User:Pianoface

PUMPERNICKEL (AMERICANO) Ingredients Night before:

* 1 cup dark rye * 3/4 cup warm water * 1/4 teaspoon instant yeast

Day of:

* 2 1/2 cups bread flour * 1/2 cup whole wheat flour * 1/2 cup bran flakes * 2 tablespoons molasses * 1 tablespoon cocoa power * 1 1/2 teaspoons salt * 1 teaspoon instant yeast * 2 tablespoons oil * 1 cup warm water

Method

The night before you make this pumpernickel, add all the "night before ingredients" into a bowl and mix till smooth. Cover with plastic wrap allow to rest on the counter for 12-16 hours. The next day mix the night before mixture and water in a large bowl. Mix in with a wooden spoon the bran, molasses, oil, cocoa powder, salt, instant yeast and whole wheat flour. Allow to rest uncovered for 10 minutes. Start to add in the bread flour, about a half cup at a time. After each addition mix with a wooden spoon till smooth. Once the dough becomes to hard to mix, pour out onto a floured surface. Continue to add more flour and knead for 10 minute. You want the dough to be a little sticky but not sticking to your hands. After kneading, place dough into a lightly oiled bowl. Turn over a few times to lightly coat all sides. Cover with plastic wrap and allow to rest for 2 hours. After resting, pour the dough out onto a flat surface and cut in half. Shape each piece into a log shape. Take a piece of parchment paper and sprinkle some cornmeal on top. Place the loaves onto the corn meal and cover with plastic wrap. Allow to rest for 1 hour. About 45 minutes before baking, place your baking stone into the oven and preheat the oven to 425 degrees. Also place a cast iron skillet on the bottom of the oven, to create steam. If you are using a cookie sheet do not place the cookie sheet into the oven before hand. Sprinkle some whole wheat flour on top. Using a sharp knife score the top of each loaf. Place the loaves into the oven, then pour about a cup of boiling water into the hot cast iron skillet and close the door. Bake for 30-35 minutes or till the bottom of the loaf sounds hollow when tapped. Cool on a wire rack.

FARMERS BREAD This tasty and stunning rustic look bread, is simple and easy to make. The stone ground whole wheat flour adds a wonderful flavor to this farmers bread. Ingredients Night Before:

* 1 cup stone ground whole wheat flour * 1 cup bread flour * 1/4 teaspoon instant yeast * 3/4 cup warm water

Day of:

* 2 3/4 cup bread flour * 1 1/4 cup lukewarm water * 1/2 teaspoon instant yeast * 1 teaspoon salt * 1 tablespoon barley malt or molasses

Method

The night before you want to make this bread add all the "night before" ingredients together and mix till smooth. Cover with plastic wrap and leave on the counter overnight for 12 - 16 hours. The next morning place the mixture into a large bowl.

Add water ( 110F. ) to the night before mixture and mix with a wooden spoon.

Add in the instant yeast, salt and malt. Add in a cup of bread flour and mix till smooth. Continue to add more flour till it becomes to hard to mix in the bowl

. Pour the dough out onto a floured surface and continue to add in the rest of the flour.

Knead the dough for 8 - 10 minutes and than place into a clean bowl with a little oil. Turn the dough over in the bowl till all sides of the dough is lightly coated with oil.

Cover with plastic wrap and allow to rise for 1 1/2 to 2 hours or till double in bulk. Pour out onto a flat surface.

Cut dough in half and shape each piece into a tear drop ball. Cover with plastic wrap and allow to rest for for 20 minutes. Afterwards, use a rolling pin and roll out one side of the dough to about the length and diameter of the dough.

Brush the edges of the rolled out part of the dough with oil. Now, pull that rolled out part of the dough over the round part of the dough. Do the same with the other piece of dough.

Place them onto a piece of parchment. Cover with plastic wrap and allow to rise for 1 hour. Now, dust the top of the dough with a little stone ground flour. Place into a preheated 400 degree oven with a hot baking stone or on a cookie sheet ( do not heat the cookie sheet ahead ). Create some steam by placing a cast iron pan on the bottom of the oven the same time that you turn on the oven. Once you place the breads into the oven pour about a cup of boiling water into the hot pan and close the door. Bake for 30 -35 minutes or till when tapped on the bottom of the loaf it sounds hollow. Allow to cool on a wire rack.

