HİNDİSTAN CEVİZLİ KURABİYE

1. MALZEMELER
2. 2 adet yumurta
3. 125 gram eritilmiş margarin
4. 1 paket 25 gramlık kakao
5. 2 çay bardağı pudra şekeri
6. 1 paket kabartma tozu 
7. 1 paket  vanilya 
8. İÇ MALZEMELERİ 
9. 1 su bardağı hindistan cevizi
10. 1,5 çorba kaşığı şeker
11. 1 limon kabuğu rendesi 
12. yumurtanın birinin akı
13. YAPILIŞI
14. Eritilimiş margarini, yumurtanın bir tanesinin tamamını, diğer yumurtanın sarısını, kakaoyu, pudra şekerini, vanilyayı  bir kaba alarak iyice karıştırıyoruz, kabartma tozunu ve unu yavaş yavaş ekleyerek yumuşak bir hamur yapıyoruz.1 su bardağı hindistan cevizi, 1 yumurtanın akı 1,5 kaşık şeker ve rendenin ince tarafıyla rendelediğimiz limon kabuğuyla içini hazırlıyoruz , hazırladığımız hamurdan mandalina büyüklüğünde kopartıp  içli köfte gibi açtığımız hamurların içine iç malzemelerimizi koyarak kapatıyoruz 180 derece ısıtılış fırında 30 dakika pişirip üzerlerine pudra şekeri serperek servis yapıyoruz .
15. NOT:  Tarif   ATV'nin Kültür aşı programından biz çok beğendik tavsiye ederim .

Man-Made Satellites (1957)

This is my 200th posting!

You may have wondered why I have never blogged about this book, Man-Made Satellites. First, because I think everyone who loves old 1950s children's books has seen it. Secondly because I have been saving a story about it for my 200th blog post.

(1957) Ley, Willy. Illustrated by Polgreen, John. Man-made Satellites. Poughkeepsie, NY: Guild Press Inc. (44 p.) 29 cm.

John Polgreen's space art is astonishing. He has a dreamy air-brush style that is part of the core memories of a lot of 1950s kids.

Since his art is so good I have been trying to learn more about him for years. Ever since I first had a website I loved to find and show off his work.

I did discover why there seemed to be so many copies of this particular book.

Sugar Jets cereal had a promotion where you could get a copy of this book for $0.50.

One of the first real cool things I found on the internet was a copy of this book still in the mailing cardboard box from Sugar Jets. But something cooler was yet to come.

As I searched Google for any mention of John Polgreen I came across some Heritage Galleries auctions for John Polgreen paintings from this series. What was even stranger was how familiar the wording on these listings sounded:

John Polgreen - "Space Travel" Illustration Original Art (Adventures in Space, 1958). America's future in space had become a nation-wide fad by the mid-fifties. It was not a question of if we would land on the Moon but when. The Adventure in Space books were at the forefront in their technical sophistication of how men would travel to the Moon. John Polgreen's acrylic on board painting captured the thrilling moment of a lunar touchdown. The image area of the painting measures 13" x 12" and the art is in Excellent condition. From the Random House Archives.

Compare that to this text from my website "Dreams of Space": http://dreamsofspace.nfshost.com/1954-1956.htm

Strangely two of the other painting's descriptions also seemed very familiar:

John Polgreen - "Space Travel" Cover Illustration Original Art (Adventures in Space, 1958). John Polgreen's airbrushed painting captured the stark light and harsh conditions of this cosmic scene perfectly. In the fifties, science author Willy Ley opined, "The younger generation of rocket engineers is just beginning. They are of the new generation to which space travel is not going to be a dream of the future but an everyday job with everyday worries in which they will be engaged." The acrylic on board painting has an image area of 20" x 13", and the art is in Excellent condition. From the Random House Archives. vs my page:

http://dreamsofspace.nfshost.com/

AND this quote ALSO from that page:

John Polgreen - "Man-made Satellites" Cover Illustration Original Art (Adventures in Space, 1958). With the discoveries of liquid-fueled rockets in the 1930's and the use of V-2 rockets in the 1940's, rocket travel went from science fiction to science fact. In post-World War II America everything seemed possible, even traveling to the Moon. A new trend in children's books predicted the space-age era the "Baby Boomers" would grow up in -- a thrilling time of limitless exploration. The image area of John Polgreen's cover painting measures 19.5" x 13" and the art is in Excellent condition. From the Random House Archives.

Yes someone at the auction house had trouble finding information about John Polgreen so when they "Googled" him they found my quotes. When I called them they apologized and I was sort of flattered. They gave me a subscription to free catalogs for a couple of years, but more importaly they told me that this painting was up for auction.

