The 45th Mill Valley Film Festival starts Thursday—what to watch
The forty-fifth Mill Valley Film Festival (MVFF45) kicks off Thursday evening (Oct 6) with Rian Johnson’s all-new whodunnit, “Glass Onion: A Knives Out Mystery,” with plenty of talent on stage in conversation, followed by the always wonderful Opening Night Gala at Marin Country Mart Larkspur. Screenings start full force Friday and run for 10 days with a line-up of 145 films representing 34 countries, including 49 premieres (four of them world premieres), 74 features, and 71 shorts. Big Nights (Spotlights/Tributes/Centerpiece/Special awards) were covered in my previous article (read it here). Here are films from the standard line-up that stand out for their exceptional storytelling and relevance. Many of these have guests in attendance and brief engaging discussions will follow most screenings.
ARThound’s top flicks:
“The Art of Eating: The Life of MFK Fisher,” world premiere Tuesday, Oct 11, 7pm, Smith Rafael Film Center & Thursday, October 13, 2pm, CinéArts Sequoia
Steeped in beauty, Gregory Bezat’s sumptuous documentary is a must-see, exploring the life and legacy of M.F.K. Fisher (1908-1992), one of America’s most influential writers who spent the last decades of her life in the Wine Country. The film pieces together Fisher’s life over three-quarters of a century: from her upper middle-class childhood in Whittier, CA, through her marriage and move to Dijon, France, her divorce and return to the US, her remarriage and young widowhood, and her emergent role in shaping our ever-evolving relationship with what we eat and how we live. She was best known for her incisive gastronomic writings in hundreds of magazine articles and thirty-three books including “Consider the Oyster,” “How to Cook a Wolf,” “An Alphabet for Gourmets,” “Map of Another Town,” “With Bold Knife and Fork,” and “The Story of Wine in California.” When Fisher settled in Napa Valley, it was 1952, and a local food revolution was underway, with chefs and activists intent on supplanting industrialized food with a cuisine based on simple, fresh, local ingredients. Over time, she took her place as the patron saint of this new movement. With thoughtful comments by Alice Waters, Anne Lamont, Ruth Reichl, Clark Wolf, Jacques Pépin, and Michele Anna Jordan, all of whom considered her a friend, this is a finely-crafted homage to a woman whose humor and appetite for life inspired millions. The visuals are stunning: instead of a simple pastiche of old photos, the camera gazes directly at certain photos for extended periods, frequently returning to shots of her at her typewriter or to glamorous Hollywood-style shots that capture her beauty and verve—especially her miraculous eyebrows whose unruly arches were as individualistic as she was. Like the nourishing dishes that Fisher wrote about, thrown together from the bounty on hand and to suit one’s mood, I can imagine watching this film once a month forever and never growing tired of it.
¡Viva el cine!
MVFF’s ¡Viva el Cine! series has captured my heart and I’ve been a devotee for its nine years of programming. This year, it offers 11 award-winning Latin American and Spanish language feature films from Argentina, Brazil, Chile, Colombia, Cuba, Ecuador, Mexico, Spain, the US and Uruguay. Curated by MVFF programmer João Federici, the series’ spellbinding storytelling and special guests make it an increasingly influential forum for the exploration of Latin American and indigenous history/justice, culture and identity and an increasingly important anchor for the festival.
“Argentina, 1985” Monday, Oct 10, 6:45 pm & Tuesday, Oct 11, 11 am, both Smith Rafael Film Center. (Santiago Mitre, 2022, Argentina/US, 140 min, Spanish with English subtitles)
One of the most significant legal trials in Argentina’s history is the basis for Argentinian director Santiago Mitre’s (“Paulina,” “The Summit”) riveting new feature, arriving at MVFF fresh from rave reviews at its Venice Film Festival world premiere. This compelling courtroom drama begins in 1983 when, after finally re-establishing democracy following decades of military coups, Argentine President Raúl Alfonsín authorizes prosecutors Julio Strassera (Ricardo Darín), Luis Moreno Ocampo (Peter Lanzani), and their young legal team to try nine military leaders for crimes against humanity. It’s an enthralling high-stakes David vs. Goliath battle. The team works under constant threat and roadblocks to gain justice for those estimated 9 to 30,000 citizens who were tortured, murdered or disappeared under the terror of Argentina’s right-wing dictatorship and its ruthless silencing of political opposition. The trial was the world’s first major war crimes trial since Nuremberg in 1945-46. Through courtroom testimony — adapted from original records — Mitre lays out the harrowing wake of the last junta whose impact still resonates in the country today. Veteran actor Ricardo Darín’s psychologically charged portrayal of the uncompromising bulldog Strassera is a sight to behold. As a foil to the heavy intensity of the courtroom, Mitre intersperses scenes from Strassera’s family life with his kids.