PERE AL VINO This particular version of pears in wine is Piemontese, and is traditionally made with Martin Sec pears, a small golden-russet variety whose slightly grainy flesh is especially suited to being cooked. To serve 6 you will need an hour's preparation time, and: Ingredients:

* 2 1/4 pounds (1 k) pears * 10 cloves * 2 cinnamon sticks (about 4 inches of cinnamon stick) * 3/4 cup sugar * 1 quart Barbaresco or other tannic, full bodied dry red wine, e.g. Nebbiolo di Langa or Roero

Preparation: Wash and dry the pears. Bring the wine to a boil, with 2/3 cup sugar, the cloves, and the cinnamon. Add the pears and cook covered for about 45 minutes, at a steady boil, taking the lid off every now and again to check the level of the wine, which should cover the pears. When the pears are cooked transfer them to a platter with a slotted spoon. Strain the sauce, and, if it is too runny, cook it down until it thickens somewhat. Then pour it over the pears and sprinkle them with the remaining sugar as well. Serve cold.

Pommes Soufflées 6-8 large russet potatoes

Here is how Julia Child and Jacques Pepin tell us to make pommes soufflés.

1. First Jacques peels the potatoes. Next he trims each one into a uniform oblong with flat sides and bottom. Either by hand or with a mandolin, he slices the potatoes just a bit thicker than 1⁄8". The slices are fried once in a pan with at least 1 1⁄2" of vegetable oil heated to 300°, then fried for a second time in hotter oil-375°-until they puff into golden, perfect pommes soufflés. Salt to taste and serve immediately.

Gougères Two things to keep in mind when making these. One is that you should have all the ingredients ready to go before you start. Don't let the water and butter boil away while you grate the cheese. Otherwise you'll lose too much of the water. Second is to let the batter cool for a few minutes before adding the eggs so you don't 'cook' them. Make sure when you stir in the eggs that you do it vigorously, and without stopping. I'm not a fan of extra dishes to wash, but the intrepid can put the dough in a food processor or use an electric mixer to add and mix the eggs in quickly.

If you don't have a pastry bag with a plain tip, you can put the dough into a freezer bag, snip off a corner, and use that. Or simply use two spoons to portion and drop the dough onto the baking sheet. This recipe can easily be doubled.

1/2 cup (125ml) water 3 tablespoons (40g) butter, salted or unsalted, cut into cubes 1/4 teaspoon salt big pinch of chile powder, or a few turns of freshly-ground black pepper 1/2 cup (70g) flour 2 large eggs 12 chives, finely-minced (or 1 to 2 teaspoons minced fresh thyme) 3/4 cup (about 3 ounces, 90g) grated cheese (See above for ideas)

1. Preheat the oven to 425F (220C.) Line a baking sheet with parchment paper or silicone baking mat.

2. Heat the water, butter, salt, and chile or pepper in a saucepan until the butter is melted.

3. Dump in the flour all at once and stir vigorously until the mixture pulls away from the sides into a smooth ball. Remove from heat and let rest two minutes.

4. Add the eggs, one at a time, stirring quickly to make sure the eggs don't 'cook.' The batter will first appear lumpy, but after a minute or so, it will smooth out. (You can transfer the mixture to a bowl before adding to eggs to cool the dough, or do this step in a food processor or electric mixer, if you wish.)

5. Add about 3/4s of the grated cheese and the chives, and stir until well-mixed.

6. Scrape the mixture into a pastry bag fitted with a wide plain tip and pipe the dough into mounds, evenly-spaced apart, making each about the size of a small cherry tomato.

7. Top each puff with a bit of the remaining cheese, the pop the baking sheet in the oven.

8. Bake for 10 minutes, then turn the oven down to 375F (190C) and bake for an additional 20 to 25 minutes, until they're completely golden brown.

For extra-crispy puffs, five minutes before they're done, poke the side of each puff with a sharp knife to release the steam, and return to the oven to finish baking.

