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BUY MY BOOKS | HOME | FICTION | ESSAYS | ON-LINE DIARY | MARGINALIA | GALLERY | INTERACTIVE FEATURES | FAQ | SEARCH ENGINE | LINKS | CONTACT ![]() the official website for the writings of www.ralphrobertmoore.com "It is easy to see why Father Figure has become an underground classic over the years. It is a dark, extremely disturbing but completely gripping suspense thriller with a strongly erotic subtext...Moore is an extremely talented writer with a gift for pushing the reader's emotional buttons...certainly liable to become a cult classic, and deservedly so." --From an editorial review of the novel Father Figure, published by Bookbooters "For me, the masterpiece of the collection is The Rape by Ralph Robert Moore, a multi-viewpoint – in every sense of the word – examination of an apparent rape (or is it) that sizzles with tension and inventiveness." --Terry Grimwood, in Whispers of Wickedness, reviewing The Rape, published in Sein und Werden. "…once again the editors have confirmed their extraordinary literary taste and excellent editorial instinct by selecting twenty stories which, for the most part, are up to the high expectations of 'Darkness Rising' aficionados…In some instances, I suspect, the stories are so good as to surpass even the best from the previous volumes, much to the delight of everyone fond of solid, compelling short fiction...[four of the stories] are really outstanding..."The Woman in the Walls" by Ralph Robert Moore is quite amazing. Despite the tell-tale title (believe it or not, that's the core of the plot!) the story is so original and full of surprising twists it remains absolutely memorable." --Mario Guslandi, in The Agony Column, reviewing The Woman in the Walls, published in the hardcover anthology, Darkness Rising 2005. "This is a very strong tale, which will take a hold of you at the beginning and grip until the end. It tells of a farmer and his family and the tragedies which fall upon them, and of the dedicated employee who does anything the farmer asks of him. I found this tale to be very emotional, yet creepy and violent. Moore puts us, the reader, right into the story as if we are driving it, and we are." --Chris Cartwright, in Whispers of Wickedness, reviewing The Machine of a Religious Man, published in Midnight Street, Spring 2005 "…as it's always the case in any anthology, some stories in "Read By Dawn" are positively awful, some just ordinary, and only a bunch are worth mentioning. The latter group, in my opinion, amounts to a dozen, which is not bad at all in a volume assembling twenty-seven tales …The Little Girl Who Lives in the Woods by Ralph Robert Moore is a very dark, cruel tale about the hidden truths of human existence, blending the reality of spoiled innocence, loneliness, violence and hunger for love." --Mario Guslandi, in Horror World Review, reviewing The Little Girl Who Lives in the Woods, published in the anthology, Read Before Dawn, 2006. "Another mind-blowing story is Truth Be Told by Ralph Robert Moore, and it is probably the story that most fits the ‘artifice’ remit. A couple – Franklin and Sarah – are talking. He questions her about her encounter at work with another woman, and his questions gradually lead her on to more and more pornographic descriptions of the encounter. It is obvious from her changing stories that much of what she is saying cannot be true. Is she taking her cues from Franklin’s (leading) questions? Is this some sort of a game that they play regularly? But there is a narrative outside of Sarah’s, and it is moving on and taking the reader somewhere disturbing. A quite remarkable story." --Jim Steel, in Whispers of Wickedness, reviewing Truth Be Told, published in Sein und Werden, Volume 1, Issue 4, 2007 ![]() My novel Father Figure, a bestseller for its publisher in trade paperback, is now available for free in PDF format. Click here to go to a page where you can download the complete text of the novel. If you're here, it's probably night. You can see a window from where you sit, and the window is dark. Who really knows what's outside? I write. If you read, we've just made a connection. SENTENCE is the forest you fall asleep into. Like most authors, I'm more comfortable between covers, but the truth is that's getting harder and harder to achieve these days. Markets have become increasingly timid in this family values age. Plus the table of contents of most periodicals nowadays is decidedly tipped in favor of the falsehoods of nonfiction over the disturbing truths of fiction. Length is another alarm. Many small-circulation magazines, understandably, want to represent as many writers as possible in an issue, and therefore are less likely to accommodate the girth of a well-fed novella. Back in the thirties, when fiction magazines were as popular as television is today, young writers could move to the cement and grass of the city and be on newsstands two months later. We bemoan the loss of those days of opportunity, but the truth is we now have more magazines than ever before, only they're called websites. Thanks to cyberspace, anyone can put out their own magazine. No more backroom arguments with printers, no more getting down on your knees in front of advertisers, no more embarrassment trying to extract your right index fingertip from the white string knotted atop the bundle of the latest issue. Some people say, but if you put your fiction on the web, it'll be stolen. Let's examine that. What could be stolen is either the story itself, or its ideas. A story can be stolen printed or posted, but it should be