“Chile 1976,” US premiere, Oct 8, 7pm & Oct 13, 2pm, both Smith Rafael Film Center (Manuela Martelli, Chile, Argentina, Qatar, 2022, 95 min, Spanish w/ English subtitles)
Chilean director Manuela Martelli’s debut feature is set during the country’s dreaded Pinochet era (1973-1990) when the country was ruled by a military junta headed by General Augusto Pinochet,who seized power after the democratically-elected socialist government of Salvador Allende was overthrown in a U.S. backed coup d’état. Pinochet’s systematic suppression of political parties and persecution of dissidents lead to thousands of deaths and thirty years later, the country is still reeling. “Chile 1976” tells a powerful fictional story that delivers a sharply-focused snapshot of Chile’s sociological cosmos in this period.and that, by any stretch of the imagination, could be true. The elements are familiar to those devotees of Latin American cinema—a wealthy upper-middle class housewife, Carmen (Aline Kuppenheim) so ensconced in her cozy bourgeois lifestyle—renovating her elegant beach house—that she is unaware of what evil is transpiring in the country; an intermediary—local priest Father Sanchez (Hugo Medina); a victim—Elías (Nicolás Sepúlveda), a young fugitive from the law who has been shot and urgently needs help and a hiding place. Hardly cliches, these components/characters are masterfully deployed by Martelli. The idrama hinges on Kuppenheim’s acting and transformation into someone suddenly shaken into political awareness, who commits to helping and, in so doing, joins the fight to end the reign of terror.
“Holy Spider” Bay Area premiere, Tuesday, Oct 11, 4pm, Smith Rafael Film Center (Ali Abbasi, Denmark 2022, 106 min, Iranian languages with English subtitles)
An Iranian film is a rare treat at MVFF. Here’s a Cannes winner with a storyline about a female Iranian journalist hot on the trail of a serial killer who is murdering prostitutes in one of Iran’s holiest cities. This thriller is Iran-born, Denmark-based director Ali Abbasi’s third feature, (“Border” MVFF41, Cannes’ Un Certain Regard Award winner and Oscar nominee) and he delivers a mesmerizing cat and mouse nail-biter based on the embellished true story of Iranian serial killer Saeed Hanaei (Mehdi Bajestani). Nicknamed “Spider Killer,” he slew 16 prostitutes in 2000 and 2001 in the northeastern city of Mashad, Iran’s third largest city and a major Islamic pilgrimage site, dumping their bodies in plain sight. After his conviction, Bajestani became a folk hero to the religious right for claiming to be on a holy mission to cleanse the city of prostitution. Abbasi shot the film in Ahman Jordan and employs a violent murder mystery to deliver a critique of Iran’s punishing theocratic system, where women seem to always be guilty of something, even when they’re the victims of cold-blooded murder. The film takes artistic license in introducing a fictional investigative journalist from Tehran, Rahimi (Zar Amir-Ebrahimi), who won Best Actress at Cannes 2022, where the film screened in competition), who shows up in Mashad eager to solve this long-running case. When she teams up with a local reporter (Arash Ashtiani) who is in contact with the killer, they concoct a plan to use her as an undercover sex worker to lure the killer out. What unfolds is a mesmerizing push-pull game between journalist and killer.
“Living” CA premiere, Monday Oct 9, 7pm & Tues 10/11, 2:30pm, both CinéArts Sequoia (Director: Oliver Hermanus, UK, 2022, 102 min)
Sometimes life offers you a second chance…it’s called tomorrow.
