Bowl Fish Quotes

Wish You Were Here So, so you think you can tell Heaven from Hell, Blue skys from pain. Can you tell a green field From a cold steel rail? A smile from a veil? Do you think you can tell? And did they get you to trade Your heros for ghosts? Hot ashes for trees? Hot air for a cool breeze? Cold comfort for change? And did you exchange A walk on part in the war For a lead role in a cage? How I wish, how I wish you were here. We're just two lost souls Swimming in a fish bowl, Year after year, Running over the same old ground. What have we found? The same old fears. Wish you were here.

We forget that the rest of live can be just as dangerous. I think about how fragile we are here-- like fish in a glass bowl with the darkness pressing in on every side.

He missed you like a fish in a bowl misses the open sea.

We're just two lost souls Swimming in a fish bowl, Year after year, Running over the same old ground. What have we found? The same old fears. Wish you were here.

So, so you think you can tell Heaven from Hell Blue skies from pain Can you tell a green field From a cold steel rail? A smile from a veil? Do you think you can tell? Did they get you to trade Your heroes for ghosts? Hot ashes for trees? Hot air for a cool breeze? Cold comfort for change? And did you exchange A walk on part in a war For a lead role in a cage? How I wish, how I wish you were here We're just two lost souls Swimming in a fish bowl Year after year Running over the same old ground What have we found? The same old fears Wish you were here

Melody exploded. "THIS ISN'T LIKE GETTING A FISH TO SEE IF I COULD BE RESPONSIBLE ENOUGH FOR A PUPPY!" She took a deep breath, calmed herself and lowered her voice. She then repeated the statement as if doing so removed the stink of the outburst. "I'm well aware of that," said Lonnie. "And not to poke it with a stick, but you don't see any puppies sniffing around that empty fish bowl, do you?

Odd choice of a word, isn’t it? Fish is either singular, or plural. Imagine my surprise when I walked in the study and found not one fish in a tiny fish bowl, but an entire aquarium.” She practically vibrated for the need to fight. “Otto was lonely and you were practicing animal cruelty. He was too isolated. Now, he has friends and a place to swim.” “Yes, nice little tunnels and rocks and algae to play hide and seek with his buddies.

Give me priests. Give me men with feathers in their hair, or tall domed hats, female oracles in caves, servants of the python, smoking weed and reading palms. A gypsy fortuneteller with a foot-peddle ouija board and a gold fish bowl for a crystal ball knows more about the world than many of the great thinkers of the West. Mumbling priests swinging stink cans on their chains and even witch doctors conjuring up curses with a well-buried elephant tooth have a better sense of their places in the world. They know this universe is brimming with magic, with life and riddles and ironies. They know that the world might eat them, and no encyclopedia could stop it

I guess we are juste two lost souls swimming in a fish bowl," I say. Her eyes narrow. "I've heard that somewhere before." I smile and point at her briefly. "Pink Floyd. But it's the truth." "You think we're lost?" I tilt my head back a little and look up at the stars behind her and say, "In society maybe. But together, no. I think we're right where we need to be.

We are fish in a bowl, dear.

we had goldfish and they circled around and around in the bowl on the table near the heavy drapes covering the picture window and my mother, always smiling, wanting us all to be happy, told me, “be happy, Henry!” and she was right: it’s better to be happy if you can but my father continued to beat her and me several times a week while raging inside his 6-foot-2 frame because he couldn’t understand what was attacking him from within. my mother, poor fish, wanting to be happy, beaten two or three times a week, telling me to be happy: “Henry, smile! why don’t you ever smile?” and then she would smile, to show me how, and it was the saddest smile I ever saw. one day the goldfish died, all five of them, they floated on the water, on their sides, their eyes still open, and when my father got home he threw them to the cat there on the kitchen floor and we watched as my mother smiled. A smile to remember

Bowl of rejection,” Kees was saying. “Or bowl of regret. That’s what it comes down to, those are your choices. Which will taste worse? You ask me, rejection sucks, but you can choke it down. Regret will give you food poisoning for the rest of your life.

Look not just at the Roman campagna, the pageantry of Venice, and the proud expression of Charles I astride his horse, but also have a look at the bowl on the sideboard, the dead fish in your kitchen, and the crusty bread loaves in the hall.

Would it please you if I said your eyes were twin goldfish bowls filled to the brim with the clearest green water and that when the fish swim to the top, as they are doing now, you are devilishly charming?

A fish in a bowl thinks to know it all, for it has never seen the ocean.

Wish You Were Here" We're just two lost souls swimming in a fish bowl, year after year, Running over the same old ground. What have we found? The same old fears. Wish you were here.

CONSORTING WITH ANGELS I was tired of being a woman, tired of the spoons and the pots, tired of my mouth and my breasts, tired of the cosmetics and the silks. There were still men who sat at my table, circled around the bowl I offered up. The bowl was filled with purple grapes and the flies hovered in for the scent and even my father came with his white bone. But I was tired of the gender of things. Last night I had a dream and I said to it . . . "You are the answer. You will outlive my husband and my father." In that dream there was a city made of chains where Joan was put to death in man's clothes and the nature of the angels went unexplained, no two made in the same species, one with a nose, one with an ear in its hand, one chewing a star and recording its orbit, each one like a poem obeying itself, performing God's functions, a people apart. "You are the answer," I said, and entered, lying down on the gates of the city. Then the chains were fastened around me and I lost my common gender and my final aspect. Adam was on the left of me and Eve was on the right of me, both thoroughly inconsistent with the world of reason. We wove our arms together and rode under the sun. I was not a woman anymore, not one thing or the other. 0 daughters of Jerusalem, the king has brought me into his chamber. I am black and I am beautiful. I've been opened and undressed. I have no arms or legs. I'm all one skin like a fish. I'm no more a woman than Christ was a man.

Wish You Were Here" So, so you think you can tell Heaven from Hell, blue skies from pain. Can you tell a green field from a cold steel rail? A smile from a veil? Do you think you can tell? Did they get you to trade your heroes for ghosts? Hot ashes for trees? Hot air for a cool breeze? Cold comfort for change? Did you exchange a walk on part in the war for a lead role in a cage? How I wish, how I wish you were here. We're just two lost souls swimming in a fish bowl, year after year, Running over the same old ground. What have we found? The same old fears. Wish you were here.

Hope lasts only so long, can carry you only so far. It’s both a blessing and a curse. Sometimes it’s all you have. It keeps you going when there’s nothing else to hold on to. But hope can also be terrible. It keeps you wanting, waiting, wishing for something that might never happen. It’s like a glass wall between where you are and where you want to be. You can see the life you want, but you can’t have it. You’re a fish in a bowl.

How peaceful it was, with the light evening breeze stirring the small leaves of the grapevine that clustered around the electric bulb, making the shadows move and change on the yellow mat below. For a moment he pushed aside the thought of money. From time to time the dark water beside them rippled audibly, as if a tiny fish had come to the surface for an instant and then darted beneath. It was in peaceful moments such as this, his father had said, that men were given to know just a little of what paradise was like, so that they might yearn for it with all their soul,and strive during their time on earth to be worthy of going there.

Here is a fish swimming around comfortably and (he thinks) unobtrusively, flicking here and there amongst the kelp and the plankton. Draw away for the long view and there’s the kicker: It’s a goldfish bowl.

[Adapted and condensed Valedictorian speech:] I'm going to ask that you seriously consider modeling your life, not in the manner of the Dalai Lama or Jesus - though I'm sure they're helpful - but something a bit more hands-on, Carassius auratus auratus, commonly known as the domestic goldfish. People make fun of the goldfish. People don't think twice about swallowing it. Jonas Ornata III, Princeton class of '42, appears in the Guinness Book of World Records for swallowing the greatest number of goldfish in a fifteen-minute interval, a cruel total of thirty-nine. In his defense, though, I don't think Jonas understood the glory of the goldfish, that they have magnificent lessons to teach us. If you live like a goldfish, you can survive the harshest, most thwarting of circumstances. You can live through hardships that make your cohorts - the guppy, the neon tetra - go belly-up at the first sign of trouble. There was an infamous incident described in a journal published by the Goldfish Society of America - a sadistic five-year-old girl threw hers to the carpet, stepped on it, not once but twice - luckily she'd done it on a shag carpet and thus her heel didn't quite come down fully on the fish. After thirty harrowing seconds she tossed it back into its tank. It went on to live another forty-seven years. They can live in ice-covered ponds in the dead of winter. Bowls that haven't seen soap in a year. And they don't die from neglect, not immediately. They hold on for three, sometimes four months if they're abandoned. If you live like a goldfish, you adapt, not across hundreds of thousands of years like most species, having to go through the red tape of natural selection, but within mere months, weeks even. You give them a little tank? They give you a little body. Big tank? Big body. Indoor. Outdoor. Fish tanks, bowls. Cloudy water, clear water. Social or alone. The most incredible thing about goldfish, however, is their memory. Everyone pities them for only remembering their last three seconds, but in fact, to be so forcibly tied to the present - it's a gift. They are free. No moping over missteps, slip-ups, faux pas or disturbing childhoods. No inner demons. Their closets are light filled and skeleton free. And what could be more exhilarating than seeing the world for the very first time, in all of its beauty, almost thirty thousand times a day? How glorious to know that your Golden Age wasn't forty years ago when you still had all you hair, but only three seconds ago, and thus, very possibly it's still going on, this very moment." I counted three Mississippis in my head, though I might have rushed it, being nervous. "And this moment, too." Another three seconds. "And this moment, too." Another. "And this moment, too.

