what’s cooking“Dining with Henrik IbsenHead Chef at Per Gynt Gaarden, Tor Kramperud Arnesen,has made it his mission to explore the diet of local farmers in the1800s. At Per Gynt Gaarden, he serves food based exclusivelyon ingredients found locally in the valley Gudbrandsdalen, andon cookbooks from the period when Ibsen was alive.BY TOR KRAMPERUD ARNESENIcompose menus based on old cookbooks and prepare food that mighthave been served in Gudbrandsdalenin the 1800s. These booksreveal a use of herbs, spices and vegetablesthat is mostly forgotten inNorwegian cooking today. My missionis to revive these old recipes forthe palatable pleasure of the guests atPer Gynt Gaarden.Foreigners who traveled throughthe area at that time describe a simpleand fairly basic cuisine, mostly consistingof flatbread; dried and curedmeat; milk-based dishes like soupsand different porridges; and otherwisethe common elements of traditionalNorwegian cuisine, like potatoesand herring. These travelerswould occasionally drop by unannouncedand had to settle with whateverwas available, usually food thatcould be stored for a long time indried condition. Planned meals wouldmore commonly be based on freshmeat or fish.The time of year would determinethe menu. There were no fresh foodsin the fridge or fresh imported foodslike we're used to today. Potatoes andother root crops were stored in cellars,and were portioned out to lastuntil the next fall. As soon as springAppetizerCaraway SoupThe caraway is gathered, rinsed andchopped. Butter and wheat flour is heated,and veal broth is added. The soup boils for 10minutes before the caraway is added. Addsome salt and pepper, and serve with half aboiled egg in each soup bowl.First Main CourseCanned Grouse withMashed PotatoesGrouses that are canned need to be flawless.They are plucked, divided into smallerpieces and heat-treated. After that, they areput along with the broth into cans, until thecans are sealed and heat-treated again.They're removed from the cans before preparingthe dish, dipped in sour cream. They are12 | www.norway.org/foodarrived, however, fresh produce wasreadily available: Both caraway andnettle was used for soups, andrhubarb grew quickly in spring, makingit a good choice for soups, porridgesand cake stuffing. These arethe premises for the menu below.It is based on a planned meal,made only with ingredients we knowwere available in the Fron areaaround the time of Ibsen. Again, theseason would largely determine themenu: If the meal was in the fall, onewould have fresh meat from largergame, like moose or reindeer, as wellas of different wild birds like grouseand of rabbits.If the meal was set just beforeChristmas or in spring, the menuwould consist of fresh meat, like beef,pork and lamb. A meal in the summertimewould have more curedmeats, and more fresh fish. Meatcould be preserved by canning, but inthe 1800s, canning was a complicatedand time-consuming process, with tinboxes filled with meat before sealedand warmed up.Now, Imagine Henrik Ibsen comingto the farm to absorb the atmospherethere, while writing a new playset in the Fron area. He might havebeen served the following menu:cooked in a skillet until brown, and keptwarm as the sauce is prepared.The broth from the can is blended withcream. The sauce is boiled and strained. Thegrouse meat is put on a plate, and the saucepoured on top.Garnish: Mashed potatoes and boiled celeryroots. The mashed potatoes are made bypushing potatoes through a strainer, andadding cream until the desired thickness isreached. Salt and pepper added to taste.Second Main Course:Fried Mountain Trout withFlatbreadUse fresh Mountain Trout of average size.Gut it thoroughly and dry it in a piece ofcloth. Make small incisions in its skin, andsprinkle a little salt and pepper on the inside.PHOTOS COURTESY OF PER GYNT GAARDENIbsen traveled to Gudbrandsdalen in the 1860s. Using ingredientsavailable at the time, here is how I would have prepared dinner:Cook the trout until it is golden and the boneslet go. Serve immediately with flatbread andwhipped sour cream with shredded horseradish.DessertRhubarb Omelet5 egg yolks are stirred with 2-3 tablespoonsof sugar, 2 fi ounces of melted butterand 12 ounces of milk or cream. Add 2 fiounces of either wheat or potato flour. The 5egg whites are whipped and added in last. 6-10 rhubarb stems are rinsed, diced and boiledwith sugar until it becomes porridge, but notfor too long. Add in a little more sugar totaste. Cook in a pudding tin at maximum heat,and serve with cane sugar.See page 8 for more about Per Gynt Gaarden