In Oliver Harmanus’ beautiful period drama, “Living,” English actor Bill Nighy, gives a brilliant performance as a severely repressed career bureaucrat in a public works department in 1952 England. His robotic, joyless paper-shuffling routine has earned him the nickname “Mr. Zombie” and, indeed, he seems hardly alive. When he learns he has six months left to live, he vows to make his final days meaningful. But how? The rift between him and his only son and daughter-in-law is so wide that even his attempts to communicate about his diagnosis fail. It is through a fortuitous conversation with a young kind co-worker (the sparkling Aimee Lou Wood), that he finds connection and hope. He shifts his focus to bringing happiness to others through shepherding a small public works project and, in this generous act, is able to face death with peaceful acceptance. Adapted by Nobel prize winning novelist Kazuo Ishiguro, this poignant remake of Kurosawa’s 1952 masterpiece “Ikiru,” which translates as “to live” in Japanese, finds its meaning in its name and message. Nighy’s mastery of every expression as a buttoned-up person who blooms briefly but so meaningfully is thoroughly inspiring. The production design and period costumes are Oscar worthy.
“Tukdam: Between Worlds” North American premiere, Wednesday Oct 12, 6:30 pm and Friday, Oct 14, 5pm, both Smith Rafael Film Center (Director: Donagh Coleman, Finland, Ireland, Estonia, 2022, 91 min)
In what Tibetans call “tukdam,” some advanced Buddhist practitioners who meditate at the deepest level of consciousness right before death, die but their bodies do not show the usual signs of death—rigor mortis, smelling/decomposition—for days or even weeks. They remain slightly warm around their heart area with radiant skin and complexion and in the meditation position without their trunks collapsing. According to Tibetan Buddhist tradition, consciousness is still present and they are between two worlds. Director Donagh Coleman, who is currently working on his medical anthropology PhD at UC Berkeley, where his dissertation is on tukdam, tracks a team of forensic anthropologists at University of Wisconsin-Madison’s Center for Healthy Minds. He captures interviews with Western scientists, Tibetan medical professionals, the Dalai Lama, and respected bhikkhus in the U.S. and Tibetan refugee communities in Dharamshala and Chauntra, India, and in Kathmandu Nepal. This spellbinding documentary explores current research into tukdam, in which the cessation of brain function, breathing, and heart activity, all Western indications of death, are not necessarily life’s clear-cut end but instead a pliant threshold. Applying Western science to ancient traditions and belief systems proves there is more data to be mined. Beware: you will see lots of corpses, some in severe decomp.
Details:
MVFF45 is October 6-16, 2021. Tickets: purchase online and in advance as most films will sell out. Most films are $16.50 general admission, $14 CFI members. Special events, parties, and receptions are more. Streaming pass (for CA residents only) allows access to all online films, programs, conversations. $145 general, $105 for CFI members. Single streaming of film or event $8 general; $6 CFI members. Complete schedule and ticket purchase: https://www.mvff.com/.
Don’t despair if the film you want to see is “at rush.” Check the film/program’s specific page on the MVFF website at noon on the day of the program you want to see. Tickets may be released and available for immediate purchase online. Rush tickets are also available 15 minutes before show time at the screening venue. It’s first come, first serve, so join the line to wait about an hour before the screening.
Venues: Smith Rafael Film Center, San Rafael; CinéArts Sequoia, Mill Valley; Lark Theater, Larkspur; BAMPFA. Berkeley; The Roxie, San Francisco; Sweetwater Music Hall, Mill Valley; Mission Cultural Center for Latino Arts, San Francisco
Pounce: Sunday, September 14, tickets go on sale for the 37th Mill Valley Film Festival
Pièce de résistance—Director Wayne Wang’s new documentary, “Soul of a Banquet” (2014), screens Sunday, October 5 at the 37th Mill Valley Film Festival. Appearing on stage in conversation are renowned 95-year-old chef Cecilia Chiang , who opened San Francisco’s beloved Mandarin restaurant in 1961, and Wayne Wang (“The Joy Luck Club”). The evening will be capped off by a festive party at Sausalito’s Cavallo Point. Structured around an extended interview in Chiang’s elegant home, the film tells Chiang’s story as well as that of Chinese food in America. Alice Waters of Chez Panisse and food writer Ruth Reichel reminisce about their friendship and great meals with Chiang. The film recounts poignant details of her upbringing. Chiang, the seventh of twelve children, was born into privilege in Shanghai in 1920. Her mother’s feet were bound but it was her wish that her children be college educated. The second half shifts gears to follow her in meticulous preparation of a feast of family favorites. The stories, the food, the history, even the jewelry are mouthwatering. Photo: courtesy Mill Valley Film Festival
Now in its 37th year, the legendary Mill Valley Film Festival (MVFF), October 2-12, is hard to beat—11 days of the best new films from around the world, intimate on stage conversations with directors and stars, musical performances, and parties. It’s so good that five of the last six Academy Award winners for best picture (Slumdog Millionaire, The King’s Speech, The Artist, Argo, 12 Years a Slave) made their Bay Area premieres there. What it really excels at, though, are locally-directed indies, gems of world cinema, wonderful storytelling and docs carefully selected to meet our exacting standards. It is an insider’s festival though and tickets are sold to California Film Institute (CFI), based on membership levels, long before they are made available to the public. This year’s festival is October 2-12 and tickets to the general public go on sale Sunday, September 14 at 11 a.m. If you want to attend any of the fabulous tributes, spotlight or centerpiece screenings, it is essential that you lock in your tickets ASAP.