I love salmon. Of all my fishy friends, I love salmon the best. Or trout. Or tuna. Or smelts. Oh heck. I love them ALL! But I have such fond memories of salmon. See, my dad was a fisherman. I mean a fanatic fisherman. Fishing was probably what he liked to do most (along with gardening and riding horses and camping in the Sierra and bowling and… ) But honestly, folks, fishing was probably the winner for leisure-time activities.

I think about how fragile we are here - like fish in a glass bowl with darkness pressing in on every side.

We’re all in the public eye now, swimming around in a clear glass fish bowl of our own making.

When I told Jamie I loved her for the first time, it meant something different from the last time I told her I loved her. But both times, and every time in between, it was true. I felt it in my bones. Sometimes I felt that love still knocking around my body. It was like a fish, once granted an entire ocean to swim in, now restricted to a tiny bowl. Still, it moved within me.

The public is fortunate. Everything pleases them: icecream cones, rock concerts, singing, swinging, love, hate, masturbation, hot dogs, country dances, Jesus Christ, roller skating, spiritualism, capitalism, communism, circumcision, comic strips, Bob Hope, skiing, fishing murder bowling debating, anything. They don’t expect much and they don’t get much. They are one grand gang.

Everybody had his arms on everybody else’s shoulders, and they were all singing. Mike was sitting at the table with several men in their shirt-sleeves, eating from a bowl of tuna fish, chopped onions and vinegar. They were all drinking wine and mopping up the oil and vinegar with pieces of bread. “Hello, Jake. Hello!” Mike called. “Come here. I want you to meet my friends. We are all having an hors d’œuvre.

Would it please you if I said your eyes were twin gold-fish bowls filled to the brim with the clearest green water and that when the fish swim to the top, as they are doing now, you are devilishly charming?

You hide, safely entrenched in the margins, never in the middle of the page. You’re too scared to embrace freedom . . . you’re like a fish in a bowl in the ocean looking out towards the big picture but always too gutless to make the jump.

it occurs to me to wonder why it is that the House gives a greater variety of objects to the Other than to me, providing him with sleeping bags, shoes, plastic bowls, cheese sandwiches, notebooks, slices of Christmas cake etc., etc., whereas me it mostly gives fish. I think perhaps it is because the Other is not as skilled in taking care of himself as I am. He does not know how to fish. He never (as far as I know) gathers seaweed, dries it and stores it to make fires or a tasty snack; he does not cure fish skins and make leather out of them (which is useful for many things). If the House did not provide all these things for him, it is quite possible that he would die. Or else (which is more likely) I would have to devote a great deal of my time to caring for him.

In the morning they rose in a house pungent with breakfast cookery, and they sat at a smoking table loaded with brains and eggs, ham, hot biscuit, fried apples seething in their gummed syrups, honey, golden butter, fried steak, scalding coffee.  Or there were stacked batter-cakes, rum-colored molasses, fragrant brown sausages, a bowl of wet cherries, plums, fat juicy bacon, jam.  At the mid-day meal, they ate heavily: a huge hot roast of beef, fat buttered lima- beans, tender corn smoking on the cob, thick red slabs of sliced tomatoes, rough savory spinach, hot yellow corn-bread, flaky biscuits, a deep-dish peach and apple cobbler spiced with cinnamon, tender cabbage, deep glass dishes piled with preserved fruits-- cherries, pears, peaches.  At night they might eat fried steak, hot squares of grits fried in egg and butter, pork-chops, fish, young fried chicken.

People never hurt others in moments of personal strength and bravery, when they are feeling good about themselves, when they are strong and confident. If we spent all of our waking moments in that place, then fighting for social justice would be redundant; we would simply have social justice and be done with it, and we could all go swimming, or fishing, or bowling, or dancing, or whatever people do. But it is because we spend so much of our time in that other place, that place of diminished capacity, of flagging energy, or wavering and somewhat flaccid commitment, that we have to be careful.

We are fish in a bowl, dear," Tsukiko tells her, cigarette holder dangling precariously from her lips. "Very carefully monitored fish. Watched from all angles. If one of us floats to the top, it was not accidental. And if it was an accident, I worry that the watchers are not as careful as they should be.

AFEW YEARS AGO the city council of Monza, Italy, barred pet owners from keeping goldfish in curved goldfish bowls. The measure’s sponsor explained the measure in part by saying that it is cruel to keep a fish in a bowl with curved sides because, gazing out, the fish would have a distorted view of reality.

Meet Chester,” Katie said, holding out a plastic bag with a nervous-looking goldfish darting about in the three inches of water. “What happened to Rudy?” Christy asked. Katie had insisted they buy a goldfish on their way home from Bargain Barn last Saturday. She had situated the fish in his new, twenty-five-cent fishbowl and had named him Rudy. She talked to him every day and fed him way too much. “Rudy went to fish heaven this morning,” Katie said sadly. “Chester wants to live with us now.” “You better get him in the bowl pretty soon,” Christy said. “He looks like he’s drowning in that bag.” “Drowning, ha-ha. Very funny.” “Okay, then, he’s suffocating.

If you shatter the fish bowl so that everything is possible you don't have freedom you have paralysis. Everybody needs a fishbowl.

His chest thumps. It happens more and more these days. He has to sort of struggle for a mouthful of air, like a fish in an overturned bowl.

To give away flowers you have to literally cut off their life supply: 'Here you go, it's pretty now but it's rapidly dying and will decompose before your eyes.' It's like giving someone a pet fish without the bowl.

Standing in the courtyard with a glass eye; only half the world is intelligible. The stones are wet and mossy and in the crevices are black toads. A big door bars the entrance to the cellar; the steps are slippery and soiled with bat dung. The door bulges and sags, the hinges are falling off, but there is an enameled sign on it, in perfect condition, which says: “Be sure to close the door.” Why close the door? I can’t make it out. I look again at the sign but it is removed; in it’s place there is a pane of colored glass. I take out my artificial eye, spit on it and polish it with my handkerchief. A woman is sitting on a dais above an immense carven desk; she has a snake around her neck. The entire room is lined with books and strange fish swimming in colored globes; there are maps and charts on the wall, maps of Paris before the plague, maps of the antique world, of Knossos and Carthage, of Carthage before and after the salting. In the corner of the room I see an iron bedstead and on it a corpse is lying; the woman gets up wearily, removes the corpse from the bed and absent mindedly throws it out the window. She returns to the huge carven desk, takes a goldfish from the bowl and swallows it. Slowly the room begins to revolve and one by one the continents slide into the sea; only the woman is left, but her body is a mass of geography. I lean out the window and the Eiffle Tower is fizzing champagne; it is built entirely of numbers and shrouded in black lace. The sewers are gurgling furiously. There are nothing but roofs everywhere, laid out with execrable geometric cunning.

The world is sharp. So sharply in focus that my eyes see everything—in fact, beyond everything, if one can suspend the logic of that sentence. If you show me a painting of a bowl with citrons and figs and plums and pears, I can describe the woman who picked the fruit off the tree, and can describe her with such tenderness that I can see myself reflected in her iris, like a candle, the sole source of light. Show me a painting of a ray fish, dripping sea off a kitchen table, and I'll tell you about the man who caught it.

She bought me betta fish when I was six, after I kept telling her the same story, every day, about the tanks we had in my class at school, the betta fish, red and purple and blue and green, swimming lazily in the tanks, flashing brilliant and then dull. She came home with one on a Sunday, after she'd been out all weekend. I hadn't seen her since Friday, since she told Mam she was going to the store to buy some milk and some sugar and didn't come back. When she came back, her skin was dry and flaking at the corners of her mouth, her hair stuck out in a bushy halo, and she smelled like wet hay. The fish was green, the color of pine needles, and he had stripes down his tail the color of red mud. I called him Bubby Bubbles, since he blew bubbles all day, and when I leaned over his tank, I could hear him crunching on the fish food Leonie had brought home in a sample-size bag. I imagined even then that one day I could lean over his bowl, and instead of crunching, little words would pop out the bubbles that fizzed up to the surface. Big face. Light. And love. But when the sample size of fish food ran out, and I asked Leonie to buy me more, she said she would, and then forgot, again and again, until old day she said: Give him sold old bread. I figured he couldn't crunch like needed on some old bread, so I kept bugging her about it, and Bubby got skinnier and skinnier, his bubbles smaller and smaller, until I walked into the kitchen one day and he was floating on top of the water, his eyes white, a slimy scrim like fat, no voice in his bubbles. Leonie kill things.

Gloria put a bowl of stew in Peter's hands. "Eat," she said. Peter raised the spoon to his lips. He chewed. He swallowed. It had been a long time since he had eaten anything besides tiny fish and old bread. And so when Peter had his first bite of stew, it overwhelmed him. The warmth of it, the richness of it, knocked him backward; it was as if a gentle hand had pushed him when he was not expecting it. Everything he had lost came flooding back: the garden, his father, his mother, his sister, the promises that he had made and could not keep. "What's this?" said Gloria Matienne. "The boy is crying." "Shhh," said Leo. He put his hand on Peter's shoulder. "Shhh. Don't worry, Peter. Everything will be good. All will be well. We will do together whatever it is that needs to be done. But for now, you must eat." Peter nodded. He raised his spoon. Again he chewed and swallowed, and again he was overcome. He could not help it. He could not stop the tears; they flowed down his cheeks and into the bowl. "It is a very good stew, Madam Matienne. he managed to say. "Truly, it is an excellent stew.