MAKE IT NEW!Why “Emperor and Galilean” Still MattersESSAY BY TORIL MOI – BASED ON MATERIAL FROM CHAPTER SIX OF HER BOOKHenrik Ibsen believed in the transformationof the individual and that of society.He was not afraid of destruction if itcould produce something radically new. In1870, while Ibsen was living in Germany, warbroke out between France and Prussia, and itrapidly became clear that France was losingthe war. In December 1870, Ibsen, a Frenchsympathizer, excitedly wrote to Danish intellectualGeorg Brandes:“Besides, the world events occupy a greatdeal of mythoughts. The oldillusory France hasbeen smashed topieces, when finallythe new factualPrussia is smashedto pieces too, thenin one leap weshall be in an ageof becoming. Howthe ideas then willcollapse aroundus! And it willtruly be high time.Everything wehave been livingon until todayamounts to nomore than thecrumbs from lastcentury’s revolutionarytable, andthat nourishmenthas been chewedover for longenough. The conceptsneed a newcontent and a newexplanation.Freedom, equality and fraternity are no longerthe same things they were in the days of theblessed guillotine.”Ibsen sounds positively cheerful about thedestruction of old regimes and ideals. They,like the dinosaurs and the dodo bird, aredoomed to extinction: This is cause for joy, notsorrow, for what truly matters is the birth of thenew, the creation of a transformed world.The war killed 187,500 French and Germansoldiers, and more than 30,000 Parisians wereslaughtered in the brutal repression of theCommune in May, 1871. That two of the mosteconomically and culturally advanced countriesof Europe could engage in slaughter onsuch a scale shook Europeans to the core.However appalled Ibsen may have been at thehorrors of 1871, he knew how to mobilize theenergy produced by horror for creative work.Less than two months after the fall of the ParisCommune, he began serious work on the enormoushistorical play, Emperor and Galilean.Toril Moi is a Professor of Literature andRomance Studies at Duke University.Although it is one of the writer’s leastknownplays, Ibsen himself always consideredEmperor and Galilean his “most importantwork” [hovedverk]. Subtitled “A world-historicalplay,” and set during the period from 351to 363 A.D., Emperor and Galilean is aboutthe Roman emperor Julian the Apostate, whorenounced Christianity and tried to return theRoman empire to the ancient Greek gods.Ibsen intended his “world-historical” play tobe a parallel of Europe in his own time. But itremains eerily relevanttoday, for thisis a play preoccupiedwith warfare,revolt, terrorism,dictatorship, andcataclysmic historicaland culturalchange, as well aswith historical transitionand the searchfor meaning in aworld where God isdead and traditionalvalues have losttheir grip. In theend, Julian dies onthe plains ofMesopotamia – inthe country we nowcall Iraq – killed bya Christian fanatichell-bent on martyrdom.There is an enormousdiscrepancybetween the attentionIbsen wanted usto pay to Emperorand Galilean andthe neglect it has suffered. There have beenvery few productions of this magnificent work.It is true that Ibsen wrote the play as a closetdrama (a play intended to be read), because19th-century stage technology could not copewith the production of a 10-act play with greatnarrative sweep and stunningly spectacularscenes. Today, however, technology is noobstacle, and plays of a similar nature, and ofsimilar scope are often performed. In 2000, theNational Theater in London produced animpressively lean and fast-paced version ofDavid Edgar’s Speer, which charts the rise andfall of the Third Reich, and in 2002 it producedTom Stoppard’s The Coast of Utopia, a trilogythat took more than nine hours to perform.Emperor and Galilean is about the corruptionof the purest ideals, about the abuse ofpower, and about religious fanaticism andmadness: Today the right director could workmarvels with Henrik Ibsen’s “most importantwork.”booksHenrik Ibsen and theBirth of ModernismBy Toril MoiPublished in August, 2006 byOxford University Presswww.oup.co.uk/isbn/0-19-929587-5Henrik Ibsen and the Birth of Modernismsituates Ibsen in his cultural context,emphasizes his position as a Norwegian inEuropean culture, and shows how importantpainting and other visual arts were for hisaesthetic education. The book rewrites literaryhistory, reminding modern readers thatidealism was the dominant aesthetic paradigmof the nineteenth century. Modernismwas born in the ruins of idealism, Moiargues, thus challenging traditional theoriesof the opposition between realism and modernism.By reading Ibsen’s modernist plays asinvestigations of the fate of love in an age ofskepticism, Moi shows why Ibsen still mattersto us. In this book, Ibsen’s plays areshowed to be profoundly concerned by theaterand theatricality, both on stage and ineveryday life. Ibsen’s unsettling explorationsof women, men and marriage hereemerge as chronicles of the tension betweenskepticism and the everyday, and betweencritique and utopia in modernity.This radical new account places Ibsen inhis rightful place alongside Baudelaire,Flaubert and Manet as a founder ofEuropean modernism.Toril Moi is James B. Duke Professor ofLiterature and Romance Studies at DukeUniversity. Her most recent book, HenrikIbsen and the Birth of Modernism, will bepublished by Oxford University Press in thefall of 2006.Agnete Øye’s Norwegian translation of thebook, entitled Ibsens modernisme, was publishedby Pax Forlag in Oslo in May.<strong>ibsen</strong> 2006 | news of norway |13