Stay tuned to ARThound this coming week for top picks.
Screening venues include the CinéArts@Sequoia (25 Throckmorton Ave., Mill Valley), Christopher B. Smith Rafael Film Center (1118 Fourth Street, San Rafael) and other venues throughout the Bay Area.
Lashio, Myanmar is the setting for Midi Z’s “Ice Poison” (Bing Du) (2014) screening Saturday, October 11 at the 37th Mill Valley Film Festival. Faced with a failing vegetable crop, an impoverished farmer pawns his cow for a moped and starts a taxi service in the city. In six months, he must make enough to buy the cow back, or it will be slaughtered and sold for meat. His new venture is proving to be another failure until he picks up his first fare, a woman desperate to leave an arranged marriage in China and bring her son back to live with her. They team up in the only steady business in around—opium poppies. The film balances moments of joy with the stark reality of a country re-emerging after decades of underdevelopment and repression. Photo: courtesy MVFF
Online ticket purchase is highly recommended (click here to be directed to film descriptions, each with a “Buy Ticket” option. There are also several box offices for in person purchases, offering the advantage of being able to get your tickets on the spot and picking up a hard copy of the catalogue—
SAN RAFAEL
Smith Rafael Film Center 1112 Fourth Street Sept. 14–29, 5:00–9:00 pm (General Public) 1020 B Street September 30–October 12, 10:00 am to 15 minutes after last show starts
MILL VALLEY
ROOM Art Gallery 86 Throckmorton Ave September 14–30, 11:00 am–3:00 pm
Chamber of Commerce & Visitor Center 85 Throckmorton Ave October 1, 11:00 am–3:00 pm October 2–12, 10:00 am to 15 minutes after last show starts
CORTE MADERA
Microsoft at the Village at Corte Madera 1640 Redwood Hwy September 15–30, 3:00–7:00 pm September 14, 21, and 28, 2:00–6:00 pm
Field Days–Jonah Raskin’s Year-long Odyssey to find the Perfect Local Farm Yields an Abundant Harvest. Photographs on view at Sonoma State Library through April 2010
Several months ago, I was given a feast–Jonah Raskin’s memoir Field Days, A Year of Farming, Eating and Drinking in California. His writing is elegant, the content substantial and the story is moving–one of personal growth through re-connection with farming the land—our land, here in Sonoma County. While busily harvesting my own garden, I found myself reading a chapter or more a day of Field Days and underlining like crazy, which I did not do with Michael Pollan’s The Omnivore’s Dilemma. Pollen gave me so much to think about factually that it was overwhelming and his writing, while excellent, didn’t really stir me. With Field Days, not only did I learn about the local organic farming movement around our community of Sonoma through the well-told stories of involved individuals and passionate local farmers, I witnessed Raskin’s transformation as well. In the course of a year, as Raskin digs into this project and embraces the locavore lifestyle (a locavore is a person who shops locally), we witness his reconnection to the earth and ultimately to himself. It almost seems that he is channeling Thoreau.
Jonah Raskin is a well-published author, poet and journalist who is chairman of the Communications Studies Department at Sonoma State University. He is proud of his activism and status as a 1970’s counterculture radical and his previous books reflect that. He has written about marijuana, Abbie Hoffman, Alan Ginsberg and imperialism. In recent years, he has published poetry and begun to explore Northern CA writers—The Radical Jack London, Writings on War and Revolution (2008).