Risotto al Peperone e Gorgonzola Ingredients:

* 1 1/2 cups (300 g) Arborio or similar short-grained rice * 2 grilled bell peppers (bought from the deli will be fine), skinned and chopped * 1/8 pound (60 g) Gorgonzola * A small onion, or a spring onion, chopped (the green part too of the latter) * 1 clove garlic, crushed * 1 quart (1 liter) beef broth (unsalted bouillon will also work) * Salt and pepper to taste * 3/4 cup (40 g) freshly grated Parmigiano * 2 tablespoons heavy cream * 2 tablespoons olive oil * 2 tablespoons unsalted butter

Preparation: Sauté the onion and the garlic in the oil and half the butter, over a moderate flame, for a few minutes -- you want them to wilt, but not brown. Add the peppers and the rice, together with a pinch of salt and pepper to taste. Cook, stirring, over a medium flame for 3-5 minutes, and then fish out and discard the garlic.

Add a first ladle of broth, and continue adding broth and gently stirring as the rice absorbs it, until it reaches the al dente stage. About half way through the cooking, add the gorgonzola to the pot, and then the rice is al dente, stir in the butter, Parmigiano, and cream. Cover and let rest for a minute, and it's ready.

To drink? Bubbly; a sparkling Gavi would be nice, as would a sparkling Lugana.

BOMBOLONI

Ingredients

1. 1/2 cup plus 1 tablespoon lukewarm water 2. 1 1/2 envelopes active dry yeast (3 1/4 teaspoons) 3. 1 1/2 tablespoons honey 4. 3 cups all-purpose flour, plus more for dusting 5. 3 tablespoons milk 6. 6 large egg yolks 7. 1/3 cup granulated sugar, plus more for rolling 8. 2 teaspoons kosher salt 9. 3 tablespoons unsalted butter, softened 10. 3 cups canola oil, for frying 11. 3/4 cup seedless raspberry preserves 12. Confectioners’ Sugar, for dusting

Directions

1. In the bowl of a standing electric mixer, mix the water, yeast, honey and 1 cup plus 2 tablespoons of the flour. (Alternatively, whisk the ingredients by hand.) Cover with plastic wrap and let stand at room temperature until foamy, about 1 hour. 2. Return the bowl to the mixer, fitted with a dough hook. Add the remaining 13/4 cups plus 2 tablespoons of flour, along with the milk, egg yolks, 1/3 cup of granulated sugar and the salt. Mix at low speed until blended, then add the butter and knead at medium speed until silky but sticky, about 5 minutes; the dough will not pull away from the side of the bowl. Using an oiled spatula, scrape the dough into an oiled bowl and cover with plastic wrap. Refrigerate overnight. The dough will not rise. 3. In a large saucepan, heat the canola oil to 360°. Line a rack with paper towels. Fill a shallow bowl with 1/2 inch of granulated sugar. On a lightly floured surface, roll out the dough a scant 1/2 inch thick. Using a 1/2-inch round biscuit cutter, stamp out 32 rounds; do not reroll the dough. Fry the rounds, 8 at a time, until they are browned, about 4 minutes. Be sure to keep the oil between 360° and 375°. Drain the bomboloni on paper towels, then roll them in the granulated sugar. Continue frying and rolling the remaining bomboloni. 4. Fit a pastry bag with a plain donut tip (or a 1/4-inch tip) and fill with the preserves (you can also use a squeeze bottle). Poke the tip three-fourths of the way into the bomboloni and squeeze in the preserves, pulling the tip out slightly as you squeeze to fill them as much as possible. Dust the bomboloni with confectioners' sugar and serve warm.

Lemon Chiffon Cake Makes one 7″ cake From Martha Stewart Living

3/4 cup cake flour 1/4 tsp baking soda 1/4 tsp salt 3/4 cup plus 1 tbsp sugar, divided 3 large eggs, separated, room temperature 1/4 cup vegetable oil 1 tbsp lemon juice 2 tbsp grated lemon zest (about 4 lemons) 1/2 tsp vanilla extract 1/3 cup water 1/4 tsp cream of tartar

Preheat the oven to 325 degrees.

In a medium bowl sift together the flour, baking soda, salt, and 3/4 cup sugar. Set aside.

In a large bowl, whisk together the three egg yolks, oil, lemon juice, lemon zest, vanilla, and water. Stir in the dry ingredients.

In an electric mixer, beat the three egg whites on medium speed until foamy. Add the cream of tartar and beat on high until soft peaks form, 1-2 minutes. Gradually add the tablespoon of sugar, beating on high for about 3 minutes until stiff peaks form.

Stir 1/3 of the egg white mixture into the batter, then use a rubber spatula to gently fold the remaining 2/3 into the batter. Pour into an ungreased 7″ tube pan and smooth the top with the spatula. Bake 45 minutes or until a skewer poked into the cake comes out clean and the top is golden.

