Renewal in the Wilderness

Relinquishing Comfort in the Quest for Spirituality

By Victoria Scott

Voyagers who go into the wilds with John Lionberger travel at their own risk: His adventure trips have been known to change people's lives.

Since 2001 Mr. Lionberger's organization, Renewal in the Wilderness, has offered participants a chance to take time out from their over-scheduled lives to "renew, discover or confirm [their] relationship with God," he says, while challenging them to encounter an unfamiliar environment. These trips encourage both physical and spiritual exploration in settings that allow for surprise.

Open to people of any - even indeterminate - faith, Renewal trips follow ancient spiritual traditions of seeking God in the wilderness.

"Away from the familiar constraints of civilization," says Mr. Lionberger, "we are much more apt to respond to God's courtship with courage, boldness and authenticity."

Weeklong canoe trips on the Rio Grande, Wisconsin and Yellowstone rivers and the Boundary Waters of Minnesota, three-day trips on the Wisconsin River and one-day trips on the Kishwaukee River challenge middle-aged seekers to prod themselves and their beliefs and find meaning at the edge.

The model for Renewal in the Wilderness is Mr. Lionberger's personal experience. In 1995, at the age of 50, he took his first adventure trip on a dogsled in northern Minnesota. On a day when the mercury registered minus 40 degrees, this "contented agnostic" says he felt "a shower of warmth, serenity, holiness."

He admits the experience "scared the living daylights out of me." His response was "to try to avoid it," he says, "but it wouldn't go away." He was in the reference room of the Evanston Public Library, considering his options, when the answer came to him. He says, "A voice told me, ‘You idiot: Take people into the wild for the same thing you got.'

"I did fist pumps on the way out of the library," he says. Though he had previously gone to church mainly to hear his children sing in the choir, Mr. Lionberger decided theological study should be his next step. But he questioned what seminary would have him and rebelled at the idea of being told what to believe.

A friend suggested he look at Chicago Theological Seminary (CTS), a United Church of Christ (UCC) graduate school in Hyde Park. "They will make you pull your theology inside out and will honor your questions," the friend told him. Mr. Lionberger liked what he heard in an interview and enrolled at CTS in 1995.

For the next three years Mr. Lionberger continued to work at his full-time job in business, attending CTS part-time. Then at age 54 he quit work to enroll full-time - always with the goal of working in the wilderness.

Professors and students alike were supportive of his vision. The seminary allowed him to do his service learning project in Alaska, a one-month intense wilderness training course taught by the National Outdoor Leadership School (NOLS).

When he graduated in 2001, he began setting up Renewal in the Wilderness. Not long afterward he allied himself with Outward Bound, the organization that had provided him his transformative experience. "Their process is so spiritual," he says, "but they wouldn't say so. They coax the best out of you, and if that's not spiritual...."

He sits on the Outward Bound board and contracts with them to be his wilderness supplier, relying especially on their outstanding safety record. His intent was to lead one-week trips. "It takes three days for people to get over the shock of being in the wild," he says. But participants clamored for shorter trips which, he says, are just "the whiff of the cork but can be very powerful for someone who hasn't had any wilderness experience."

People come to Renewal in the Wilderness from many faith traditions. Nearly a third of them to date have been Jewish, but groups have included Buddhists and agnostics ("a thrill for me, since I'm a recovering agnostic," says Mr. Lionberger) along with Christians.

He tries to approach the groups, which average eight or nine people, as a facilitator. Journeys begin with his premise that there is no time for God to get through to people who "erect walls of busy-ness." So hurrying is "against the law," he says. Time for journaling, meditation and prayer is built into what he calls the "unstructured structure."

Participants must sign a covenant agreeing to honor the way others approach God. They start the trip by negotiating a way to worship that is at once true to each tradition and open to others.

Morning worship is followed by a wilderness skills session. Mr. Lionberger encourages his clientele to do some physical training in advance. But all Renewal trips are water-based, "the easiest way for middle-aged people to get deep into the wild without being in shape," he says.