All the organs went into separate bowls, leaving me panting and sweating. My physique was not ideal for a dissection, or, rather, I did not have the figure of a butcher. By now, my apron had taken on the function of a hothouse, and my hands inside my gloves felt like slippery fish.

Julius explained that the palace rooms where they stood were called Wunderkammers, or wonder rooms. Souvenirs of nature, of travels across continents and seas; jewels and skulls. A show of wealth, intellect, power. The first room had rose-colored glass walls, with rubies and garnets and bloodred drapes of damask. Bowls of blush quartz; semiprecious stone roses running the spectrum of red down to pink, a hard, glittering garden. The vaulted ceiling, a feature of all the ten rooms Julius and Cymbeline visited, was a trompe l'oeil of a rosy sky at down, golden light edging the morning clouds. The next room was of sapphire and sea and sky; lapis lazuli, turquoise and gold and silver. A silver mermaid lounged on the edge of a lapis lazuli bowl fashioned in the shape of an ocean. Venus stood aloft on the waves draped in pearls. There were gold fish and diamond fish and faceted sterling silver starfish. Silvered mirrors edged in silvered mirror. There were opals and aquamarines and tanzanite and amethyst. Seaweed bloomed in shades of blue-green marble. The ceiling was a dome of endless, pale blue. A jungle room of mica and marble followed, with its rain forest of cats made from tiger's-eye, yellow topaz birds, tortoiseshell giraffes with stubby horns of spun gold. Carved clouds of smoky quartz hovered over a herd of obsidian and ivory zebras. Javelinas of spotted pony hide charged tiny, life-sized dik-diks with velvet hides, and dazzling diamond antlers mingled with miniature stuffed sable minks. Agate columns painted a medley of dark greens were strung with faceted ropes of green gold. A room of ivory: bone, teeth, skulls, and velvet. A room crowded with columns all sheathed in mirrors, reflecting world maps and globes and atlases inlaid with silver, platinum, and white gold; the rubies and diamonds that were sometimes set to mark the location of a city or a town of conquest resembled blood and tears. A room dominated by a fireplace large enough to hold several people, upholstered in velvets and silks the colors of flame. Snakes of gold with orange sapphire and yellow topaz eyes coiled around the room's columns. Statues of smiling black men in turbans offering trays of every gem imaginable-emerald, sapphire, ruby, topaz, diamond-stood at the entrance to a room upholstered in pistachio velvet, accented with malachite, called the Green Vault. Peridot wood nymphs attended to a Diana carved from a single pure crystal of quartz studded with tiny tourmalines. Jade tables, and jade lanterns. The royal jewels, blinding in their sparkling excess: crowns, tiaras, coronets, diadems, heavy ceremonial necklaces, rings, and bracelets that could span a forearm, surrounding the world's largest and most perfect green diamond. Above it all was a night sky of painted stars, with inlaid cut crystal set in a serious of constellations.

We are fish in a bowl, dear,” Tsukiko tells her, cigarette holder dangling precariously from her lips. “Very carefully monitored fish. Watched from all angles. If one of us floats to the top, it was not accidental. And if it was an accident, I worry that the watchers are not as careful as they should be.

He waved cheerfully, then opened the door, tripped over the threshold, and as his balance was already impaired, nearly went face down on the floor for the second time that day. He caught himself, hung on to the side of the counter, and waited for the pub kitchen to stop revolving. With the careful steps of the drunk, he walked over to the cupboard to get out a pan for frying, a pot for boiling. Shawn was singing in his break-your-heart voice, about the cold nature of Peggy Gordon. And with one eye closed, his body swaying gently, he dripped lemon juice into a bowl. “Oh, fuck me, Shawn. You are half pissed.” “More than three-quarters if the truth be known.” He lost track of the juice and added a bit more to be safe. “And how are you, Aidan, darling?” “Get way from there before you poison someone.” Insulted, Shawn swiveled around and had to brace a hand on the counter to stay upright. “I’m drunk, not a murderer. I can make a g.d. fish cake in me sleep. This is my kitchen, I’ll thank you to remember, and I give the orders here.” He poked himself in the chest with his thumb on the claim and nearly knocked himself on his ass. Gathering dignity, he lifted his chin. “So go on with you while I go about my work.” “ What have you done to yourself?” “The devil cat caught me hand. Forgetting his work, Shawn lifted a hand to scowl at the red gashes. Oh, but I’ve got plans for him, you can be sure of that.” “At the moment, I’d lay odds on the cat. Do you know anything about putting fish cakes together?” Aidan asked Darcy. “Not a bloody thing,” she said cheerfully. “Then go and call Kathy Duffy, would you, and ask if she can spare us an hour or so, as we have an emergency?” “An emergency?” Shawn looked glassily around. “Where?

THE BILL FOR DARRELL BOB HOUSTON THE BEET IS THE MOST INTENSE of vegetables. The onion has as many pages as War and Peace, every one of which is poignant enough to make a strong man weep, but the various ivory parchments of the onion and the stinging green bookmark of the onion are quickly charred by belly juices and bowel bacteria. Only the beet departs the body the same color as it went in. Beets consumed at dinner will, come morning, stock a toilet bowl with crimson fish, their hue attesting to beet's chromatic immunity to the powerful digestive acids and thoroughgoing microbes that can turn the reddest pimento, the orangest carrot, the yellowest squash into a single disgusting shade of brown.

Margherita was not allowed to play in the 'portego,' for one never knew when a customer would come, and the room must always be clean and tidy and respectable. It was only ever used by the family on special occasions, and so Margherita's eyes widened when she saw that her mother had spread the table with a spotless white cloth and the best pewter bowls and mugs. A small bunch of 'margherita' daisies was in a fat blue jug, and three sweet oranges sat in an earthenware bowl. Coarse brown bread stood ready on a wooden board, next to a bowl of soft white cheese floating in golden oil and thyme sprigs. Soup made with fish and clams and fennel and scattered with sprigs of fresh parsley steamed in a big clay pot.

He sinks down on the stool, breathing heavily. His hands are still shaking as if he were standing waist-deep in ice-cold water. His chest thumps. It happens more and more these days. He has to sort of struggle for a mouthful of air, like a fish in an overturned bowl. His company doctor said it was chronic, and that he mustn’t work himself up. Easy for him to say.

I knew what I had to do, and I’d even prepared myself when the world’s most magnificent beta fish stopped picking at the multicolored flakes. I swallowed a lump in my throat and, without special words or ceremony, dumped the bowl’s contents into the watery grave. I don’t remember what I had named the fish—only that it missed the bowl and stuck to the back rim of the toilet.

Going to the wet market had always been one of my favorite errands. You could buy almost anything there: piles of red and green chilies, live chicks and quail, green lotus seed pods that resembled shower sprinklers. There were fresh sides of pork, salted duck eggs, and baskets of glossy river fish. You could eat breakfast, too, at little stalls serving steaming bowls of noodles and crispy fritters.

There are succulent loins of fatty pork fried in scales of thin bread crumbs and served with bowls of thickened Worcestershire and dabs of fiery mustard. Giant pots of curry, dark and brooding as a sudden summer storm, where apples and onions and huge hunks of meat are simmered into submission over hours. Or days. There is okonomiyaki, the great geologic mass of carbs and cabbage and pork fat that would feel more at home on a stoner's coffee table than a Japanese tatami mat.

Now, we’d had goldfish before. We won them at a church fair by throwing ping-pong balls into the little bowls they were swimming in. They didn’t live very long though. Mom said it was because the fish all had concussions from being hit on the head with the ping-pong balls. I had a concussion once when I was four, after I accidentally ran into the front door that Mark accidentally slammed shut just as he accidentally yelled, “Run, Tom, run.” That was back when he was just mostly evil.

I am afraid that Oompa Loompa Barry, didn't make it.” “What do you mean Barry didn't make it, he's an animatronic, Pip, not a fish you won at the carnival.” At this, I frowned as I held a finger up and said, “Okay, now that totally wasn’t my fault, Stevie was totally fine when I went to bed that night,” I argued. “Pip, you topped his bowl up with a bottle of vodka you thought was water… Stevie died three sheets to the wind that night and pissed as a fart.” Okay, so she had a point, I did do this.

The plane banked, and he pressed his face against the cold window. The ocean tilted up to meet him, its dark surface studded with points of light that looked like constellations, fallen stars. The tourist sitting next to him asked him what they were. Nathan explained that the bright lights marked the boundaries of the ocean cemeteries. The lights that were fainter were memory buoys. They were the equivalent of tombstones on land: they marked the actual graves. While he was talking he noticed scratch-marks on the water, hundreds of white gashes, and suddenly the captain's voice, crackling over the intercom, interrupted him. The ships they could see on the right side of the aircraft were returning from a rehearsal for the service of remembrance that was held on the ocean every year. Towards the end of the week, in case they hadn't realised, a unique festival was due to take place in Moon Beach. It was known as the Day of the Dead... ...When he was young, it had been one of the days he most looked forward to. Yvonne would come and stay, and she'd always bring a fish with her, a huge fish freshly caught on the ocean, and she'd gut it on the kitchen table. Fish should be eaten, she'd said, because fish were the guardians of the soul, and she was so powerful in her belief that nobody dared to disagree. He remembered how the fish lay gaping on its bed of newspaper, the flesh dark-red and subtly ribbed where it was split in half, and Yvonne with her sleeves rolled back and her wrists dipped in blood that smelt of tin. It was a day that abounded in peculiar traditions. Pass any candy store in the city and there'd be marzipan skulls and sugar fish and little white chocolate bones for 5 cents each. Pass any bakery and you'd see cakes slathered in blue icing, cakes sprinkled with sea-salt.If you made a Day of the Dead cake at home you always hid a coin in it, and the person who found it was supposed to live forever. Once, when she was four, Georgia had swallowed the coin and almost choked. It was still one of her favourite stories about herself. In the afternoon, there'd be costume parties. You dressed up as Lazarus or Frankenstein, or you went as one of your dead relations. Or, if you couldn't think of anything else, you just wore something blue because that was the colour you went when you were buried at the bottom of the ocean. And everywhere there were bowls of candy and slices of special home-made Day of the Dead cake. Nobody's mother ever got it right. You always had to spit it out and shove it down the back of some chair. Later, when it grew dark, a fleet of ships would set sail for the ocean cemeteries, and the remembrance service would be held. Lying awake in his room, he'd imagine the boats rocking the the priest's voice pushed and pulled by the wind. And then, later still, after the boats had gone, the dead would rise from the ocean bed and walk on the water. They gathered the flowers that had been left as offerings, they blew the floating candles out. Smoke that smelt of churches poured from the wicks, drifted over the slowly heaving ocean, hid their feet. It was a night of strange occurrences. It was the night that everyone was Jesus... ...Thousands drove in for the celebrations. All Friday night the streets would be packed with people dressed head to toe in blue. Sometimes they painted their hands and faces too. Sometimes they dyed their hair. That was what you did in Moon Beach. Turned blue once a year. And then, sooner or later, you turned blue forever.