Jonah Raskin speaking at Windrush Farm, Chileno Valley, August 2009 by Geneva Anderson
Field Days is immersive reporting or participatory journalism at its best—it springs from Raskin’s curiosity about the renaissance in local organic farming in Northern California– from a sociological and personal health and happiness perspective. Raskin grew up in Long Island in the 1940’s and 50’s with free thinking parents who grew all their own food. As suburbia encroached, the family relocated to the bohemian haven of Occidental and again found their rhythm. Raskin lived in the family home until a few years ago and fondly recalls his fruit trees. At age 65– after surviving a life-threatening health situation—he realized it was time to refocus and to get around to some things he’s been meaning to do—learn how to live in real harmony in this magical and historic place Sonoma that the rest of the world calls paradise.
What I lost was not a mystery to me. I had lost the world of my childhood… Before it was too late, before life passed me by, I wanted to be in touch with the earth again. I wanted to regain something I felt I had lost, and to work alongside men and women who were cultivating the earth. I wanted to eat as though for the first time, with a sense of newness.(page 13)
Organizationally, Field Day’s 12 chapters can each be treated like a short story, entertaining and fulfilling, with digressions here and there. Raskin starts his quest by talking with his friends like Mimi Luebbermann (Windrush Farms, Chileno Valley). Mimi is a farmer, herder, foodie and a transplanted Berkeley writer who has authored several best-selling cookbooks. With the assistance of local photographer Paige Green, who documents his journey, Raskin explores the old rural life in his neighborhood. He has been living in an old barn close to Sonoma State University. His chats with his neighbor “The Bean Queen”– Sharon Grossi of Valley End Farm, Penngrove, the largest organic vegetable grower in Sonoma County about her struggles. He explores the concept of “local” with Lure of the Local author Lucy Lippard. Lippard, originally from New York, found her special place elsewhere and put down roots, a process Raskin seems fascinated with. Momentum builds as Raskin listens to Alice Waters advocate for small organic farms at Copperfield’s bookstore in Petaluma and understands that she and other restauranteurs depend on California’s small organic growers for their produce.
Raskin starts interviewing “founding farmers,” along with field workers, restauranteurs, farmer’s market vendors, people at the Whole Foods corporation, and smaller grocers. Particularly interesting are his profiles of the visionaries who spearheaded California’s local organic movement and infused those around them with an environmental consciousness– Warren Weber (Star Route Farms, Marin), Anne Teller and her family and colleagues (Oak Hill Farm), and farmer and teacher Bob Cannard (Sonoma, founder Green String Farm). Later in the book, members of the work crews at Oak Hill farms, laborers who toil in the fields and are the backbone of the California farm, are brought to life. Through these unfortgettable farmers and workers, Raskin builds a emotional landscape whose foundation—of hopes, dreams, visions, struggles, rivalries, extreme risk and hard work—is every bit as important as the physical environment he is exploring.
After six months of talk and research, he zeros in on his farm of choice, Oak Hills Farms of Glen Ellen, in the heart of Sonoma Valley, owned by Anne Teller widow of Otto teller, one of the founders of the environmentalist movement in Sonoma County. Glen Ellen is comfortable territory for Raskin whose 2008 book explored Jack London’s life there. Jack and Charmain London were among the ancestors of today’s organic farmers and ranchers and created a life for themselves in Glen Ellen that gave them a great deal of satisfaction, a satisfaction Raskin yearns for also.
But even at first sight I felt enclosed and protected within the Oak Hill world that surrounded me, and I wanted to embrace it in return. Of course, I didn’t blurt out my feelings on that first day. I wanted to see if the place was really as spectacular as it seemed to be. Was the beauty skin deep or was there also underlying beauty not immediately apparent. (page 64)
He describes his first meeting at Oak Hill’s Red barn store with a “locavore” –a person who shops locally. The concept takes hold of him and he realizes that he has entered “the world of the locavores” and he digs it.
Why not shop, cook, and eat what was available…expressing much the same attitude as Henry David Thoreau, who urged his contemporaries to “live in the season as it passes” and “open all your pores and bathe in all the tides of Nature in all her streams and oceans, at all seasons.” (page 71)
Oak Hill’s owner Anne Teller, a passionate advocate for the responsible stewardship of the land, invites Raskin to wander around Oak Hill and take it all in. By chapter 3, Raskin is in London, England, discussing farming there, but his heart is back in Glen Ellen. When he returns, he sets up interviews at Oak Hill and soon he is working “like hell” in the fields, tilling, planting and harvesting right along with Mexican farm-workers whom he befriends and learns how to plant and harvest from.