Unlike hiking, which demands that the hiker mind his feet and the path, canoeing and kayaking can free the paddler to "look and be filled with wonder," he says - in addition to allowing for the "amazing ministry" that can occur between partners in a boat.

Meditation and breathing exercises focus on the present, "which is when God comes to us," Mr. Lionberger says. And every day he poses a "question for the day."

This spring Skylight Publishers of Woodstock, Vt., contacted Mr. Lionberger about writing a book. His is the only cross-cultural program of which either he or the publisher is aware.

"Renewal in the Wilderness: A Spiritual Guide" is due from him by summer's end and targeted for publication next spring. Mr. Lionberger intends to intersperse his experiences and those of his participants with others throughout history to show how wilderness encounters cut across faiths and cultures.

It is a story he is eager to tell. "I had high hopes for the program," he says, "and it has gone beyond anything I had imagined."

Read more at www.renewalinthewilderness.org.

Rotary Clubs Dedicate Friendship Circle

By Mary Helt Gavin

On a summer day that was made-to-order perfect, members of the Rotary Clubs of Evanston gathered in the Friendship Garden they have maintained for more than half a century to dedicate another gift to the citizens of Evanston.

Friendship Garden in Evanston

The garden, which stretches from Bridge Street south to the berm that holds the flagpole, contains the flower garden formed in the shape of the Rotary friendship wheel, trees planted along the gravel footpaths and the flagpole area itself.

Under the flagpole are stone benches and, now below the benches, a friendship circle with a ledge for seating has been created for the enjoyment of anyone visiting the garden. Memorial stones around the edges of the circle were purchased by members in honor of or sometimes in memory of loved ones, said Dick Peach of the Noon Rotary Club.

"Our goal for this area is to have a place for people to sit and relax or have quiet enjoyment....We're turning it over to the City of Evanston."

Mr. Peach also said the trees represent the 147 countries that have Rotary clubs. "It used to be that when a representative came to Evanston, a tree was planted in honor of that country, and the representative would add a handful of dirt from his own country," he said; "But now that is not allowed."

Goldie Boldridge-Brown, another Rotarian, noted "how beautiful this place is, how serene. It represents the principle of Rotary - international friendship - and the circle represents the work we do in Evanston. With this dedication we hope the site will be used for music, small classes or just sitting peacefully."

Alluding to Rotary's worldwide mission or eradicating polio, Mayor Lorraine Morton said, "eradicating polio requires constant vigilance." She added, "Evanston is very fortunate to have the international headquarters of Rotary. But, having an Evanston address is also very important....I thought [former Alderwoman] Emily Guthrie started it when she had a license plate ‘Heavenston.' But I learned that way back then they called it Heavenston. It was prophetic."

"We Are All Welcome Here"

Elizabeth Berg's incredibly beautiful novel "We Are All Welcome Here" is based loosely on the true story of a young woman in the 1950s who gave birth to her daughter while in an iron lung.

A Book Review By Sue Brooke

She had contracted polio in her ninth month of pregnancy and was too ill to leave the lung, so her daughter was born and pulled out through the bedpan opening.

The baby's father wanted to give her up for adoption, but the mother remained firm. Even though he divorced her and she remained in the iron lung for three more years, she kept her baby.

The story is told from daughter Diana's point of view. In fact, Elizabeth Berg got the idea for the story from the daughter's sending a photo of a beautiful woman in a wheelchair, paralyzed and only able to move her head, with her adolescent daughter smiling and standing beside her.

Paige tells her daughter she became a better person because of the polio. She sees and loves all that she has even wanting less than before she became ill. She has learned patience and acceptance.

She tells Diana that having to ask someone for every little thing teaches one to make do. If someone has just arranged your feet, she tells her daughter, you cannot two minutes later ask him to rearrange them, even if you are uncomfortable.