Our neighborhood ramen place was called Aoba. That's a joke. There were actually more than fifty ramen places with in walking distance of our apartment. But this one was our favorite. Aoba makes a wonderful and unusual ramen with a mixture of pork and fish broth. The noodles are firm and chewy, and the pork tender and almost smoky, like ham. I also liked how they gave us a small bowl for sharing with Iris without our even asking. What I really appreciated about this place, however, were two aspects of ramen that I haven't mentioned yet: the eggs and the dipping noodles. After these two, I will stop, but there's so much more to ramen. Would someone please write an English-language book about ramen? Real ramen, not how to cook with Top Ramen noodles? Thanks. (I did find a Japanese-language book called State-of-the-Art Technology of Pork Bone Ramen on Amazon. Wish-listed!) One of the most popular ramen toppings is a soft-boiled egg. Long before sous vide cookery, ramen cooks were slow-cooking eggs to a precise doneness. Eggs for ramen (ajitsuke tamago) are generally marinated in a soy sauce mixture after cooking so the whites turn a little brown and the eggs turn a little sweet and salty. I like it best when an egg is plunked whole into the broth so I can bisect it with my chopsticks and reveal the intensely orange, barely runny yolk. A cool egg moistened with rich broth is alchemy. Forget the noodles; I want a ramen egg with a little broth for breakfast. Finding hot and cold in the same mouthful is another hallmark of Japanese summer food, and many ramen restaurants, including Aoba, feature it in the form of tsukemen, dipping noodles. Tsukemen is deconstructed ramen, a bowl of cold cooked noodles and a smaller bowl of hot, ultra-rich broth and toppings. The goal is to lift a tangle of noodles with your chopsticks and dip them in the bowl of broth on the way to your mouth. This is a crazy way to eat noodles and, unless you've been inculcated with the principles of noodle-slurping physics from birth, a great way to ruin your clothes.

I love the way the rain melts the colors together, like a chalk drawing on the sidewalk. There is a moment, just after sunset, when the shops turn on their lights and steam starts to fog up the windows of the cafés. In French, this twilight time implies a hint of danger. It's called entre chien et loup, between the dog and the wolf. It was just beginning to get dark as we walked through the small garden of Palais Royal. We watched as carefully dressed children in toggled peacoats and striped woolen mittens finished the same game of improvised soccer we had seen in the Place Sainte Marthe. Behind the Palais Royal the wide avenues around the Louvre gave way to narrow streets, small boutiques, and bistros. It started to drizzle. Gwendal turned a corner, and tucked in between two storefronts, barely wider than a set of double doors, I found myself staring down a corridor of fairy lights. A series of arches stretched into the distance, topped with panes of glass, like a greenhouse, that echoed the plip-plop of the rain. It was as if we'd stepped through the witch's wardrobe, the phantom tollbooth, what have you, into another era. The Passage Vivienne was nineteenth-century Paris's answer to a shopping mall, a small interior street lined with boutiques and tearooms where ladies could browse at their leisure without wetting the bustles of their long dresses or the plumes of their new hats. It was certainly a far cry from the shopping malls of my youth, with their piped-in Muzak and neon food courts. Plaster reliefs of Greek goddesses in diaphanous tunics lined the walls. Three-pronged brass lamps hung from the ceiling on long chains. About halfway down, there was an antique store selling nothing but old kitchenware- ridged ceramic bowls for hot chocolate, burnished copper molds in the shape of fish, and a pewter mold for madeleines, so worn around the edges it might have belonged to Proust himself. At the end of the gallery, underneath a clock held aloft by two busty angels, was a bookstore. There were gold stencils on the glass door. Maison fondée en 1826.

But are we strong enough?” wondered Blackwood. “How strong is strong? They won’t be prepared for us, at least. They haven’t the imagination. Those clean young rocket men with their antiseptic bloomers and fish-bowl helmets, with their new religion. About their necks, on gold chains, scalpels. Upon their heads, a diadem of microscopes. In their holy fingers, steaming incense urns which in reality are only germicidal ovens for steaming out superstition. The names of Poe, Bierce, Hawthorne, Blackwood—blasphemy to their clean lips.

We haven’t got that kind of time. All we have is mind and mind, that slate of neurons for which the skull serves as hat rack, or so Dr. Bowles opines. And from these banks are piers from which little ones fall into the sea, never to be seen again, while others are found in straw baskets cottoned with sea foam. So also are fashioned the nibbling fish, noses and toeses, it’s all the same to them, though there is the hope that if properly incanted, they can twin in turn to feed the multitudes. Some neurons look like threads of snakes:

I slam my knife into the sea bass, skinning it, and then slice the fish into pearlescent slivers. While it marinates, or rather, cooks in lime juice, I set to preparing the rest of the ingredients, chopping and dicing. A few minutes later, I combine all the ingredients in a large bowl, adding in the mango, avocado, cucumber, herbs, and spices---hot like my mood but offsetting the heat with more lime juice. Finally, I plate and garnish with cucumber in the smallest brunoise cuts, and cilantro, returning to the dining room with our meals.

Wish You Were Here" So, so you think you can tell Heaven from Hell, blue skies from pain. Can you tell a green field from a cold steel rail? A smile from a veil? Do you think you can tell? Did they get you to trade your heroes for ghosts? Hot ashes for trees? Hot air for a cool breeze? Cold comfort for change? Did you exchange A walk-on part in the war for a lead role in a cage? How I wish, how I wish you were here. We're just two lost souls swimming in a fish bowl, year after year, Running over the same old ground. What have we found? The same old fears. Wish you were here.

What to eat? You've crossed a dozen time zones to get here and you want to make every meal count. Do you start at an izakaya, a Japanese pub, and eat raw fish and grilled chicken parts and fried tofu, all washed down with a river of cold sake? Do you seek out the familiar nourishment of noodles- ramen, udon, soba- and let the warmth and beauty of this cuisine slip gloriously past your lips? Or maybe you wade into the vast unknown, throw yourself entirely into the world of unfamiliar flavors: a bowl of salt-roasted eel, a mound of sticky fermented soybeans, a nine-course kaiseki feast.

Oh, my Captain! my Captain! noble soul! grand old heart, after all! why should any one give chase to that hated fish! Away with me! let us fly these deadly waters! let us home! Wife and child, too are Starbuck's-wife and child of his brotherly, sisterly, play-fellow youth; even as thine, sir, are the wife and child of thy loving, longing, paternal old age! Away! let us away! this instant let me alter the course! How cheerily, how hilariously, O my Captain, would we bowl on our way to see old Nantucket again! I think, sir, they have some such mild blue days, even as this, in Nantucket.

Nona was pushing mush around with her spoon when Camilla came in, rolling down the rolled-up cuffs of her shirt, and she said: “Oh, God, we’re on baby food,” which of course meant it wasn’t Camilla at all. “Delicious num-nums for baby,” said Pyrrha. “Anyway, it’s this or beans and dried fish flakes.” “I thought you were bringing home groceries last night.” “I’m on half pay until they find someone to foot the drill bill,” said Pyrrha. “Yes, but what happened to that half?” Pyrrha spooned the softened mush into the big-sized bowl and handed it to Palamedes. “You’re going to make someone a really irritating wife one day, Sextus,” she said pleasantly.

Absence " Then the birds stitching the dawn with their song have patterned your name. Then the green bowl of the garden filling with light is your gaze. Then the lawn lengthening and warming itself is your skin. Then a cloud disclosing itself overhead is your opening hand. Then the first seven bells from the church pine on the air. Then the sun's soft bite on my face is your mouth. Then a bee in a rose is your fingertip touching me here. Then the trees bending and meshing their leaves are what we would do. Then my steps to the river are text to a prayer printing the ground. Then the river searching its bank for your shape is desire. Then a fish nuzzling for the water's throat has a lover's ease. Then a shawl of sunlight dropped in the grass is a garment discarded. Then a sudden scatter of summer rain is your tongue. Then a butterfly paused on a trembling leaf is your breath. Then the gauzy mist relaxed on the ground is your pose. Then the fruit from the cherry tree falling on grass is your kiss, your kiss. Then the day's hours are theatres of air where I watch you entranced. Then the sun's light going down from the sky is the length of your back. Then the evening bells over the rooftops are lovers' vows. Then the river staring up, lovesick for the moon, is my long night. Then the stars between us are love urging its light.