After all that who deserves (to be very immodest) more than me to own the John Polgreen painting for the cover of the first book in the "Adventure in Space" series?

As I said, this may be my greatest treasure of space book collecting. It is both a beautiful painting and signifies the best of the children's books I love. Happy 200th post to me!

Space Story Omnibus (1955)

(1955) Boyd, Edward and Allward, Maurice. Illustrated by North, T E, Branton, R.A. and Gaffron, Bruce. Space Story Omnibus. London : Collins. (128 p.) 26 cm.

An "annual" with a mixture of fictional stories and factual articles. The non-fiction articles were written by Maurice Allward on subjects such as the "history of rockets", "construction of a space station", "space medicine", and "a landing on the Moon". Includes a future space travel timeline predicting the first space station by the late 1960's and a Moon landing in the year 2000.

The headers for these Allward articles were very nice. Really gave a nice vision of moving outward.

I also like this particular color (or colour) plate. It is a nice combination of the older idea of gliding back with the parachute return. I don't know why they chose to combine them but it is a nice painting.

My next post will be post number 200! I will be sharing one of my greatest treasures. See you then.

Space Models (1960)

I love punch-out books. It is like getting a toy in book form. I have a number of space related punch-outs so I thought I would share a few more. This particular one is space-related only by virtue of the cool rocket ship and the space platform in the book.

Space Models (1960)

MISIR UNLU PATLICAN VE FASULYE KIZARTMASI

MALZEMELER
Patlıcan
Fasulye
Mısır unu
Tuz
YAPILIŞI
Patlıcanlar alacalı soyulur, kopartılmadan boyuna dilimlenir, kaynayan tuzlu suda haşlanır, süzülerek kurulanır, mısır ununa iyice bulanır , teflon tavaya çok az sıvı yağ konulur, patlıcanlar dizilir, altı kızarınca ters yüz edilip diğer tarafıda kızarınca servis tabağına alınıp sıcak sıcak servis yapılır.Fasulyeler ayıklanıp yıkanıp haşlanır , suyu süzülür ,mısır ununa bulanarak aynı patlıcanlar gibi kızartılır .

Tom Corbett: A Trip to the Moon (1953) / Tom Corbett's Wonder Book of Space (1953)

Two books with different titles yet identical content. I don't share much juvenile space fiction but this one is an exception because of its beautiful art. One of the best remembered TV space heroes was Tom Corbett. Out of the many products that came out this is the one that appeals to my visionary sense.

Martin, Marcia. Illustrated by Frank Vaughn. Tom Corbett's wonder book of space / Tom Corbett: A Trip to the Moon. New York, Wonder Books. 18 p. 21 cm.

Around this time, along with the idea that space was a real place you can go, came illustration of children in space. The cover with Tom Corbett showing the children what the Moon is like is a vision of a future when children expected to go to the Moon some day.

This is strong stuff, to show that the Moon is more than a light in the sky, it is a place where you have to wear a spacesuit to walk around.

The artist Frank Vaughn paints a little like Norman Rockwell. His children are beaming with energy and excitement at going to such a cool place. Frank illustrated a number of children's books.

The other vision of the future, which I may have mentioned before, is the power of children staring back at the earth. The very idea of standing on the Moon and looking back to the Earth opens a child's mind to how big the universe really is. People have suggested that the photograph of the whole Earth from Apollo 8 led to the ecology movement because we suddenly saw how small the Earth was. This same vision from 15 years earlier leaves a similar impression on me.

Yorgun ama mutlu :)))

Yorgun ,çünkü 3 günden beri çoook çalışıyor.Yetiştirmesi gereken bir yığın siparişi var.Mutluluğa gelince artık devamlı bir işi var.Yaptıkları satılacak bir yerlerde :))) Harika bir duygu.Şimdi daha çok çalışmalı,daha çok üretmeli.Kim bilir belki bir gün hayal ettiği minicik dükkanını da açar.Kısmet belli mi olur....

Attım dileğimi evrene, şimdi çalışıp, beklemek gerek.

Herkese bol kazançlı ,sıcacık mutlu günler olsun.Ben bu kış çoook çalışıcam çoook...

The Moon for Young Explorers (1963)

Back to the salt mines with a charming yet twisted book. The content is pretty standard for 1963 but the illustrations in this one seem strangely warped by artist license.

Fenton, Carroll Lane. Illustrated by Fenton, Carroll Lane. The Moon for Young Explorers. New York : John Day. (64 p.) 21 cm.

I think it is because the drawings were based on some of the first Apollo prototype drawings, so they seem much more speculative than real.