Peacie is Paige's primary caregiver. She took care of Diana for those first three years, and now just comes over during the days.

The welfare lady checks up on them once in awhile, and they tell her everything is just fine: "Peacie comes days, Mrs. Gruber comes evenings and Fannie stays overnight." Except there is no Fannie. Diana has been taking care of her mother at night since she was 10 years old, sometimes resenting it but always coming through.

It is the 1960s in the South, and the Freedom Riders are just getting organized. LaRue, Peacie's boyfriend, keeps going off with his nephew on marches and protests.

At first Diana does not understand why. People in the South know their places, and everyone gets along fine. But then one day Brooks, an old friend of Paige's who works at the hardware store and often does chores for them, stops by and asks Paige out to a restaurant.

Paige has not left the house in ten years because of the respirator and does not even think she can. But Brooks explains that they can take the equipment with them in his van. He even devises a way to carry her wheelchair.

Diana sees that her mother is worrying about going someplace that had previously been off limits to her - about how people will undoubtedly stare and be uncomfortable.

And she wonders why, having already been hurt so much, anyone would want to risk hurting more. "Why not just leave things as they were? Why push for a life beyond what she was used to, that despite its limitations was at least safe?" she asks.

Diana grows up that summer and begins to see her mother and all the world in a different light. It is not just that her mother needs her for the many nursing chores, but that Diana also needs her mother.

She begins to see how fortunate she has been to have Peacie, LaRue and her mother in her life.

"Homegrown Artists" to Let Locals Flourish

By Leah Lavelle

Evanston artists will have a chance to display their work at the City Farmers' Market on three Saturdays this fall, said Emily Guthrie, one of the forces behind the idea.

"Homegrown Artists" is a pilot program authorized by City Council that will allow local artists to show and sell only their own work at the market.

The weekly market currently allows vendors to offer for sale only items "for human consumption," following City ordinance. The program is set to take place on Sept. 23 and 30, and Oct. 7.

The City will reserve a limited number of tents for the program at the south end of the Farmers Market, located at University Place and Oak Avenue.

Each tent will cover four tables, and artists will be able to rent one or more of the tables for a rental fee consistent with the space.

Program supporters hope to encourage artists new to displaying their work to test their wares on the city market without making a large financial commitment.

In a resolution, City Council agreed to use the pilot program "to evaluate the benefits of allowing the display and sale of artwork created by Evanston artists." Organizers will submit a report on the results of the program, based on feedback from artists and residents, in late fall.

If the pilot program is successful, the City might amend the Farmers Market ordinance to include local artists' work, said Ms. Guthrie.

"Homegrown Artists" is a collaboration of the Evanston Art Center, the Evanston Arts Council and the Noyes Cultural Center. The Art Center and the Cultural Center will each rent an entire tent on one of the three weekends.

Ms. Guthrie said she got the idea to involve local artists in the Farmers' Market when she visited a similar market with her daughter in Santa Fe that included artwork.

Correction

In the June 14 issue, an editing error reversed the point of a closing sentence of the review of "An Inconvenient Truth." The sentence should have read: "... as a group, we can support choices we would not make as individuals." A correct version of the review is available on the web at http://www.evanstonroundtable.com/rt_061406/artlife.html.The RoundTable regrets the error.

"Monster House"

The uneven animated film "Monster House" follows the adventures of three 12-year-olds on the eve of Halloween as they get to the bottom of the mysterious happenings at the dark, decrepit house in their otherwise sunny neighborhood.

A Film Review By Joe Linstroth

From his bedroom across the street, D.J. (voiced by Mitchel Tate Musso) watches in horror through his telescope as the snaggle-toothed old man Nebbercracker (voiced by Steve Buscemi) storms out of his house to confiscate tricycles, basketballs and anything else annoying kids let roll onto his precious lawn.

