Oscar, mother, and those jelly jars

I’ve loved The Importance of Being Earnest, one of dear Oscar Wilde’s funniest, since we staged the show in high school. Many of its epigrammatic quips have stayed with me all these years.  It’s possible that I like this one best:

All women become like their mothers. That is their tragedy.
No man does. That’s his.

The value of Oscar Wilde’s epigrams cannot be underscored. Their essential truth, well cloaked in satire, sticks like chewing gum under the dairy bar counter. They grow with you. When I was 16, I thought this was just a funny line. When I was 21 and trying to assert my independence, being “like my mother” was the last thing on earth I wanted. When my own kids came along, I wondered if they’d be like me. By the time I was 40, I began to hope I was at least somewhat like her. And now, of course, I am—at least in one notable way.

Which is to say, my kitchen in fully of jelly jars. Specifically, Bonne Maman (“good mother”) jelly jars. Like Clark Griswold’s Christmas bonus, they’re the gift that keeps on giving. Whereas my mother saved commercial jelly jars for her own wondrous jams and preserves, I use the Bonne Maman jars for everything from baking soda to chopped onion to leftover sweet potatoes. I find they’re ideal not just because I’m a “brand loyalist,” but because the mouth is fairly wide, the lids are an adorable red-and-white check, you can easily see what’s in them, and they stack. More than that, Bonne Maman jams take me back to June in Provence, where Françoise, our charming hostess at Hôtel l’Hermitage, at breakfast served baskets of just picked strawberries and cherries from the orchards around Mt. Ventoux. Plus, as you’ve probably discovered, if it’s French or Italian, I’m in.

Recycling is always a good thing, and since many of us are trying to make the switch from plastic storage to glass, why not try some Bonne Maman—non-GMO, by the way—and put some of these great little jars to handy new uses?

Bon Maman

 

 

 

 

 

As we hover between the last gasp of winter and the earliest days of spring, take a moment to visit Roussillon with me.

Roussillon rises out of the Vaucluse like a Provençal Brigadoon. The ochre-laden earth  gives it a sunny luminescence even on the grayest day. Roussillon is one of the villages perchés of Provence—the perched villages that grew up on summits as a protection from invaders—in the Luberon region, much of which is protected as a national park. This is the Provence of story, straight out of Marcel Pagnol*. If you are lucky enough to visit at an off time, when the village is not over-ridden by tourists, you are guaranteed to find magic there. But even in the height of tourist season, Roussillon is worth the effort.

Our favorite Roussillon experience, bar none, was wandering into Galérie Porte-Heureuse,  where we discovered the paintings of André Deymonaz and first got to know the wonderful Deymonaz family. Don’t miss it if you visit the village.

Roussillon is the fictitiously named village in sociologist Laurence William Wylie’s Village in the Vaucluse, the result of his in-residence account of rural village French life in 1950-51, with a later look back at the inevitable erosion of a culture and lifestyle clinging to its roots while still traumatized by the war and its aftermath. During one of our trips, I happened to meet a delightful woman who had grown up in Roussillon at the time of Wylie’s stay. She told me that her family had befriended the Wylies, and that a number of the villagers were very upset when the book was published, as they felt it far too personal and critical. Having read the book, I can understand that; I found some of his perceptions cold and distant, but an academic would argue that one with me, of course. Nonetheless, if you are a francophile and/or a 20th Century history buff, you may want to try it.

*Movies to see: Jean de Florette, Manon of the Spring, My Father’s Glory, My Mother’s Castle.

Note: I’ve added a number of links to this post so that, if you are so inclined, you can easily learn more.