This is a basic book about conditions found on the Moon and the present and future exploration of the Moon.

Those of us who loved Major Matt Mason also loved this space suit. Very much like how Bonestell paintings of Moon mountains were much "better" than the reality. This space suit "rocks". It seems much more futuristic and cool.

Although when you see a lot of them together it does look a little like an ant colony has invaded the Moon :) Maybe it is just the dual antennas.

Where's my moonbase!

Finally here are 3 moon cars. each one is bizarre and beautiful it its own way. As much as there were lots of possible space suits, I miss the wide variety of moon vehicles that were predicted to be used on the moon.

Kızım Çiğdemin ikinci iftarıEN GÜZEL DAVET SOFRALARI HAMARARAT ABLA ETKİNLİĞİNE GÖNDERİYORUM

KUŞ YUVASI BÖREĞİ

Malzemeler:

2 adet yufka

2 adet yumurta

Yarım su bardağı süt

1 kahve fincanı sıvıyağ

2 çorba kaşığı yoğurt

250 gram kıyma

2 kaşık sıvıyağ (kıymayı kavurmak için )

2 adet kurusoğan

2 adet yeşilbiber

1 adet domates

Tuz,karabiber

HAZIRLANIŞI:

2 adet yufkayı 8 eşit üçgen elde edecek şekilde ayrı ayrı keselim.Sigara böreği gibi Bir kapta yarım su bardağı sütü,2 çorba kaşığı yoğurdu,1 adet yumurtayı ve bir kahve fincanı sıvı yağı çırpalım.Bu sosu her üçgen yufkanın üzerine sürelim.

Üçgen yufkaların geniş kenarlarından tutup,rulo yaparak yarıya kadar saralım.Sonra altı kapalı çanak şekli alması için sivri uçları içe doğru döndürerek birleştirelim.

Kıyma bir tencerede suyunu çekinceye kadar kavrulur, 2 kaşık sıvı yağ ve yemeklik doğranan soğanlar ilave edilir , iyice kavrulur tuzu, karabiberi ilave edilerek ateşten alınıp soğumaya bırakılır.

Her yufkanın çanak gibi olan kısmına hazırladığımız kıymalı harcı koyarak Üzerlerine dilimlenmiş birer adet domates ve yeşilbiber koyalım.Yumurta sarısını yufkanın kenarlarına sürelim.Önceden ısıtılmış 200 derece fırında böreğimizi pişirelim.Sıcak servis yapalım.Afiyet olsun….Emine Beder


EN GÜZEL DAVET SOFRALARI HAMARARAT ABLA ETKİNLİĞİNE GÖNDERİYORUM

MENÜ:
Kıymalı pirinç çorbası

Kağıt kebabı

Akdeniz salatası

Hazır yufkadan Büzme tatlı

Kırmızı biber salatası

Zeytinyağlı yaprak sarması

Arpa şehriyeli pirinç pilavı

Kıymalı kuş yuvası böreği

Zeytinyağlı Taze barbunya

not: pembe ile yazılanlar arşivde olanlar üzerlerine tıklayın

Kafkaesque: an ordinary morning in Newhaven

Eight days ago, a note was pushed through my door. My surname and house number were printed on it in biro. The suggestion was that a parcel awaited me because I wasn't in when the van driver called.

I couldn't guess what the parcel might contain so was keen to get it delivered. I'd not heard of the Home Delivery Network before but hoped it would be as straightforward as collecting a parcel through Royal Mail: wait 24 hours and then pick it up after queuing for a few minutes at the local depot. First, I went to the website which Firefox warned me was dodgy and that I shouldn't visit. Then the site insisted my postcode was invalid, so I couldn't access the system there. While the call centre – which I called to have the delivery rescheduled – had a record of the parcel, it had no delivery address and no tracking data. I put the phone down with the mystery unresolved.

Yesterday, having no more news, no more notes through the door, I decided to cycle to the nearest depot in Newhaven, the continental ferry port nine miles east of Brighton (Royal Mail's is within walking distance). Although it would be the furthest I'd cycled since my accident nearly three years ago and, worse, along a busy, severely undulating clifftop road, I wanted to guarantee taking possession of the parcel. By now I had guessed it was Mathias Énard's Zone and was even more keen. However, the call centre said it could be picked up only between eight and twelve midday on Saturday. So, today instead, I set off in hope and a bright orange rain jacket. Waves were crashing over the marina cobb as I passed and, as the cliffs began, a new sign offering counselling to potential suicides blocked the view over the supermarket car park below. I could tell it wasn't going to be easy.