Convinced there is something dangerously wrong with the house, D.J. enlists the help of his bumbling, pudgy friend Chowder (voiced by Sam Lerner) and a snooty prep-school girl named Jenny (voiced by Spencer Locke-Bonney). D.J.'s worries are confirmed when Nebbercracker is taken away by an ambulance after an apparent heart attack. The possessed house, left to defend itself, comes alive, and the two upstairs windows become eyes; a long, red-carpet tongue slithers out the door; and the leafless trees help corral unsuspecting trespassers. Their calls for help are rebuffed by ineffectual, disbelieving adults, and it is up to the three kids to solve the mystery before hundreds of trick-or-treaters are lost in the house forever.

Shot with the same stop-motion animation technique used in "The Polar Express," "Monster House" has visually incredibly life-like characters. Their movements are fluid and their facial expressions so detailed that at times it as though one is watching a live-action film.

This realism both helps and hinders "Monster House." The interaction among the young friends rings true, as the two boys wrestle for the attention of the more mature Jenny, and all three struggle with the pre-teen tendency to act older and more independent than they actually are.

The adult characters also add realism to the experience, as well as most of the humor. Maggie Gyllenhaal is the voice of Zee, the punk-rockin' babysitter who could not care less about D.J.'s pleas for help and invites her beer-drinking, loser boyfriend (voiced by Jason Lee) over to torment D.J.

The imbecile cops (voiced by Kevin James and Nick Cannon) dismiss the kids as "Tater Tots hopped up on Pixie Sticks" until it is too late, and Catherine O'Hara and Fred Willard lend their voices as D.J.'s uninterested parents.

But in the final third of the movie, "Monster House" becomes a victim of its own realism. The house gnashes its teeth and swallows everything in its path, including the three kids, who save themselves by grabbing onto the house's gag mechanism - a dangling chandelier, representing the uvula - and are regurgitated back to the surface. As the film spirals into animated weirdness, the good standing it cultivated through realistic animation and writing makes watching a Ms. Pac-Man house marching through the neighborhood on trees that much more unsatisfying and ridiculous.

1 hr. 31 min. Rated PG for some violence and scary scenes not suitable for young children.

"A Scanner Darkly"

The ending credits for the noir film, "A Scanner Darkly," conclude with the same list of friends included by author Phillip K. Dick at the end of his novel: friends who have either died or succumbed to psychosis from drug use.

A Film Review By Brian Murphy

Director Richard Linklater ("Slacker," "Before Sunrise") perfectly accompanies this sobering moment with Thom Yorke's paranoid, bleak song, "Black Swan," the chorus of which finds Yorke droning with malaise: "'Cause this is [expletive] up." As a reflection of the author's drug-addled experiences with delusion and paranoia, both the film and the book are powerful and, indeed, messed up.

Regarded with the same esteem as fellow science-fiction writers Kurt Vonnegut and Ray Bradbury, Mr. Dick has seen his stories eaten up by Hollywood, including "Minority Report," "Total Recall," and perhaps the greatest sci-fi film of all time, "Blade Runner" (based on his novel "Do Androids Dream of Electric Sheep?").

While the Orwellian theme of government intrusion/surveillance and its effect on the paranoid android that is man has been explored by Mr. Dick in these previous works, none is as directly personal as "A Scanner Darkly."

Mr. Linklater is in familiar territory here. He has followed dropout, drugged-out philosophers before, in both "Slacker" and "Dazed and Confused."

Further, Mr. Linklater had earlier experimented with rotoscoping (animation drawn over live-action film cells) in his jaw-dropping, existentialist dream-film "Waking Life." The result in "A Scanner Darkly" is the creation of a hallucinogenic, unstable atmosphere flowing with vibrant despair.

The future-set story studies the wasted lives of five Orange County, Cal., drug addicts, including ringleader Bob Arctor (Keanu Reeves), Bob's frigid girlfriend, Donna Hawthorne (Winona Ryder), burnout Ernie Luckman (Woody Harrelson), shady James Barris (Robert Downey Jr.) and drug-induced schizophrenic Charles Freck (Rory Cochrane of "Dazed and Confused").