There was a bowl of tuna salad. She grabbed two slices of the closest bread and smacked on a gob, squashing it flat. She sliced it with one long cut and dropped down into a chair at the far end of the table. David sat at the other end, one of the old tablets next to him, facedown. "I don't eat tuna salad," he said, grabbing a piece of bread. "It's too mysterious. People sneak things into it. It's a sneak food." "I like it," Hunter said. "We make it at home with sliced-up dill pickle and Old Bay Seasoning." "Good to know," David said. "Nate, where do you come down on tuna salad?: Nate was trying to read and eat some cold mac and cheese in peace. "I don't eat fish," he said. "Fish freak me out.

Django handed her a heap of parsley and she stood next to him, allowing his rhythm to become her own until they were moving together. In the air, the tang of lemons. The aroma of chicken stock. Beeswax mingling with butter. Chocolate melting into oranges. Her spirits rose with the scents swirling through the kitchen. They spoke little; they had no need. They were a team, their minds melded more effortlessly than Stella had imagined possible. They massaged butter into chickens, boned fish, opened oysters. Django set a flat of speckled eggs on the counter. Next to it, a ceramic bowl. He opened his hands and Stella broke the eggs, dozens of them, across his outstretched fingers, watching yolks separate from whites. It occurred to her that she had tortured herself for no reason. She was happy.

you can easily substitute your favorite seafood, shrimp, scallops, or any mild white fish also works well. Sometimes I like to mix all three, for a seafood medley! Lazy Lobster Casserole 1 pound fresh lobster meat, chopped into roughly 1 inch pieces 1 stick of butter 1 sleeve of Ritz crackers 2 tablespoons sherry (optional) 2 tablespoons chopped, fresh, flat parsley Melt 3/4 stick of butter in a small bowl.  In a medium casserole dish, place lobster, and pour half the melted butter over and stir to coat.  Add Ritz cracker crumbs and parsley to the remaining melted butter.  Mix well, and then pat over top of lobster meat, until evenly coated. Cut remaining butter into small pieces and dot over top of stuffing. Drizzle sherry evenly over the top, and bake for about 25 minutes at 300 degrees. Serves 3-4

To be a ramen writer of Kamimura's stature, you need to live in a ramen town, and there is unquestionably no town in Japan more dedicated to ramen than Fukuoka. This city of 1.5 million along the northern coast of Kyushu, the southernmost of Japan's four main islands, is home to two thousand ramen shops, representing Japan's densest concentration of noodle-soup emporiums. While bowls of ramen are like snowflakes in Japan, Fukuoka is known as the cradle of tonkotsu, a pork-bone broth made milky white by the deposits of fat and collagen extracted during days of aggressive boiling. It is not simply a specialty of the city, it is the city, a distillation of all its qualities and calluses. Indeed, tell any Japanese that you've been to Fukuoka and invariably the first question will be: "How was the tonkotsu?

And following that train of though led him back to Earth, back to the quiet hours in the center of the clear water ringed by a bowl of tree-covered hills. That is the Earth, he though. Not a globe thousands of kilometers around, but a forest with a shining lake, a house hidden at the crest of the hill, high in the trees, a grassy slope leading upward from the water, fish leaping and birds strafing to take the bugs that lived at the border between water and sky. Earth was the constant noise of crickets and winds and birds. And the voice of one girl, who spoke to him out of his far-off childhood. The same voice that had once protected him from terror. The same voice that he would do anything to keep alive, even return to school, even leave Earth behind again for another four or forty or four thousand years.

Another night I bought lobsters, taking time to observe them in the supermarket tank, sussing out the liveliest of the bunch. I instructed the fishmonger to lift them with his plastic rake and tickle their tails like my father taught me, picking the ones that flipped violently and with gusto. I boiled them in a large pot and set out the same small bowls my mother would for the melted butter. When they were cooked through, my father made two hacks in the center of their claws and large incisions down their backs. When we ate lobster, my mother used to boil one for each of us and content herself with a side of corn or a baked potato or a small bowl of rice with banchan and a can of saury, an oily fish she braised in soy sauce. But if we were lucky enough to find some, she'd eat the roe, giddily scooping the plump orange eggs onto her plate.

Irie serves me three ramens, including a bowl made with a rich dashi and head-on shrimp and another studded with spicy ground pork and wilted spinach and lashed with chili oil. Both are exceptionally delicious, sophisticated creations, but it's his interpretation of tonkotsu that leaves me muttering softly to myself. The noodles are firm and chewy, the roast pork is striped with soft deposits of warm fat, and the toppings- white curls of shredded spring onion, chewy strips of bamboo, a perfect square of toasted seaweed- are skillfully applied. Here it is the combination of tare, the culmination of years of careful tinkering, and broth, made from whole pig heads and knots of ginger, that defies the laws of tonkotsu: a soup with the savory, meaty intensity of a broth made from a thousand pigs that's light enough to leave you wanting more. And more. And more.

The two palm worms are brought in separate bowls, still alive, wriggling fiercely in a bath of turpentine-colored fish sauce with a few slivers of chili. The glossy brown heads of the grubs, the larvae of a weevil that infests palm trees, glisten like popcorn seeds; the wriggling abdomens have pale rubbery ridges. The owner of the restaurant, chubby and affable, comes out to instruct Nhat and me: we are to grasp the heads, pull off the fat white bodies with our teeth, and discard the heads, taking care that the larvae do not nip our tongues with their formidable pincers in the process. Biting down on squirming larvae seems barbaric, but my brain is starting to swim due to hunger, and the fish sauce is muskily aromatic. How bad could their fat glistening bodies taste? And am I not a direct descendant of insectivores, albeit roughly 100 million years removed? I

The following morning, Tuesday, November 19—the first morning of the summit—tragedy struck. The president went into the boy’s bedroom to sprinkle fish food into the bowl and one of the goldfish was belly up. Obviously it wasn’t the president’s fault, but he felt terrible about it and was genuinely upset. After all, he’d given his word that he would take care of the little boy’s goldfish, and now one of them was dead on his watch. He kept telling us how he felt responsible, which didn’t surprise any of us, because that’s the way he was. So he summoned a few people on his staff and told them that he needed to replace the goldfish. He sent a staffer to find a replacement goldfish, but it had to be one that looked just like the dead one. Later, he penned a handwritten note to the little boy, apologizing for what had happened, and put it in the boy’s room, himself. With all the other things he had on his mind, he was forever an old-school gentleman.

I owe so much to the Other’s generosity. Without him I would not sleep snug and warm in my sleeping bag in Winter. I would not have notebooks in which to record my thoughts. That being said, it occurs to me to wonder why it is that the House gives a greater variety of objects to the Other than to me, providing him with sleeping bags, shoes, plastic bowls, cheese sandwiches, notebooks, slices of Christmas cake etc., etc., whereas me it mostly gives fish. I think perhaps it is because the Other is not as skilled in taking care of himself as I am. He does not know how to fish. He never (as far as I know) gathers seaweed, dries it and stores it to make fires or a tasty snack; he does not cure fish skins and make leather out of them (which is useful for many things). If the House did not provide all these things for him, it is quite possible that he would die. Or else (which is more likely) I would have to devote a great deal of my time to caring for him.

Dash shoved his hands on his hips and looked down into the bowl. ‘You gave my fish pink rocks?’ he said as he turned to face her. Joy shrugged. ‘I didn’t really look at the colour I just grabbed the nearest bag.’ ‘It had to be pink?’ ‘There’s some blue as well.’ He looked into the bowl again. ‘Not really.’ Joy couldn’t believe she was having a conversation about pink rocks when the bigger question of what the hell he’d found out about the robberies was still unanswered. ‘You think it’s going to turn Ralph gay?’ she asked sweetly. ‘Given that he’s living his life out solo it’s kind of a moot question, don’t you think?’ ‘You’re right, I think he needs a girlfriend. Or a boyfriend.’ ‘With those rocks? I think he needs Fishtank Barbie in there.’ ‘Is your masculinity threatened because your fish has pink rocks?’ Dash folded his arms. ‘He’s a bloke. He doesn’t do pink.’ Joy glanced at the bowl. ‘It works,’ she said. ‘It...blends.’ ‘He’s orange,’ Dash said. ‘Since when have pink and orange gone together?

I peered at the bowl, which was piled high with shrimp and vegetables, little cubes of what looked like meat or fish. The broth was a beautiful golden color, with little circles of orange oil floating on the surface, near the edge of the bowl. My heart rate slowed, oblivion averted. "More chances at wishes. But also, this looks damn good." I realized I was still holding the spoon with the dumpling, the steam not wafting out like a volcano anymore. So I closed my eyes and readied myself for another bite. This time the heat took a step back and allowed everything else to come forward. The savory richness of pork, a bite of ginger and scallions, the broth. Oh, man, the broth. I hadn't ever tasted anything quite like this before. I chewed the dumpling, which was starchy but also managed to melt away, letting its texture dominate. For a moment, I wanted to reach for something beyond the flavor, but failed. Would I recognize the taste of magic, if magic even had a taste? Then I let the flavor itself take over.