Newhaven is an English town familiar to those born and raised outside London: low-rise, run down and apparently uninhabited. It is parasitic of the mouth of the river in which Virginia Woolf drowned and, where I crossed on the swing bridge, the thick paste of mud on the banks held in place a rusty, delapidated fishing boat covered in torn and flapping tarpaulin. The best thing about the town is the shell of the Conservative Club gutted by fire.

When I found the depot down a concrete road on an industrial estate, I became part of a small crowd of fellow parcel collectors. We queued in a narrow hall outside a window in a wall with décor from the 1970s except for the digital clock. One woman couldn't stay there because the flickering flourescent light threatened an epileptic fit. The receptionist called for our tickets and we handed them over with proof of identity. "We don't have your address", I was told, so I handed over an envelope addressed to me.

– Don't you know it?
– Yes. It's there, on the paper.
– But you don't seem to know your address.
– What?
– You had to get a piece of paper to show your address.
– Yes, you asked for proof of address, so I brought some.
– What's your postcode?

I spoke my full address and postcode without looking at the paper and the person left to descend into the bowels of the building. In the twenty or thirty minutes we waited for our parcels there was unanimous criticism of HDN's customer service. "I work long hours so how can I be at home all day waiting for a delivery?"; "Why don't they deliver on a Saturday - we could guarantee being in"; "The website says my postcode is invalid"; "You can't blame the staff but they don't have to be rude."

Miraculously, my parcel was found. Only it wasn't Mathias Énard's Zone. However, given all that went before, it seems appropriate that it was this beautiful book instead.

Folio Society

Destination Space (1960)

Just a simple one today with a great cover. Popular Mechanics would put out special issues on different topics. Right before there were manned launches they released this one.

I love these aerospace company speculative space paintings. There were so many possible designs that it seemed like the future was limitless.

I also like how the science fiction ideas from the early 1950s, such as Space Marines or a U.S. Space Force were shown as the protectors of the sky. I think a lot of companies' responses to Sputnik ended up with a vision of a "cop on the beat" protecting U.S. skies.

HAYIRLI BAYRAMLAR

BAYRAMINIZI KUTLAR HAYIRLARA VESİLE OLMASINI DİLERİM

Space Puzzle (1970?)

Yes I do seem to have fallen off the face of the planet. But really it was vacation and other deadlines that left my blog dead in the water. Fear not I still have lots of stuff to show.

Today is a first for Dreams of Space, an actual toy! I have no idea of the actual date of this puzzle but as you can see it has some great images. I recall a lot of these very simple puzzle from my childhood. they usually had a theme like a farm or a school so I was thrilled to find this one. Its theme seems to be a landing on the Moon and collection of samples (although I am not sure what Saturn has to do with it).

The reason I think it is around 1970 or so is the image of the lander. It looks vaguely like a UFO but somehow has a 1970s style to my eyes.

My favorite puzzle piece is probably the space dog. I love the images of space suits for dogs and cats and wonder why the image of taking pets into space went away so completely. It could be because spaceflight is so difficult but space seemed friendlier with "Fido".

The large launch vehicle is also very impressive. It looks like a stylized Saturn V but sort of soft and friendly.

Finally a generic space ship. It looks more like the Jetson's than something from the space program but it seems the space age still needs "jet cars."

England and Modernism

So far I have resisted commenting here about the reviews of Gabriel Josipovici's What Ever Happened to Modernism?. Tom McCarthy's in The Guardian (and now Michael Sayeau's in The New Statesman) are by far the most attentive to the book itself and should take priority over the others which only – and it takes some effort not to write more here – confirm Josipovici's thesis that the mainstream critical culture in this country has lost its way.

To redress the balance, let's not ignore what the blogosphere has said. Anthony at Time's Flowed Stemmed says the book has "redefined [his] literary appetite". He goes on: "What Ever Happened to Modernism? enables me pin down just why some writers and artists electrify me and others leave me cold. It has given definition to what I had previously thought an almost arbitrary, random collection of preferences."

I hope more bloggers can add their thoughts because Josipovici has provided tenfold more food for thought about the future of fiction than David Shields' monumentally wrongheaded Reality Hunger.

Another reason to commend Tom McCarthy's review is that he does not take umbrage at Josipovici's dismissal of contemporary English fiction. By contrast, John Sutherland is particularly annoyed and wonders:

[W]hy has he not ... engaged at any length with critics who have defended unregenerate 'Englishness'? Donald Davie, for example, who eloquently argued that the main strand in our national poetry is not Eliot, or Pound, but Thomas Hardy (a naif on whom Josipovici will not waste a single sentence).