Their poison, literally, is the instantly addictive Substance D. The corporation New Path, with the help of local law enforcement, has assumed the duty of ridding the world of Substance D.

New Path employs the latest in surveillance and eavesdropping techniques, listening to phone calls and spying into homes, even resorting to sending an immeasurable number of NARCs out into the world.

With the help of scanner suits - holographic imaging suits that morph from one image of a person to another - New Path agents do not even know what other agents really look like, causing confusion between who is a druggie and who is a NARC.

Mr. Dick's answer to this question, depressingly, is that just about everyone is on drugs, and just about everyone is a NARC - including New Path employee Bob Arctor, who is, inconceivably, assigned to spy on himself. The damage done to Mr. Arctor's psyche by his being his own enemy is further worsened by his job-required drug addiction. It is devastating and spirals him into depression and psychosis. There is a similarity here to Rick Deckard's epiphany in "Do Androids Dream of Electric Sheep?", in that Decker himself may be an android, the very enemy he is sworn to "retire."

Not all is morose in this world. In fact, the film is a tragicomedy. Mr. Dick's characters engage in lunatic banter, and Mr. Linklater's actors relish their roles with charismatic, comic zeal. These seemingly intelligent people find themselves in all sorts of unreal situations, as when Mr. Arctor's car malfunctions on the highway, causing him and his friends to rocket out of control, still questioning their state of mind.

"Yeah, dude, don't blame the drugs," a friend chimes in after the car stops.

Ultimately, though, Mr. Dick seems to find redemption in relapse. These friends are forever damaged, like Ken Kesey's Merry Pranksters in Tom Wolfe's "The Electric Kool-Aid Acid Test." They do not know who they themselves are, who their friends are, or if they ever had any in the first place
1hr. 40 min.Rated R for drug and sexual content, language and a brief violent image.

Evanston Art Center Adult Student Exhibition

The Biennial EAC Student Exhibition includes works by adult students in the Departments of Ceramics, Digital Arts, Painting and Drawing, Fiber and Textiles, Figure Sculpture, Jewelry and Metalsmithing, Metal Sculpture, Mosaics, Photography, and Printmaking. Students of all skill levels, from beginning to professional, present work in a wide range of media and processes exploring emotional, contemplative, political, and aesthetic themes.

As an acknowledgement of the high quality of art being produced in the School, the EAC is publishing a full-color catalog documenting the works submitted to the exhibition. The catalog will be available for purchase or as part of the admission charge to the EAC's first Annual Artists' Ball, to be held on July 29. Please call the Art Center for details.

Film Challenges African-American Femininity Exploitation

"Not Seen on BET: Undoing Exploitation One Story at a Time!" premieres at 8 p.m. on Aug. 5, at Evanston's Fleetwood-Jourdain Theatre at Noyes Cultural Arts Center, 927 Noyes St., Evanston. This original work is a showcase of African-American female voices challenging the exploited images of African-American femininity projected through the mass media.

"Not Seen on BET" will be presented at 8 p.m. on Saturdays and 3 p.m. on Sundays, Aug. 5-20. Tickets are $5, $4 seniors (60+) and students when purchased in advance and $2 more at the door. Artists/industry tickets are $4 on Saturdays only. Call 847-448-8260, ext. 109.

Teen Summer Reading Game Shows

Celebrate the Teen Summer Reading Game with a game show program, "UnSCRABBLE Your Mind, Survive Jeopardy and Feel Like a Millionaire," from 3-5 p.m. on Saturday, July 29, at the Main Library. Call 847-448-8621.