fairly easy to establish, in either case, the author. If you want, include in your text an anagram that, when held up to light, identifies you like a watermark as the author. Ideas can be stolen-- a simile, a description, a joke-- but that will happen regardless of the medium in which your baggage is left alone on the airport floor. The truth is, fear of plagiarism is fear of readership. We have an enormous range of talent out beyond the electricity. Talent that can share on the Internet. There are dangers, but to be plagiarized is never fatal. What is more important is to be read. Because if it's in a box, and no one but you knows about the storms raging through the paragraphs, the footsteps plodding soggily down the sentences, water dripping off the rims of words, that's the biggest shame of all. A fizzle. Because the real achievement of writing is not the writing. The real achievement of writing is someone else reading the writing. I've been published in America, England, Ireland, and Australia, and translated into Lithuanian. My fiction has been called "graphically morbid". My writings are not for everyone. Are they for you? Find out. You can either go to one of the links in the upper left of this page to read the complete texts of many of my short stories and other writings, published and unpublished, as well as lengthy excerpts from my novels, or you can go to Words Walking Nude, a collection of about fifty short excerpts from my work, to see if you like my style, and what I have to say. Art is an invitation to go inside someone else's mind. To see our world as they see it. SENTENCE is my mind. I'm glad you came. I just lit a cigarette. I just poured Merlot. I hope you enjoy your exploration. Webmaster Ralph Robert Moore at robmary@swbell.net. Entire contents Copyright © 1997-2008 by Ralph Robert Moore, All Rights Reserved. For a complete chronology of site updates, please see HISTORY. Established January 1, 1998. "All was chaos, that is, earth, air, water, and fire were mixed together; and out of that bulk a mass formed-- just as cheese is made out of milk-- and worms appeared in it, and these were the angels."
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the middle stays raw may 1, 2008
Mary and I decided to cook a beef roast at 170 degrees. This low-roast method supposedly reproduces the legendary Sunday beef roast our grandmothers cooked. Incredibly juicy, fork-tender, with a texture like filet mignon and a rich, heady, beefy flavor. I scream for the perfect beef roast. Dark mahogany on the outside, pink on the inside, each slice, as it falls in slow motion away from the roast, lying on its back, hot and moist in a pool of its own red juices. Who wouldn't want to fork that? That perfection is difficult to achieve in a home kitchen. Traditionally, most cookbooks suggest starting the oven at 450 degrees, sliding the roast inside, then immediately reducing the temperature to 350 degrees. The theory is that by starting at a higher temperature you sear the beef, sealing in the juices, the lower temperature allowing the bulk of the beef to slowly reach medium rare. In practice, you often wind up with a roast that, when you slice into it, has a wide ring of overcooked beef surrounding a raw, or nearly raw, core. Craig Claiborne, the New York Times food editor, came up with a method where you start, as I remember it, at 550 degrees, put in the roast, close the oven door, suggest to Pierre that perhaps he's had enough to drink, then turn off the oven. The gradually diminishing heat inside the oven is supposedly the perfect environment to produce a roast that is completely cooked-through, but still medium rare. Except the roast rarely turns out that way (the middle stays raw.) The 170 degree method operates on the idea that the lower the temperature you use to cook a beef roast, the more tender it will be. Why? Because beef contains connective tissues. Connective tissues are harder to chew than the actual meat between the tissues. The more connective tissues a roast has, the tougher the beef will be. Enzymes in the beef help dissolve the connective tissues as a roast cooks, thereby making the roast more tender, but enzymes' tenderizing effect only works up to 122 degrees. Above 122 degrees, whatever is left of the connective tissues is going to stay in the meat. So you keep your roast under 122 degrees for as long as possible, to give the enzymes enough time to completely dissolve the enzymes. That's really what slow-roasting is all about. Slow roasting also allows the roast to cook under a more gentle heat, so that in theory you don't have the extremes of an over-cooked outer layer surrounding a raw inner core. Slow-roasting beef is the way most delicatessen meat is cooked (that's why the pound of sliced roast beef you buy in a supermarket, waiting your turn, holding a paper number, is uniformly red.) We've lost so much practical information about cooking, the past few generations. I remember, when I was growing up, most mothers had a list of what vegetables go with what meats. If you're serving chicken, serve it with these vegetables. Don't serve it with these vegetables (the combination will cause indigestion.) Those lists, which probably go back to Colonial days, based on centuries of trial and error, are lost. Can you imagine how useful they were? (Indigestion is now epidemic in Western society.) For social and political reasons, during the sixties there was a disconnect in the time-honored practice of passing down the art of cooking from mother to daughter. Baby boomer daughters didn't have the time for cooking lessons, they