You eat one meal a day, only what is given. Through these practices of surrender there grows a ripening of trust as the heart learns to face the mystery of life with patience, faith, and compassion. Monks must go out each morning with a bowl for alms rounds. This is not like street-corner begging. For me, it was one of the most beautiful experiences of my life. Just as the sun rises, you walk across the green rice paddies to small villages with packed earthen lanes. Those who wish to offer alms wait for the monks to come and bow before they offer their food. Even the poorest villages will offer part of their food to make merit and as if to say, “Even though we are poor, we so value what you represent that we give of what little we have so that your spirit may be here in our village, in our community, and in our society.” Alms rounds are done completely in silence. When you receive the food, you can’t say, “Thank you; I appreciate the mango you gave me,” or “Thanks for the fish this morning; it looks really good.” The only response you can make is the sincerity of your heart. After you receive this food, you take it back to support and inspire your practice. When the villagers value the monk’s life and give of the little they have, you must take that. The extraordinary generosity of the village brings a powerful motivation in a monastery. The rules about alms food govern monastic life. Monks are not allowed to keep food overnight or eat anything that’s not put into their hands each morning by a layperson. This means that monks can’t live as hermits up in the mountains far from the world. They must live where people can feed them. This immediately establishes a powerful relationship. You must do something of enough value that they want to feed you. Your presence, your meditation, your dignity, has to be vivid enough so that when you bring your bowl, people want to offer food because that’s the only way you can eat! This creates an ongoing dynamic of offering that goes both ways, from those who are in the process of being initiated in the monastery, and those of the community whom it benefits.

He carefully poured the juice into a bowl and rinsed the scallops to remove any sand caught between the tender white meat and the firmer coral-colored roe, wrapped around it like a socialite's fur stole. Mayur is the kind of cook (my kind), who thinks the chef should always have a drink in hand. He was making the scallops with champagne custard, so naturally the rest of the bottle would have to disappear before dinner. He poured a cup of champagne into a small pot and set it to reduce on the stove. Then he put a sugar cube in the bottom of a wide champagne coupe (Lalique, service for sixteen, direct from the attic on my mother's last visit). After a bit of a search, he found the crème de violette in one of his shopping bags and poured in just a dash. He topped it up with champagne and gave it a swift stir. "To dinner in Paris," he said, glass aloft. 'To the chef," I answered, dodging swiftly out of the way as he poured the reduced champagne over some egg yolks and began whisking like his life depended on it. "Do you have fish stock?" "Nope." "Chicken?" "Just cubes. Are you sure that will work?" "Sure. This is the Mr. Potato Head School of Cooking," he said. "Interchangeable parts. If you don't have something, think of what that ingredient does, and attach another one." I counted, in addition to the champagne, three other bottles of alcohol open in the kitchen. The boar, rubbed lovingly with a paste of cider vinegar, garlic, thyme, and rosemary, was marinating in olive oil and red wine. It was then to be seared, deglazed with hard cider, roasted with whole apples, and finished with Calvados and a bit of cream. Mayur had his nose in a small glass of the apple liqueur, inhaling like a fugitive breathing the air of the open road. As soon as we were all assembled at the table, Mayur put the raw scallops back in their shells, spooned over some custard, and put them ever so briefly under the broiler- no more than a minute or two. The custard formed a very thin skin with one or two peaks of caramel. It was, quite simply, heaven. The pork was presented neatly sliced, restaurant style, surrounded with the whole apples, baked to juicy, sagging perfection.

I first came to Hokkaido for two reasons: miso ramen and uni, the island's most famous foods and two items on my short list for Last Supper constituents. The only thing they share in common, besides a home, is the intense fits of joy they deliver: the former made from an unholy mix of pork-bone broth, thick miso paste, and wok-crisped pork belly (with the optional addition of a slab of melting Hokkaido butter), the latter arguably the sexiest food on earth, yolk-orange tongues of raw sea urchin roe with a habit-forming blend of fat and umami, sweetness and brine. Fall for uni at your own peril; like heroin and high-stakes poker, it's an expensive addiction that's tough to kick. But my dead-simple plan- to binge on both and catch the first flight back to Tokyo- has been upended by a steam locomotive and Whole Foods foliage, and suddenly Hokkaido seems much bigger than an urchin and a bowl of soup. No one told me about the rolling farmlands, the Fuji-like volcanoes, the stunning national parks, one stacked on top of the other. Nobody said there would be wine. And cheese. And bread.

Sunday brunch is an easy, pleasant way to entertain a largish group, especially in the country. Americans who overslept invented the word brunch, but the ingredients and the casual atmosphere bear a strong resemblance to breakfast in an English country house or to a French midnight supper. The choice of menu can be as wide as the imagination. Practically anything goes — from hearty breakfast dishes such as filled omelettes, kidneys, chicken livers and bacon, sausages, and eggs Benedict. Something pretty in aspic, or a salmon mousse in a fish-shaped mold, makes a lovely centerpiece. Best of all, most of the meal can be prepared way ahead of time and it can be managed without outside help — if, that is, the hostess puts in a lot of work the day before and early that morning. People can wander in when they feel like it, so there’s no need to tint this one. Drinks are no problem. A big punch bowl with chunks of fresh fruit makes a nice starter, and mixings for bloody Marys, screwdrivers, or bullshots can be left on a table for guests to serve themselves. Of course there should be a big pot of very good coffee.

That story, of course, isn’t unique to California, or to beavers. Europeans began despoiling North American ecosystems the moment they set boots on the stony shore of the New World. You’re probably familiar with most of the colonists’ original environmental sins: They wielded an ax against every tree, lowered a net to catch every fish, turned livestock onto every pasture, churned the prairie to dust. In California’s Sierra Nevada, nineteenth-century gold miners displaced so much sediment that the sludge could have filled the Panama Canal eight times.14 We are not accustomed to discussing the fur trade in the same breath as those earth-changing industries, but perhaps we should. The disappearance of beavers dried up wetlands and meadows, hastened erosion, altered the course of countless streams, and imperiled water-loving fish, fowl, and amphibians—an aquatic Dust Bowl. Centuries before the Glen Canyon Dam plugged up the Colorado and the Cuyahoga burst into flame, fur trappers were razing stream ecosystems. “[Beavers’] systematic and widespread removal,” wrote Sharon Brown and Suzanne Fouty in 2011, “represents the first large-scale Euro-American alteration of watersheds.

With each new course, he offers up little bites of the ethos that drives his cooking, the tastes and the words playing off each other like a kaiseki echo chamber. Ark shell, a bulging, bright orange clam peeking out of its dark shell, barely cooked, dusted with seaweed salt. "To add things is easy; to take them away is the challenge." Bamboo, cut into wedges, boiled in mountain water and served in a wide, shallow bowl with nothing but the cooking liquid. "How can we make the ingredient taste more like itself?With heat, with water, with knifework." Tempura: a single large clam, cloaked in a pale, soft batter with more chew than crunch. The clam snaps under gentle pressure, releasing a warm ocean of umami. "I want to make a message to the guest: this is the best possible way to cook this ingredient." A meaty fillet of eel wrapped around a thumb of burdock root, glazed with soy and mirin, grilled until crispy: a three-bite explosion that leaves you desperate for more. "The meal must go up and down, following strong flavors with subtle flavors, setting the right tone for the diner." And it does, rising and falling, ebbing and flowing, until the last frothy drop of matcha is gone, signaling the end of the meal.

I was settin’ at this restaurant When the waiter came up and said, “What do you want?” I looked at the menu—it looked so nice Till he said, “Let me give you a little advice.” He said, “Spaghetti and potatoes got too much starch, Pork chops and sausage are bad for your heart. There's hormones in chicken and beef and veal, Bowl of ravioli is a dead man’s meal. Bread's got preservatives, there's nitrites in ham, Artificial coloring in jellies and jam. Stay away from doughnuts, run away from pie, Pepperoni pizza is a sure way to die. Sugar’s gonna rot your teeth and make you put on weight, Artificial sweetener’s got cyclamates. Eggs are high cholesterol, too much fat in cheese, Coffee ruins your kidneys and so do teas. Fish got too much mercury, red meat is poison, Salt's gonna send your blood pressure risin’. Hot dogs and bologna got deadly red dyes, Vegetables and fruits are sprayed with pesticides.” So I said, “What can I eat that's gonna make me last?” He said, “A small drink of water in a sterilized glass.” And then he stopped and he thought for a minute, And said, “Never mind the water—there’s carcinogens in it.” So I got up from the table and walked out in the street, Realizin’ there was absolutely nothing I could eat. So I haven't eaten for a month and I don't feel too fine, But I know that I'll be healthy for a long, long time.

Fukuoka, more than any other city in Japan, is responsible for ramen's rocket-ship trajectory, and the ensuing shift in Japan's cultural identity abroad. Between Hide-Chan, Ichiran, and Ippudo- three of the biggest ramen chains in the world- they've brought the soup to corners of the globe that still thought ramen meant a bag of dried noodles and a dehydrated spice packet. But while Ichiran and Ippudo are purveyors of classic tonkotsu, undoubtedly the defining ramen of the modern era, Hideto has a decidedly different belief about ramen and its mutability. "There are no boundaries for ramen, no rules," he says. "It's all freestyle." As we talk at his original Hide-Chan location in the Kego area of Fukuoka, a new bowl arrives on the table, a prototype for his borderless ramen philosophy. A coffee filter is filled with katsuobushi, smoked skipjack tuna flakes, and balanced over a bowl with a pair of chopsticks. Hideto pours chicken stock through the filter, which soaks up the katsuobushi and emerges into the bowl as clear as a consommé. He adds rice noodles and sawtooth coriander then slides it over to me. Compared with other Hide-Chan creations, though, this one shows remarkable restraint. While I sip the soup, Hideto pulls out his cell phone and plays a video of him layering hot pork cheeks and cold noodles into a hollowed-out porcelain skull, then dumping a cocktail shaker filled with chili oil, shrimp oil, truffle oil, and dashi over the top. Other creations include spicy arrabbiata ramen with pancetta and roasted tomatoes, foie gras ramen with orange jam and blueberry miso, and black ramen made with bamboo ash dipped into a mix of miso and onions caramelized for forty-five days.