Upcoming Mitchell Museum Exhibit

The upcoming exhibit entitled "Miigwetch II" at the Mitchell Museum of the American Indian, 2600 Central Park Ave., Sept. 24, 2006, to Jan. 28, 2007, will showcase objects added to the museum's permanent collection since 2000, primarily through donations. It extends a thank you to those who donated artwork and to those whose financial contributions allowed the museum to purchase others.

Admission to the exhibit is included with an entrance donation to the museum. $5 for adults; $2.50 for seniors, students, and children. Maximum suggested admission per family is $10. Call 847- 475-1030 or visit www.mitchellmuseum.org.

EYE ON EVANSTON

By John Macsai

Optimistic About Optima

I have carefully avoided involvement in the controversy surrounding the Optima high-rise proposed for the northeast corner of Chicago Avenue and Davis Street.

Of course, it could be less tall, but it still would block customary views; of course, it could have vehicular delivery access either on Chicago Avenue or Davis Street, but would it be safer to cut into major traffic mid-block rather than use the alley?

The reality is that an 85-foot-high building could be erected on that site by right and that building would also block views and cause similar anxieties about traffic.

Judging by the majority of current new buildings, it is likely that any other high-rise would also be an eyesore. In this case, the architect is an excellent designer, and that is critically important.

I went to the north-south alley in question. Though it is wider than the normal 16 ft alley, it is also permanently narrowed by the delivery cars parked for Giordano's Pizza.

Because I live a block away, I often observe delivery vans that block the alley rather than use the loading berth provided by the 500 Davis Building as required by the zoning ordinance.

Why? Because the loading stall is used by some parked automobiles. I have never seen a parking ticket either on the van or on Giordano cars. Liberating the alley might even solve the predicted problems.

I accept that older buildings have loading difficulties since there was no meaningful zoning ordinance when they were built and deliveries can only occur from the alley or along the sidewalk. But the new zoning (the latest edition in 1993) remedied this.

Buildings over a given size must provide one, two, or three loading stalls, 10 ft. by 35 ft., and large retail stores, 12 ft. by 50 ft. The berth must have 14-foot clearance and maneuvering space approved by the City. The space and the access to it cannot be used for parking.

But even if the building provides loading stalls, violations continue. For example, the high-rise Park Evanston and adjacent Whole Foods store inevitably have huge delivery vans parked along the south curb of Church Street instead of in the loading stalls. Even on a one-way street, these are a hazard.

Do not get me wrong. The Police Department has more important functions than monitoring illegal loading. They are doing a commendable job to assure our safety, but illegal parking can also be a serious safety issue.

We tend to be lenient with FedEx or UPS trucks, since they block traffic for a relatively short time. And we understand school buses or minivans letting the elderly disembark. But beer deliveries?

The issue with the Optima building is this: The vehicular entry and exit of the proposed building is better and safer in the alley than on higher-trafficked streets. Enforce the ordinance about parking and loading in the alley and you have reduced the problem "caused" by Optima.

As to the view's being blocked: Nobody owns the view. No one is ever guaranteed that the one- and two-story buildings west of the alley are going to be there forever, even if we grow accustomed to what we have had.

For the City, the proposed building, with its geometry, its beautifully detailed aluminum cladding, its elegant granite panels and its open, landscaped plaza on the corner designed by a very talented architect, promises to be a visually pleasing addition to downtown Evanston.

GARDEN GRILLING

By Claire Bryant

Ask any vegetarian: Vegetables are not just a side dish. But when it comes to barbecuing, vegetables often get the "d-list" treatment amongst the burgers, steaks and chops. It only takes a little work to make vegetables that will stand on their own. Like other BBQ regulars, they need a little prep work before they are ready to hit the grill.

Preparation

There is one goal for grilling any type of veggie: quick and even cooking. Since veggies come in all shapes and sizes, each one must be treated differently, but in the end the pieces to be cooked should all be about the same size. Most vegetables should be cut to a three-quarter-inch to one-inch thickness so that the grill time will remain consistent from veggie to veggie. Vegetables that do not have to be cut up and include asparagus, potatoes, mushrooms and tomatoes (unless they are being cooked in a grilling basket).