were too busy saving the world or buying pot, so the "Greatest Generation" mothers had to roast their chickens by themselves. As a consequence, when baby boomers became mothers, they had few food tips to pass on to their Generation X daughters. And as for Generation X mothers, they had virtually nothing to pass on to their own daughters. How many people today know how to bone a chicken, or repair an emulsified sauce that has broken, or create the perfect pie crust? (If you look at pre-World War Two cook books, they rarely gave you instructions on how to cook a meal. All they did was list ingredients. It was assumed any cook would know, from the ingredients list, how to prepare the recipe (if you saw butter and flour listed together, you would know instinctively you need to prepare a béchamel at that point.) The modern cook book, where a recipe is no longer just a naming of ingredients, but instead a numbered list of instructions (do this, then do that), didn't come about until Julia Child pioneered that step-by-step method, out of necessity.) None of this is anyone's fault. It just unfortunately happened that way. (And I refer to mothers and daughters rather than fathers and sons in the disconnect of the tradition of passing on food knowledge from generation to generation because that knowledge, on a household level, was almost always female-to-female, historically.) I remember as a kid visiting my grandmother, and spending most of the day standing next to her at the stove, watching her slowly sauté onion slices in butter. The smell was incredibly rich. It was like watching a mystery unfold. Why was she sautéing those onions? After an hour, she filled a large, battered pot with tap water, had me help her carry it by its two handles over to the stove, then dumped in pound after pound of chicken necks and backs, some cut-up vegetables (celery, carrots, parsnips). That bubbled the whole long afternoon on a back burner, after which she strained everything, so all she had left in the pot was an incredibly rich yellow stock. She carefully dropped a whole raw chicken in that stock. As evening approached, she turned off the heat, lifted out the cooked chicken. Using her hands (she had Parkinson's by then), she pulled from the chicken long, moist strips of breast meat while they were still steaming (her fingers had had decades of exposure to kitchen heat), dropping the moist white strips into a tall mason jar, to which she added the buttery slices of onion, filling the jar with the deep yellow stock (the mason jar was for my mother, who had a head cold.) Kids are curious, so she let me taste a spoonful of the broth. Incredible. Like tasting a bright, better world. Nobody back then thought of themselves as a gourmet. If you mentioned Carême's mother sauces to them, or even Escoffier's improvement on the mother sauces, they would have no idea what you were talking about. The three sauces that generation did know were ketchup, mayonnaise, and mustard. And how to combine them. It discourages me reading recipes in magazines like Gourmet and Bon Appetit, where they give a recipe for french fries, but then come up with a different dipping sauce for the fries, other than plain old bottled ketchup. Sauces with adobe, or soy, or ginger and garlic. Come on. Nothing's better with fries than ketchup. Everyone knows that. We don't need any more research on the issue. Spend that spare time curing cancer. Here are some of the great, old-fashioned things you can do with the three American "mother sauces".
Humble sauces, but they're all as good today as they were one hundred years ago. So Mary and I decided to cook a beef roast at 170 degrees. We drive into Dallas about once a month, so Mary can get a blood stick at her cardiologist's office, to monitor her coumadin level. We use each occasion to stock up on food goodies we can't yet buy locally (like imported Greek green olives stuffed with sun-dried tomatoes, preserved in olive oil rather than brine, so each olive has an ineffably mellow flavor.) On our most recent trip, we stopped at Whole Foods, bought a boneless shoulder roast (the cut recommended in most of the 170 degree recipes.) About a week later, we pulled the roast out of the freezer, allowed it to defrost over several days. Preheated the oven to 200 degrees. Put a skillet on a burner, no oil, and seared the roast on all sides. (The thing about cooking at 170 degrees is that the outside of the roast never gets brown, so you have to pre-brown it.) It was unusual to be searing a beef roast at seven o'clock in the morning, both of us still sipping coffee, but hey, anything for science. Once the roast was browned on all sides, we popped it in the oven, reduced the heat to 170 degrees. According to the recipes we read, you should cook the roast for two and a half hours per pound. Which we did. Later that evening, we pulled out the roast. With great anticipation, we cut a slice off one end. According to the recipes, the meat should be uniformly pink inside, with an incredibly tender texture, and a strong beefy flavor. In fact, the roast was clearly over-cooked, the meat quite dry. We ate a few slices for dinner (we had nothing else to eat), but threw the rest of the roast out. I failed. The day my mother would have taught me the method for cooking a perfect Sunday beef roast, I was off somewhere else, listening to Between the Buttons. My short story "Damp" will be in the next issue of Grasslimb (coming out in August). A new Lately is published the first of each month. To print this Lately, please go here. To read previous Lately entries, please go here. |