Cool the cake upside down by inverting the pan onto a bottle. Let cool to room temperature, at least 2 hours, before running a knife between cake and pan and inverting onto a plate. Dust with powdered sugar and serve. You can also split the layers horizontally and fill with lemon curd, or pour a glaze over the cake. It’s also delicious with fresh fruit or ice cream.

French Pastry Dough

One 9 (23 cm) tart shell

Adapted from a recipe by Paule Caillat of Promenades Gourmandes

In France, I used type 65 organic flour, which is similar to American all-purpose flour. Paule says that her students report back, saying that the dough works beautifully with American butter, too. Small cracks in the dough are normal so I wouldn't use this for a thin, custardy filling, although it works well filled with chocolate ganache and I would imagine it would be lovely filled with fresh berries resting on a base of pastry cream.

Do be careful with the hot bowl of butter. Not only will the butter spatter a bit when you add the flour, but it's uncommon to have a very hot bowl on the counter and easy to simply give in the urge to grab it with your bare hands.

90 g (3 ounces) unsalted butter, cut into pieces 1 tablespoon vegetable oil (I used canola) 3 tablespoons water 1 tablespoon sugar 1/8 teaspoon salt 150 g (5oz, or 1 slightly-rounded cup) flour

Preheat the oven to 410º F (210º C).

1. In a medium-sized ovenproof bowl, such as a Pyrex bowl, combine the butter, oil, water, sugar, and salt.

2. Place the bowl in the oven for 15 minutes, until the butter is bubbling and starts to brown just around the edges.

3. When done, remove the bowl from oven (and be careful, since the bowl will be hot and the mixture might sputter a bit), dump in the flour and stir it in quickly, until it comes together and forms a ball which pulls away from the sides of the bowl.

4. Transfer the dough to a 9-inch (23 cm) tart mold with a removable bottom and spread it a bit with a spatula.

5. Once the dough is cool enough to handle, pat it into the shell with the heel of your and, and use your fingers to press it up the sides of the tart mold. Reserve a small piece of dough, about the size of a raspberry, for patching any cracks.

(Paule takes a fork and reinforces the dough to the sides, which I didn't find necessary.)

6. Prick the dough all over with the tines of a fork about ten times, then bake the tart shell in the oven for 15 minutes, or until the dough is golden brown.

7. Remove from the oven and if there are any sizable cracks, use the bits of reserved dough to fill in and patch them.

I find it best to pinch off a small amount of the reserved dough, roll it gently between your fingers to soften it, then wedge it into the cracks, smoothing it gently with your pinky.

8. Let the shell cool before filling.

Kouign Amann

About 8 to 10 servings

1 tablespoon (12 g) dried yeast, not instant ¾ cup (175 ml) tepid water 2 cups (260 g) all-purpose flour ½ teaspoon sea salt 1 cup ( 200 g) sugar (which will be divided later) (Plus additional sugar for rolling out the pastry) 1 stick salted butter (110 g), cut into ½-inch (2 cm) pieces and chilled

2-3 tablespoons additional salted butter, melted

1. In a medium bowl, dissolve the yeast in the water with a pinch of sugar. Stir briefly, then let stand for 10 minutes until foamy.

2. Gradually stir the flour and salt. The dough should be soft, but not too sticky. Lightly dust your countertop with flour and transfer the dough onto it.

Knead the dough with your hands until the dough is smooth and elastic, about 3 minutes. If the dough is very sticky, knead in just enough flour, one tablespoon at a time, until the dough doesn't stick to your hands.

3. Brush a medium bowl with melted butter, put the dough ball into the bowl. Cover, and let rest in a warm place for 1 hour.

4. Meanwhile, line a dinner plate with plastic wrap and set aside.

5.On a lightly floured countertop, roll the dough into a rectangle about 12" x 18" with the shorter sides to your left and right.

The dough may be sticky and difficult to handle. Use a metal pastry scraper to coax the dough into shape, and a minimal sprinkling of flour, as necessary. (It will all be beautiful later, trust me.)

unrolled.jpg

Distribute the butter in the center of the dough and sprinkle with ¼ cup (50 gr) of sugar. Grab the left side of the dough, lift and fold it over the center, than do the same with the right side (like a letter). You should have what resembles a 3-level pastry.

firstfold.jpg

6. Sprinkle the entire length of the dough with ¼ cup (50 gr) of sugar and (without rolling) fold again into thirds, as before.

secondandhalffold.jpg

Place on the plastic wrap-covered dinner plate and chill for 1 hour.