Onions, tomatoes, mushrooms, peppers, zucchini and winter squash are some of the veggetables that can be grilled raw, but others, such as asparagus, eggplant, broccoli, cauliflower, potatoes and green beans need to be blanched first so as not to dry out on the grill.

To blanch, bring a large pot of water to a boil on the stove, or if time is not a factor, on the grill. Add enough salt so the water tastes salty. While the water is coming to a boil, fill a medium-sized bowl with 2-3 cups of ice and fill the remainder of the bowl with water to create an ice bath. When the water is boiling, add the vegetables until they are almost cooked through. Quickly remove the vegetables from the boiling water and place them in the ice bath until they are completely cooled.

To avoid burning corn, pull back the husks without removing them and place the ears in a pot of cold water for 30 minutes prior to grilling. Remove the corn from the water, and rub it with butter or oil and pull the husks back over the corn.

Flavoring
Because vegetables have little to no fat, they have to be brushed with olive oil or soaked in a marinade before going on the grill, to prevent sticking. To coat all vegetables evenly with olive oil, place them in a bowl, drizzle olive oil on top and hand-toss the veggies. Keep adding olive oil until all the vegetables are lightly coated.

Marinating vegetables will add a little extra flavor, will keep them from sticking and only takes a few extra minutes. To marinate, toss the veggies in the marinade to coat them evenly and let them sit for ten minutes. Do not soak them too long or the vegetables will become soggy.

To skewer or not to skewer?
Some veggies are too small to be grilled on their own, but this does not mean they do not belong on the grill. Skewering vegetables allows for even cooking and prevents casualties. Small vegetables that roll easily, such as mushrooms and broccoli and cauliflower florets, should be skewered.

Green beans and asparagus, though thin, do not need to be skewered. Lay them crosswise on the grill so they do not slip through the cracks, and turn every minute until brown.

Grilling baskets can also be used for vegetables of all sizes and allow for them to be done at one time.

Ready to grill
The best time to grill vegetables is when the fire is at a medium heat so they neither char nor take an hour to cook. When laying vegetables on the grill, allow enough space between them so the vegetables cook evenly and can be turned if necessary.

Vegetables are quick-cooking; they have to be watched so they do not burn. Cooking times vary from vegetable to vegetable (see box below). Most veggies should be cooked half the time on one side and half the time on the other. When a vegetable is fully cooked, it will be soft enough to be pierced easily with a fork and firm enough that it can be picked up by the fork. Toss the vegetables with a little olive oil, salt and pepper and serve the garden, grilled.

GARDEN PO' BOY

18 jumbo asparagus stems or smaller asparagus
4 large carrots, peeled and sliced lengthwise
6 scallions
3 large red onions, sliced 1/4-inch thick
3 red bell peppers, quartered
4 Tbs. olive oil
2 tsp. mashed garlic
1/2 tsp. salt
1/2 tsp. freshly ground black pepper
2 18-inch French baguettes or 6 submarine rolls
8 oz. Boursin cheese or herbed goat cheese

Prepare medium charcoal fire, or preheat gas grill to medium. Snap off ends of asparagus. Using vegetable basket, grill asparagus on all sides until done. Set aside.

Grill carrot slices and scallions in basket until done. When finished, grill onion slices and bell peppers. All vegetables should be cooked through and lightly charred. Meanwhile, mix oil, garlic, salt and pepper in bowl. Pour over hot grilled vegetables. Toss gently.

Cut bread in half lengthwise. Tear out about one-third of interior to hollow it slightly. Spread bottom and top with cheese. Divide vegetables evenly on bottom parts of bread, and drizzle with any olive oil marinade left in bowl.

Place tops on loaves, and press lightly. Cut each baguette into 3 equal sections and serve.

Source: www.vegetariantimes.com