version of the story was the original and despite having read the books multiple times over, I admit, a little ashamedly, I still do.  So, I was excited at the prospect of my favourite characters coming to life again on Anne with an E (2016). Written and co-produced by Moira Walley-Beckett (from Breaking Bad fame), the remake has had a two series run. A third is in the pipeline.

Until Anne with an E, I believed remaking films was a valuable way of keeping stories alive and allowed for continued discussion of important themes. I believed creativity can be found in deconstructing existing works and putting them back together to create something new.

Even something better.

But, despite all my knowledge and academic reasoning, I made it through a only a handful of episodes before abandoning the first series.  

I didn’t like this Anne Shirley. How was that possible?

I have now realised nostalgia beats out any special effects or divergent story lines, no matter how cleverly done.

On the surface, a version of the iconic story which includes bold feminism, LGBTQ rights, and characters of colour, would be a welcome way to retell the tale of an orphaned girl who arrives in Avonlea in 1876 to live with the aging Matthew and Marilla.  But, if you’re going re-make any beloved tale, you need to have an understanding of your source material and a love of the original. Without these factors as a foundation, the reconstructed product will never stand up to the nostalgia of the original experience. At least not for long enough to become worthy in its own right.

Anne with an E doesn’t deliver on either of the foundational factors. It diverts so far from the centre of what made the original story great that is it barely recognisable.

Rather than a place for hope and inspiration, Avonlea is a hotbed of intolerance and misogynistic beliefs with some physical violence thrown in. Gone is the positive heart which made Anne Shirley so delightful. In its place is a PTSD-induced darkness which drives her behaviour. All the characters have an edge to them and many characters display an outright nasty streak.

As a prime example, the remake takes the theme of feminism and uses shock-value tactics, like the sexualisation of preteens, to highlight it.

Walley-Beckett does not seem to realise Anne was already a feminist. She went to university. She wanted a career. She walked ridge poles, rowed boats and she found kindred spirits in other strong women. She wasn’t focussed on marriage and babies or being the perfect, quiet, genteel girl. She understood society expected compliance but being true to herself was more important. She was a disrupter of the patriarchal norms and she was good at it. She didn’t have to discuss the sexual arousal of the school teacher to be “woke”.

Remaking a film to show its dark underbelly doesn’t have to be disappointing.

A remake which honors the original, knows the characters and yet disrupts the predicted narrative is The Dark Knight (2008). Like the Anne remake, it darkens the fictional world far beyond the originals and it does so with a deftness which continues to resonate ten years later.

Tim Burton’s Batman (1989) was my introduction to the caped crusader. I rented the VHS tape from the store many times and watched it at sleepovers and on rainy Saturdays.The soundtrack, by Prince, had chart success and The Joker, played by Jack Nicholson, uttered the iconic quote “Ever dance with the devil by the pale moonlight?” which still sends shivers down my spine.

In The Dark Knight, director Christopher Nolan, took a deliberate step away from the cartoon-esque, two dimensional characterisation of previous iterations of the stories. The Joker, played by Heath Ledger, became not just disfigured bad guy, but a deeply disturbed threat who revels in chaos. He took that pale moonlight and flooded the whole of Gotham with it. It is also a go-to movie for lazy weekends.

The social commentary in The Dark Knight is carried by Ledger’s version of The Joker. Being a flawed human in a system which doesn’t seem to care is something most people can relate to.  “People call me a villain, a monster, but they forget that they’re monsters, too. I’m just being honest and accepting what I am, they don’t.” The wider commentary on the war on terror,  in post 9/11 America, were confronting but not alienating to the audience. This is due to the creators truly understanding and appreciating the source of their material and adding relevant discourse.

The remaking of a film or television series can be a way to pay homage, to test creativity and to explore parts of a story left untold in the original. Nostalgic audiences have contributed billions to the financial success of these retelling endeavours. Those same audiences, however, will be unforgiving if the proper care isn’t taken by writers, directors and producers to ensure what makes an original great, isn’t lost in the translation. The power of nostalgia is far-reaching.

Tonight, I am going to unpack my degree, put it somewhere prominent and sit my nostalgic, unforgiving self on the couch to watch the original Anne of Green Gables.

 

 

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This piece was originally written for Round 2 of the Yeah Write Super Challenge.  It has had feedback tweaks completed in this iteration.