It's a question worth asking, particularly if the book did not include a chapter on Wordsworth and discussions of the novels of Muriel Spark and William Golding, while also expressing admiration along the way for John Donne, Harrison Birtwistle, PG Wodehouse, Virginia Woolf and Ivy Compton-Burnett. But it does. Perhaps for Sutherland these are not good examples of 'unregenerate Englishness'. Yet what is Englishness – unregenerate or otherwise? It's not the subject of Josipovici's book so it seems unfair to expect him to answer there. Yet, had Sutherland done more homework with the colleagues to whom he alludes in this review, he may have discovered that Josipovici has indeed engaged with one of the most indefatigable defenders of Englishness and that his book implicitly demonstrates it.

I was fortunate enough to have been taught at the University of Sussex by Stephen Medcalf and remember well the character described in Brian Cummings' funny and moving obituary. But, in those days, I didn't appreciate that his love of English literature was not identical to the little-Englanderism displayed by Kingsley Amis and Philip Larkin of old, and Philip Hensher and DJ Taylor of new. I know better now because, earlier this year, The Spirit of England, a collection of Medcalf's essays, was published by Legenda Press. It contains some remarkable pieces on very English writers (even if one is also American): Williams Langland, Shakespeare and Golding, Rudyard Kipling, John Betjeman, GK Chesterton, PG Wodehouse and TS Eliot, among others. What Medcalf does here that is relevant to the question of Englishness is that he shows how there was a profound engagement by many of these writers with other, non-English literatures. The essay on Kipling, for instance, is a close reading of his response to Horace's Odes, while another reads Eliot's The Waste Land alongside Ovid's Metamorphoses. In their introduction to the volume, Cummings and Josipovici explain how Medcalf's conception of Englishness did not exclude modernism because, as they put it, "the move of self-consciousness, the reflexive turn – is there in Virgil, in Ovid, in Augustine, in Chaucer, in Shakespeare":

This also distinguishes Medcalf's complex conception of Englishness. For England is never in Medcalf a little England, a place of mere nostalgia or retreat or homeliness. Great and generous though his admission was of a certain kind of old-fashionedness in himself [...] he meant of Englishness something both more open and more sensuous. For one thing, his Englishness participates in this same culture of mimesis – of imitation of the literatures of the past. But also, he saw literary Englishness as entirely in communication with the other languages of Europe. Englishness reaches back to Virgil not in Edwardian fancies that the Empire is the true home of Aeneas, but in the more challenging sense that Virgil forces the English language to live up to an ideal higher and deeper than itself. Medcalf himself was a praeceptor of literature on a truly European scale. He loved England but he loved it as a European nation and culture. A central manifesto of this was 'seeing European literature as whole in which the ancient literatures interpenetrate the English and other modern literatures'. Perhaps only a mind as capacious as his could see so much of this at one time.

As we can see more clearly now, Stephen Medcalf's influence lives on in works such as What Ever Happened to Modernism?.

FIRINDA PATLICAN OTURTMA

MALZEMELER
4 Adet bostan patlıcanı
2 adet kuru soğan
4 adet domates
8-10 adet yeşil biber
400 gram kıyma
1 tatlı kaşığı biber salçası
Tuz, karabiber, pulbiber
Maydanoz
3-4 diş sarımsak
1/2 çay bardağı sıvıyağ
Fırında patlıcan oturtma için:
Patlıcanlar alacalı soyulur,yarım santim kalınlığında dilimlenir, tuzlu suda acısı gitsin diye 15 -20 dakika bekler, tuzlu sudan çıkarıp yıkadıktan sonra iyice kurulanır, bir tepsiye yağlı kağıt serilir,patlıcanlar dizilir sıvıyağ ile iyice yağlanır, ısıtılmış 200 derecede fırında arada alt üst edilerek hafif kızartılır.
Soğan ve kıyma tencerede suyunu çekene kadar kavrulur, sıvıyağ eklenir, tekrar iyice kavrulur,4-5 adet yeşilbiber, kabuklarını soyup küçük doğradığımız 2 adet domates,3-4 diş sarımsak ve biber salçası eklenir, domatesler suyunu çekince ateşten alınır  tuzu,  pulbiberi, karabiberi ve maydanozu eklenir .
Fırında kızaran patlıcanların yarısı fırına dayanıklı bir tepsiye dizilir,arasına hazırladığımız harç eklenir, üzerlerine tekrar patlıcanlar’ın kalan yarısı, dizilir, domatesler dilimlenerek patlıcanların üzerlerine dizilip salçalı su yapılarak üzerlerine gezdirilip sıcak fırına verilir.