(At this point, wipe excess flour from the countertop and dust the countertop with a rather liberal handful of sugar for rolling out the pastry again.)

7. Once chilled, remove dough from refrigerator.

thirdfold3.jpg

Ease it away from the plastic onto the sugar-covered countertop. (Use more sugar than shown. I was busy doing double-duty as the photographer and baker.)

Top the dough with ¼ cup (50 gr) of sugar, press it in a bit with your hands, and roll into a rectangle for the last time.

lastroll.jpg

Now wasn't it easier this time?

Again, fold into thirds and let rest in the refrigerator for 30-60 minutes.

8. Preheat oven to 425° F (220° C) and brush a 9-inch (23cm) pie plate, preferably non-stick, with melted butter.

9. Remove dough from refrigerator. Roll dough into a circle about the size of the baking pan. It will be sticky; dusting the top with a sprinkle of sugar will help.

Once rolled, lift the dough and coax it into the pan. (It will want to break. If so, fold it in half and quickly slide something flat under it, like the metal bench scrape AND a metal spatula and quickly slip it into the pan. If it does break, just piece it back together in the pan.)

10. Sprinkle with the remaining ¼ cup (50 gr) of sugar and drizzle with 1 tablespoon melted butter.

beforeoven.jpg

Bake for 40-45 minutes, until the top is deeply caramelized. Let stand a few minutes, then run a spatula around the edges to release the Kouign Amann and slide the cake from the pan onto a cooling rack.

PEPERONATA RUSTICA Ingredients:

* Bell peppers of a variety of colors * 2 onions * 2-3 tomatoes * Olive oil

Preparation: Take bell peppers of a variety of colors, seed them, and rib them. Thinly slice one or two onions, depending upon the number of peppers, and blanch, peel, seed, and crumble a couple of tomatoes. Mince and sauté a little bit of the onion in olive oil, and when it begins to brown add the remaining onion and the peppers. Cook covered for a few minutes over a medium flame, just long enough for the peppers and onion to wilt without browning. At this point remove the cover and cook, stirring gently, until the liquid evaporates. Next, add the crumbled tomatoes; when they have wilted but aren't completely cooked the peperonata is ready: You'll end up with a dish that's somewhat cooked and somewhat raw, and which can be eaten hot, as a side dish, or spread cold over slices of toasted bread as a snack.