Kamimura has been whispering all week of a sacred twenty-four-hour ramen spot located on a two-lane highway in Kurume where truckers go for the taste of true ramen. The shop is massive by ramen standards, big enough to fit a few trucks along with those drivers, and in the midafternoon a loose assortment of castaways and road warriors sit slurping their noodles. Near the entrance a thick, sweaty cauldron boils so aggressively that a haze of pork fat hangs over the kitchen like waterfall mist. While few are audacious enough to claim ramen is healthy, tonkotsu enthusiasts love to point out that the collagen in pork bones is great for the skin. "Look at their faces!" says Kamimura. "They're almost seventy years old and not a wrinkle! That's the collagen. Where there is tonkotsu, there is rarely a wrinkle." He's right: the woman wears a faded purple bandana and sad, sunken eyes, but even then she doesn't look a day over fifty. She's stirring a massive cauldron of broth, and I ask her how long it's been simmering for. "Sixty years," she says flatly. This isn't hyperbole, not exactly. Kurume treats tonkotsu like a French country baker treats a sourdough starter- feeding it, regenerating, keeping some small fraction of the original soup alive in perpetuity. Old bones out, new bones in, but the base never changes. The mother of all ramen. Maruboshi Ramen opened in 1958, and you can taste every one of those years in the simple bowl they serve. There is no fancy tare, no double broth, no secret spice or unexpected toppings: just pork bones, noodles, and three generations of constant simmering. The flavor is pig in its purest form, a milky broth with no aromatics or condiments to mitigate the purity of its porcine essence.

We start with a next-generation miso soup: Kyoto's famous sweet white miso whisked with dashi made from lobster shells, with large chunks of tender claw meat and wilted spinach bobbing on the soup's surface. The son takes a cube of topflight Wagyu off the grill, charred on the outside, rare in the center, and swaddles it with green onions and a scoop of melting sea urchin- a surf-and-turf to end all others. The father lays down a gorgeous ceramic plate with a poem painted on its surface. "From the sixteenth century," he tells us, then goes about constructing the dish with his son, piece by piece: First, a chunk of tilefish wrapped around a grilled matsutake mushroom stem. Then a thick triangle of grilled mushroom cap, plus another grilled stem the size of a D-sized battery, topped with mushroom miso. A pickled ginger shoot, a few tender soybeans, and the crowning touch, the tilefish skin, separated from its body and fried into a ripple wave of crunch. The rice course arrives in a small bamboo steamer. The young chef works quickly. He slices curtains of tuna belly from a massive, fat-streaked block, dips it briefly in house-made soy sauce, then lays it on the rice. Over the top he spoons a sauce of seaweed and crushed sesame seeds just as the tuna fat begins to melt into the grains below. A round of tempura comes next: a harvest moon of creamy pumpkin, a gold nugget of blowfish capped with a translucent daikon sauce, and finally a soft, custardy chunk of salmon liver, intensely fatty with a bitter edge, a flavor that I've never tasted before. The last savory course comes in a large ice block carved into the shape of a bowl. Inside, a nest of soba noodles tinted green with powdered matcha floating in a dashi charged with citrus and topped with a false quail egg, the white fashioned from grated daikon.

Accras (Saltfish Fritters) Accras (or acrats) de morue are saltfish fritters—the French island version of Dingis’s saltfish cakes. (Morue is French for cod.) Serve them as an appetizer or a snack. 1⁄2 pound salt cod or other saltfish, preferably boneless 1 lime 1 small onion, grated 1 clove garlic, grated 1⁄4–1⁄2 hot pepper, seeded and finely minced 1 seasoning pepper or 1⁄2 green bell pepper, finely chopped 1 stalk celery, finely chopped 2 green onions, finely chopped 1 tablespoon chopped fresh thyme or 1 teaspoon dried thyme Freshly ground black pepper 1 cup flour 1 teaspoon baking powder 1⁄2 cup water (approx.) Vegetable oil for deep frying 1. The night before you want to serve the fritters, put the fish in cold water to soak. Change water 4 or 5 times, squeezing half the lime into the water during each of the last two soakings. 2. Rinse fish, drain, and remove skin and bones if necessary. In a large bowl, finely shred the fish. (See Tips, below.) Add the onion, garlic, peppers, celery, green onions, thyme, and black pepper, and mix well. 3. Combine flour and baking powder and add to fish mixture. Stir thoroughly. Slowly add enough water to make a thick paste. 4. Heat oil to 350°F in a deep fryer or pot. Drop fish mixture by tablespoons into hot oil and fry until golden on both sides. 5. Drain on paper towels and serve hot with hot pepper sauce. Serves 4 Tips • Some saltfish may not shred easily. If that’s the case, chop it finely in a food processor or by hand with a knife. Alternatively, put it in boiling water, turn off the heat, and allow it to cool in the liquid. It should then flake easily. Whichever method you use, be sure to “chip it up fine,” as Dingis says. • Before proceeding with step 2, try a little piece of the soaked fish. If it is still too salty for your taste, soak it again in fresh water.

Fish at breakfast is sometimes himono (semi-dried fish, intensely flavored and chewy, the Japanese equivalent of a breakfast of kippered herring or smoked salmon) and sometimes a small fillet of rich, well-salted broiled fish. Japanese cooks are expert at cutting and preparing fish with nothing but salt and high heat to produce deep flavor and a variety of textures: a little crispy over here, melting and juicy there. Some of this is technique and some is the result of a turbo-charged supply chain that scoops small, flavorful fish out of the ocean and deposits them on breakfast tables with only the briefest pause at Tsukiji fish market and a salt cure in the kitchen. By now, I've finished my fish and am drinking miso soup. Where you find a bowl of rice, miso shiru is likely lurking somewhere nearby. It is most often just like the soup you've had at the beginning of a sushi meal in the West, with wakame seaweed and bits of tofu, but Iris and I were always excited when our soup bowls were filled with the shells of tiny shijimi clams. Clams and miso are one of those predestined culinary combos- what clams and chorizo are to Spain, clams and miso are to Japan. Shijimi clams are fingernail-sized, and they are eaten for the briny essence they release into the broth, not for what Mario Batali has called "the little bit of snot" in the shell. Miso-clam broth is among the most complex soup bases you'll ever taste, but it comes together in minutes, not the hours of simmering and skimming involved in making European stocks. As Tadashi Ono and Harris Salat explain in their book Japanese Hot Pots, this is because so many fermented Japanese ingredients are, in a sense, already "cooked" through beneficial bacterial and fungal actions. Japanese food has a reputation for crossing the line from subtlety into blandness, but a good miso-clam soup is an umami bomb that begins with dashi made from kombu (kelp) and katsuobushi (bonito flakes) or niboshi (a school of tiny dried sardines), adds rich miso pressed through a strainer for smoothness, and is then enriched with the salty clam essence.

As I tried various restaurants, certain preconceptions came crashing down. I realized not all Japanese food consisted of carefully carved vegetables, sliced fish, and clear soups served on black lacquerware in a highly restrained manner. Tasting okonomiyaki (literally, "cook what you like"), for example, revealed one way the Japanese let their chopsticks fly. Often called "Japanese pizza," okonomiyaki more resembles a pancake filled with chopped vegetables and your choice of meat, chicken, or seafood. The dish evolved in Osaka after World War II, as a thrifty way to cobble together a meal from table scraps. A college classmate living in Kyoto took me to my first okonomiyaki restaurant where, in a casual room swirling with conversation and aromatic smoke, we ordered chicken-shrimp okonomiyaki. A waitress oiled the small griddle in the center of our table, then set down a pitcher filled with a mixture of flour, egg, and grated Japanese mountain yam made all lumpy with chopped cabbage, carrots, scallions, bean sprouts, shrimp, and bits of chicken. When a drip of green tea skated across the surface of the hot meal, we poured out a huge gob of batter. It sputtered and heaved. With a metal spatula and chopsticks, we pushed and nagged the massive pancake until it became firm and golden on both sides. Our Japanese neighbors were doing the same. After cutting the doughy disc into wedges, we buried our portions under a mass of mayonnaise, juicy strands of red pickled ginger, green seaweed powder, smoky fish flakes, and a sweet Worcestershire-flavored sauce. The pancake was crispy on the outside, soft and savory inside- the epitome of Japanese comfort food. Another day, one of Bob's roommates, Theresa, took me to a donburi restaurant, as ubiquitous in Japan as McDonald's are in America. Named after the bowl in which the dish is served, donburi consists of sticky white rice smothered with your choice of meat, vegetables, and other goodies. Theresa recommended the oyako, or "parent and child," donburi, a medley of soft nuggets of chicken and feathery cooked egg heaped over rice, along with chopped scallions and a rich sweet bouillon. Scrumptious, healthy, and prepared in a flash, it redefined the meaning of fast food.