Jonah Raskin planting at Oak Hill Farm by Candi Edmondson
Writing of the day the workers regarded him as one of them—
I had never worked so fast or so accurately. No one had told us to work quickly, but we all did. All I could see was the ground in front of me. No one spoke; there was nothing to say. No one had assigned individual tasks, but each of us assumed a responsibility and took turns doing what had to be done. By now I had also lost a good deal of my self-consciousness and awkwardness. The field was my home now, and I knew instinctively what to do. I loved the earth, and it belonged to me. (page 161)
Raskin also works at the local farmers’ market in the Sonoma Plaza and connects with people who embrace the farm to table lifestyle. He begins to cook, eat and live more consciously, sumptuously and passionately. Inspired by Michael Pollan’s writing, Raskin flushes out the difference between local organic and Big Corporate Organic as he penetrates the Whole Foods chain via the Sonoma store and shows why the store and what it stands for is a bad fit for the town of Sonoma but a better fit for the towns of Napa and Sebastopol. Now that the organic agriculture business has attained cultural legitimacy, it ironically has become a paradox—it has come so far from its anti-industrial food roots in the early 1900’s that it now fully embraces the logic of capitalism, specifically of California agribusiness. Raskin, an old skeptic, does a good job of pointing out that eating ethically has become very complex. Food choices are moral choices and we need to think about how we want our food produced and delivered.
For Raskin, buying and eating foods grown locally and organically, with the chain from farmer to customer as small as possible, is a no-brainer from the perspective of taste and values. His wish is that if we all could embrace this locovore lifestyle, we could be happier and healthier. I thank my lucky stars that I reside in Sonoma County where farmers markets are plentiful and where for most of us, our political consciousness is backed by the economic means to eat largely what we want to eat. The stark reality of the global situation is that not everyone can eat what they want or even regularly. And for most consumers right now, even in California, the difference between big organic versus sustainably grown and locally produced organic is nuance. For Raskin though, having thought these issues through, connected with the land and discovered the joy of eating locally and of a local network, it has made all the difference–
A change had come over me at Oak Hill. The more I went down to the ground, the further up my imagination and my spirit had soared. The earth elevated me even as it held me in its embrace. … With my hands and face in the dirt I had been inspired. (p 285)
What would a book about food be without a mouthwatering feast? Raskin delivers–to celebrate his year in the fields, he lovingly prepares a vegetarian dinner for 8 friends and serves it outdoors under the oak trees. This rustic feast is comprised of the freshest local organic ingredients—tomato soup from slow roasted tomatoes topped with shaved Gruyère, a creamy risotto with his own reduced vegetable stock topped with grated Parmesan, a green salad dressed with a De Vero olive oil and rice wine vinegar, corn on the cob with Strauss Family Creamery butter, heirloom tomatoes, sautéed brightly colored peppers, fresh picked pears and peaches with dark Scharffen Berger chocolate. The meal, which goes on for hours, is savored by all and documented by photographer Paige Green–the empty table becomes the cover shot for the book. Of course, those friends gathered at the table must have also been celebrating the remarkable transformation they observed in their friend.
I felt local now, too, a part of the earth, attached to the barn, the contours of the land, the valley and mountains an these people…When I went home to my barn, I felt as happy as I had at any time in my life. Feelings of happiness I had learned to distrust over the course of my life. If something was good, it was sure to change for the worse. I had learned that lesson early and well. But this time I trusted the happiness; it felt a part of me—something inside and organic and I allowed it to surge. (p. 286)
Field Days makes an enormous contribution to the way people should think about where their food comes from and celebrates the local people who toil with passion to grow it. I really love the way Raskin brings his poetic insight to our local history and shares his own journey of self-discovery. Anyone who is interested in growing and eating really fresh food will enjoy this book.
The show “Field Days Search for a Sustainable Feast” at Sonoma State Library Art Gallery (on the second floor), through April 2010, pairs Raskin’s elegant passages from Field Days with photos taken by Paige Green and Candi Edmmondson. Field Days, A Year of Farming, Eating and Drinking in California, is a UC Press, Simpson Book in the Humanities, hardback, May 2009, ISBN 9780520259027, paperback September 2010, ISBN 9780520268036.
ARThound 