Patricia Grace’s ‘Ngati Kangaru’ and Sally Morgan’s ‘The Letter’ both contain versions of the no/stov trope – that of homecoming. As with all such stories, the particular way in which their respective no/stoi are acted out reflects the histories the homecomer and the home have each experienced since the two were originally separated. Unlike the Odyssey (the archetype of no/stov), however, these homecomings are complicated by the fact that the homecomer didn’g choose to leave their home for the sake of glory, but rather the homecomer was separated from their home from without – and in the case of Grace’s story the homecomer is an entire iwi and an entire class of people. In an indigenous context, the concept of ‘home’ is of prime importance; one’s home defines one’s indigeneity. This can work as a metaphoric home – as in the case of Morgan’s story – or as a specific geographical home – as in the “old stamping ground” (Grace 135) of Grace’s story. In both cases, though, no/stov re-establishes indigeneity’s usurped connection to home, whether geographical or social. The homecoming involved in Morgan’s ‘The Letter’ is particularly complex. It is not a quest on the part of the homecomer to return home; rather it is a quest on the part of those at home to have her return – and, more notably, a quest on the part of the home to have her recognise it as such. For, like countless (or at least uncountable) other children, Elaine was moved from her biological home and transplanted into a white home in the interest of assimilation. For this interest to come to fruition, the culture of the ersatz family must replace her biology. This transplantation happened at the hands of the euphemistically-named Aborigines Protection Board and, of course, “the law”. Elaine in this story is surely an exception – for, while she attains her no/stov (or so we, ever hopeful, must assume), so many others did not. And even though she does attain it, it comes decades after she was taken from her mother. The pain of this no/stov is determined by the depth of the cut made by the separation of Elaine and her family. When it occurred Elaine was a toddler, but now – at the moment of her return – her aunt is borderline geriatric. Her age is shown throughout the story, from her “tired old heart” invoked in the first line through to how long it now takes her to climb the stairs to the telephone. The fact that she is now a great aunt would be reminder enough of the passage of time, but Morgan adds a nice touch in noting how “faded and worn” the letter is; if the time between the writing of the letter (the first contemplation of the possibility of homecoming) and no/stov is long, the time between Elaine’s separation from her family and her return is clearly far longer. The urge that brings Elaine back to her family is the same thing that makes all indigenous people indigenous: ancestral identity. Indentifying oneself as being part of one’s ancestry builds a connection that means one identifies with the ones who were originally colonised, the ones who signed (or, here, didn’t sign) the treaties – this connection makes people First Nations. One aim of assimilationist policy is to hide the existence of indigenous people, to cover up the blood on the hands of the colonialist, to obscure unpleasant truths. It is as it turns out very successful in achieving these repugnant aims. For as Auntie Bessie sits on the bus with her tin of memories that are significant only to her, she refuses to cry. It is a history she will allow only herself to confront, not letting her tears implicate other passengers, other Australians, in their mutual past. The silence around assimilation’s crimes makes assimilation live far beyond changes to policy, far beyond apologies; with aboriginality being something unspeakable and thus, if I dare invoke the Sapir-Whorf hypothesis, unthinkable – why would Elaine believe a strange woman’s claim that she is her mother anyway? Decades of deception have the unsurprising effect of turning the truth into a “silly mistake” (Morgan 108). Where Morgan picks up the pieces broken by the ‘stealing’ of generations, Patricia Grace turns the entire act of colonising New Zealand on its head. In ‘Ngati Kangaru’, Billy, appropriating the colonialist discourse employed by the Wakefields in the 1800s, establishes a real New Zealand Company. This company, Te Kamupene o Te Hokinga Mai, has two no/stoi as its aims. The first is what Hiko even calls “The Return” – the resettlement in New Zealand of Maaori living in Australia. The second is far more powerful, though, as it crosses more history in coming full circle – the resettlement of Maaori in their ancestral lands. This is a far more public, a far more political no/stov than that in Morgan’s story – and with farther reaching implications. In ‘The Letter’, of course, Elaine does not function just as a character in a short story – she functions in a more generalised way to represent the collective experience of the stolen generations. This means that the story is meaningful; it can be related to the world external to the story. But ‘Ngati Kangaru’ documents homecoming as a deliberate, political act. Unlike Grace’s other fiction in which she is “just writing about ordinary people” (Valle 2007), in ‘Ngati Kangaru’ she imagines realistic characters doing extraordinary things – they act much less as meaningful characters than as characterisations of meaning. This repatriation is indiscriminate; no attention is paid to class, but rather all Maaori are sought to be settled in the reclaimed land. Billy &c. aim to “round them all up – the solos, the UBs, pensioners, low-income earners, street kids, derros” (Grace 142). Of course, the working class has much more of an interest in being given houses as its members are unlikely to be landed. But Local businesspeople side with the Maaori – seems strange at first, but then you realise that they’re good for the economy! 140 Unsustainability of living in this place only over summer as a holiday place When the inevitable occurs and the European otherwise owners of the holiday homes arrive for their summers, another colonisation is acted out. This time, however, it is not a reversal of the original European colonisation of New Zealand; it is its direct parallel. After all, Europeans are arriving in land settled by Maaori with the intention to stay. The awkwardness of this colonial effort, the surprise the Europeans show and the strangeness of the situation for the reader all stand testament to the alienation contemporary Pakeha experience from their colonial past. The situation Grace sets up is undeniably impossible to accept as being valid; however, I suspect most Pakeha are rarely aware of the position in which our ancestors’ role in the colonisation of New Zealand places us. This is rather odd, especially given that the Pakeha identity is essentially a definition of the Other to the land. The joke is, of course, that this new community has the same legal right to exist as all of non-Maaori New Zealand does; denying its legitimacy means admitting the illegitimacy of New Zealand’s entire legal framework. REFERENCES Grace Morgan Paolo della Valle 2007. ‘The Wider Family: Patricia Grace interviewed by Paolo della Valle’. In The Journal of Commonwealth Literature 42 (1): 131-141.