In theory, toppings can include almost anything, but 95 percent of the ramen you consume in Japan will be topped with chashu, Chinese-style roasted pork. In a perfect world, that means luscious slices of marinated belly or shoulder, carefully basted over a low temperature until the fat has rendered and the meat collapses with a hard stare. Beyond the pork, the only other sure bet in a bowl of ramen is negi, thinly sliced green onion, little islands of allium sting in a sea of richness. Pickled bamboo shoots (menma), sheets of nori, bean sprouts, fish cake, raw garlic, and soy-soaked eggs are common constituents, but of course there is a whole world of outlier ingredients that make it into more esoteric bowls, which we'll get into later. While shape and size will vary depending on region and style, ramen noodles all share one thing in common: alkaline salts. Called kansui in Japanese, alkaline salts are what give the noodles a yellow tint and allow them to stand up to the blistering heat of the soup without degrading into a gummy mass. In fact, in the sprawling ecosystem of noodle soups, it may be the alkaline noodle alone that unites the ramen universe: "If it doesn't have kansui, it's not ramen," Kamimura says. Noodles and toppings are paramount in the ramen formula, but the broth is undoubtedly the soul of the bowl, there to unite the disparate tastes and textures at work in the dish. This is where a ramen chef makes his name. Broth can be made from an encyclopedia of flora and fauna: chicken, pork, fish, mushrooms, root vegetables, herbs, spices. Ramen broth isn't about nuance; it's about impact, which is why making most soup involves high heat, long cooking times, and giant heaps of chicken bones, pork bones, or both. Tare is the flavor base that anchors each bowl, that special potion- usually just an ounce or two of concentrated liquid- that bends ramen into one camp or another. In Sapporo, tare is made with miso. In Tokyo, soy sauce takes the lead. At enterprising ramen joints, you'll find tare made with up to two dozen ingredients, an apothecary's stash of dried fish and fungus and esoteric add-ons. The objective of tare is essentially the core objective of Japanese food itself: to pack as much umami as possible into every bite.

There was only one thing in the room that was different. For a moment or so he couldn't see what the one thing that was different was, because it too was covered in a film of disgusting dust. Then his eyes caught it and stopped. It was next to a battered old television on which it was only possible to watch Open University Study Courses, because if it tried to show anything more exciting it would break down. It was a box. Arthur pushed himself up on his elbows and peered at it. It was a grey box, with a kind of dull lustre to it. It was a cubic grey box, just over a foot on a side. It was tied with a single grey ribbon, knotted into a neat bow on the top. He got up, walked over and touched it in surprise. Whatever it was was clearly gift-wrapped, neatly and beautifully, and was waiting for him to open it. Cautiously, he picked it up and carried it back to the bed. He brushed the dust off the top and loosened the ribbon. The top of the box was a lid, with a flap tucked into the body of the box. He untucked it and looked into the box. In it was a glass globe, nestling in fine grey tissue paper. He drew it out, carefully. It wasn't a proper globe because it was open at the bottom, or, as Arthur realized turning it over, at the top, with a thick rim. It was a bowl. A fish bowl. It was made of the most wonderful glass perfectly transparent, yet with an extraordinary silver-grey quality as if crystal and slate had gone into its making. Arthur slowly turned it over and over in his hands. It was one of the most beautiful objects he had ever seen, but he was entirely perplexed by it. He looked into the box, but other than the tissue paper there was nothing. On the outside of the box there was nothing. He turned the bowl round again. It was wonderful. It was exquisite. But it was a fish bowl. He tapped it with his thumbnail and it rang with a deep and glorious chime which was sustained for longer than seemed possible, and when at last it faded seemed not to die away but to drift off into other worlds, as into a deep sea dream. Entranced, Arthur turned it round yet again, and this time the light from the dusty little bedside lamp caught it at a different angle and glittered on some fine abrasions on the fish bowl's surface. He held it up, adjusting the angle to the light, and suddenly saw clearly the finely engraved shapes of words shadowed on the glass. "So Long," they said, "and Thanks ..." And that was all. He blinked, and understood nothing. For fully five more minutes he turned the object round and around, held it to the light at different angles, tapped it for its mesmerizing chime and pondered on the meaning of the shadowy letters but could find none. Finally he stood up, filled the bowl with water from the tap and put it back on the table next to the television. He shook the little Babel fish from his ear and dropped it, wriggling, into the bowl. He wouldn't be needing it any more, except for watching foreign movies

Instead, I poured the water into the Mustang's cup holder and threw The Captain into it. It made a surprisingly clean and waterproof fish bowl.

I popped the tape into the VCR and watched a pretty, middle-aged Italian woman in a flowered housedress and frilly apron hold up various fish and shellfish as she spoke to the tape in rapid, enthusiastic Italian, espousing the virtues of the seafood. She was standing at a battered wooden table in what appeared to be her own kitchen. After she finished showing off the fish, she beheaded and eviscerated them, and then washed them in a chipped white enamel bowl full of water that sat on the table. She put the cleaned pieces on a brightly painted platter, chosen, I'm sure, with less deliberation than our Jonathan would have required. She poured olive oil into a large, slightly dented pot that sat on a small two-burner stove and then in a flash chopped a couple of onions and a good amount of garlic and put them in the oil. While the aromatics became, well, aromatic, she cut up a half dozen fresh tomatoes and a healthy amount of herbs and added them to the pot. She stirred everything around, and before long she had all the fish and shellfish in the pot.

He cleared our bowls and replaced my soup with a plate of creamy chicken with baby potatoes, carrots, and leeks. In front of Riley, he set fillets of red snapper, the fish ornamented with sprigs of rosemary and wedges of lemon.

She couldn't understand why her sister derived no fascination from exploring the tiny living worlds all around them- worlds whose myriad secrets lay ripe for the taking: the flying balls of blood trapped in the bowl; the eyes of the pine floorboards laced with honey; worms picked by her father's hand and impaled on hooks to teach the children a ritual from the days when the river still carried fish. Dana found such things tedious or repulsive, but to Sarat they were the veins and arteries through which life's magic flowed.

In addition to a stack of small white plates, a basket of rolled cloth napkins, and a pile of polished silver forks, there is baked Brie in puff pastry, caviar with blinis (caviar!), a shallow bowl of beautiful purple grapes with a sterling silver pair of scissors placed beside it, poached shrimp with cocktail sauce, and a pale pink mold in the shape of a fish with crackers surrounding it, thin lemon slices and capers on top. "That's not the salmon mousse from the Silver Palate, is it?" I ask. The salmon mousse from the Silver Palate is perhaps my favorite thing to eat in the world. "Oh shoot," she says, and I can all but imagine her stomping her little foot. "You found me out. Is it just so tacky I brought in food from the city? I did press the mousse into the fish mold myself, and I also fixed the Brie. That is, I put some apricot jam on it and wrapped it in Pepperidge Farm puff pastry dough.

So, Rachel, what do you want to get?" he asks, even though we still haven't opened the menu. I throw open the cover and quickly scan my choices. I am hungry for everything. I want to taste their teriyaki sauce and see how they've worked yuzu into a salad dressing and sample their tempura batter. I want to sit up at the sushi bar and chat with the chef about different fillets of raw fish. And I want to be on a date with a guy who wants to hear the chef's answers too. Still, Rob Zuckerman is nice, and he's obviously smart and successful, and he has a full head of brown hair (one cannot discount that full head of hair). So I close my menu and ask him to suggest a few things since he has obviously been here before. "Why don't we start with a bowl of edamame and an order of tatsuta-age chicken?" "I made that this week," I exclaim, excited that he'd pick that off the menu since I was eyeing it. "I'm learning how to cook and it's actually really easy. You just marinate the chicken and then coat it in potato starch before you fry it." I notice that Rob is staring at me as if I've just started reciting the recipe in Japanese. "I can't believe I've ordered it all these years when I could make it at home.

Meanwhile, at a Tokyo 7-Eleven, someone right now is choosing from a variety of bento boxes and rice bowls, delivered that morning and featuring grilled fish, sushi, mapo tofu, tonkatsu, and a dozen other choices. The lunch philosophy at Japanese 7-Eleven? Actual food. On the day we missed out on fresh soba, Iris had a tonkatsu bento, and I chose a couple of rice balls (onigiri), one filled with pickled plum and the other with spicy fish roe. For $1.50, convenience store onigiri encapsulate everything that is great about Japanese food and packaging. Let's start in the middle and work outward, like were building an onion. The core of an onigiri features a flavorful and usually salty filling. This could be an umeboshi (pickled apricot, but usually translated as pickled plum), as sour as a Sour Patch Kid; flaked salmon; or cod or mullet roe. Next is the rice, packed lightly by machine into a perfect triangle. Japanese rice is unusual among staple rices in Asia because it's good at room temperature or a little colder. Sushi or onigiri made with long-grain rice would be a chalky, crumbly disaster. Oishinbo argues that Japan is the only country in Asia that makes rice balls because of the unique properties of Japanese rice. I doubt this. Medium- and short-grain rices are also popular in parts of southern China, and presumably wherever those rices exist, people squish them into a ball to eat later, kind of like I used to do with a fistful of crustless white bread. (Come on, I can't be the only one.) Next comes a layer of cellophane, followed by a layer of nori and another layer of cellophane. The nori is preserved in a transparent shell for the same reason Han Solo was encased in carbonite: to ensure that he would remain crispy until just before eating. (At least, I assume that's what Jabba the Hutt had in mind.) You pull a red strip on the onigiri packaging, both layers of cellophane part, and a ready-to-eat rice ball tumbles into your hand, encased in crispy seaweed. Not everybody finds the convenience store onigiri packaging to be a triumph. "The seaweed isn't just supposed to be crunchy," says Futaki in Oishinbo: The Joy of Rice. "It tastes best when the seaweed gets moist and comes together as one with the rice." Yamaoka agrees. Jerk. Luckily, you'll find a few moist-nori rice balls right next to the crispy ones.