Ceramic Pots Quotes

No, my friend. We are lunatics from the hospital up the highway, psycho-ceramics, the cracked pots of mankind. Would you like me to decipher a Rorschach for you?

We are lunatics from the hospital up the highway, psycho-ceramics, the cracked pots of mankind.

PERFECTION The ceramics teacher announced on opening day that he was dividing the class into two groups. All those on the left side of the studio, he said, would be graded solely on the quantity of work they produced, all those on the right solely on its quality. His procedure was simple: on the final day of class he would bring in his bathroom scales and weigh the work of the “quantity” group: fifty pounds of pots rated an “A”, forty pounds a “B”, and so on. Those being graded on “quality”, however, needed to produce only one pot — albeit a perfect one — to get an “A”. Well, came grading time and a curious fact emerged: the works of highest quality were all produced by the group being graded for quantity. It seems that while the “quantity” group was busily churning out piles of work-and learning from their mistakes — the “quality” group had sat theorizing about perfection, and in the end had little more to show for their efforts than grandiose theories and a pile of dead clay.

Centering, however, is easier said than done. This I learned from a ceramics class I once took. The teacher made throwing a pot look easy, but the thing is, it takes lots of precision and skill. You slam the ball of clay down in the absolute center of the pottery wheel, and with steady hands you push your thumb into the middle of it, spreading it wider a fraction of an inch at a time. But every single time I tried to do it, I only got so far before my pot warped out of balance, and every attempt to fix it just made it worse, until the lip shredded, the sides collapsed, and I was left with what the teacher called “a mystery ashtray,” which got hurled back into the clay bucket. So what happens when your universe begins to get off balance, and you don’t have any experience with bringing it back to center? All you can do is fight a losing battle, waiting for those walls to collapse, and your life to become one huge mystery ashtray.

Beside the mailboxes was a potted rubber plant, the ceramic container littered with popsicle sticks and cigarette butts. The rubber plant looked as worn out as I felt. Seemed like every passerby had heaped abuse on the poor thing. I didn’t know how long it’d been sitting there. I must have walked by it every day, but until I got knifed in the gut, I never noticed it was there.

Is there something uniquely dangerous about beans? I posed this question to plant scientist Ann Filmer, recently retired from the University of California, Davis. In her reply, she included a link for a website she had put together on poisonous garden plants. I was taken aback to note that nine of the 112 plants in Category 1 (Major Toxicity: “may cause serious illness or death”) were currently, or had recently been, growing in our yard: oleander, lantana, night-blooming jasmine, lobelia, rhododendron, azalea, toyon, pittosporum, and hellebore. Another, the houseplant croton, was growing in an orange ceramic pot in my office. In other words, it’s not beans. It’s plants, period. If you can’t flee or maul or fire a gun, evolution may help you out with other, quieter ways to avoid being eaten. Over the millennia, natural selection favors eaters who turn up their proboscis at you, and eventually they all steer clear.

Everything I value about him seems to be physical: the rest is either unknown, disagreeable or ridiculous. I don’t care much for his temperament, which alternates between surliness and gloom, or for the overgrown pots he throws so skillfully on the wheel and then mutilates, cutting holes in them, strangling them, slashing them open. That’s unfair, he never uses a knife, only his fingers, and a lot of the time he only bends them, doubles them over; even so they have a disagreeable mutant quality. Nobody else admires them either: the aspiring housewives he teaches two evenings a week, Pottery and Ceramics 432-A, want to make ashtrays and plates with cheerful daisies on them instead, and the things don’t sell at all in the few handicraft shops that will even stock them. So they accumulate in our already cluttered basement apartment like fragmentary memories or murder victims. I can’t even put flowers in them, the water would run out through the rips. Their only function is to uphold Joe’s unvoiced claim to superior artistic seriousness: every time I sell a poster design or get a new commission he mangles another pot.

Deacon met my glare with an impish grin. “Anyway, did you celebrate Valentine’s Day when you were slumming with the mortals?” I blinked. “Not really. Why?” Aiden snorted and then disappeared into one of the rooms. “Follow me,” Deacon said. “You’re going to love this. I just know it.” I followed him down the dimly-lit corridor that was sparsely decorated. We passed several closed doors and a spiral staircase. Deacon went through an archway and stopped, reaching along the wall. Light flooded the room. It was a typical sunroom, with floor-to-ceiling glass windows, wicker furniture, and colorful plants. Deacon stopped by a small potted plant sitting on a ceramic coffee table. It looked like a miniature pine tree that was missing several limbs. Half the needles were scattered in and around the pot. One red Christmas bulb hung from the very top branch, causing the tree to tilt to the right. “What do you think?” Deacon asked. “Um… well, that’s a really different Christmas tree, but I’m not sure what that has to do with Valentine’s Day.” “It’s sad,” Aiden said, strolling into the room. “It’s actually embarrassing to look at. What kind of tree is it, Deacon?” He beamed. “It’s called a Charlie Brown Christmas Tree.” Aiden rolled his eyes. “Deacon digs this thing out every year. The pine isn’t even real. And he leaves it up from Thanksgiving to Valentine’s Day. Which thank the gods is the day after tomorrow. That means he’ll be taking it down.” I ran my fingers over the plastic needles. “I’ve seen the cartoon.” Deacon sprayed something from an aerosol can. “It’s my MHT tree.” “MHT tree?” I questioned. “Mortal Holiday Tree,” Deacon explained, and smiled. “It covers the three major holidays. During Thanksgiving it gets a brown bulb, a green one for Christmas, and a red one for Valentine’s Day.” “What about New Year’s Eve?” He lowered his chin. “Now, is that really a holiday?” “The mortals think so.” I folded my arms. “But they’re wrong. The New Year is during the summer solstice,” Deacon said. “Their math is completely off, like most of their customs. For example, did you know that Valentine’s Day wasn’t actually about love until Geoffrey Chaucer did his whole courtly love thing in the High Middle Ages?” “You guys are so weird.” I grinned at the brothers. “That we are,” Aiden replied. “Come on, I’ll show you your room.” “Hey Alex,” Deacon called. “We’re making cookies tomorrow, since it’s Valentine’s Eve.” Making cookies on Valentine’s Eve? I didn’t even know if there was such a thing as Valentine’s Eve. I laughed as I followed Aiden out of the room. “You two really are opposites.” “I’m cooler!” Deacon yelled from his Mortal Holiday Tree room

Far, far better to die. One by one the rest of the Zavaedis came to cast their stones for either exoneration, exile, or death. Some spoke to the assembly of their reasons why, others simply placed the stone according to their choice. Unfortunately, his mother’s plea moved many people to pity him. When all the rocks had piled up, the orange mat held the most stones. Exile. Kavio swallowed hard to conceal his reaction. You have murdered me all the same. Father pounded the rain stick. “Kavio, you have been found guilty of the most heinous of crimes—hexcraft. Though you remain a member of the secret societies that initiated you and are therefore spared death, nonetheless you are forbidden to enter the Labyrinth, to take with you anything from the Labyrinth, or to study with any dancing society of the Labyrinth. Do you understand and acknowledge your punishment?” “I understand it all too well,” Kavio said through gritted teeth. “But I will never acknowledge it as just.” “So be it,” Father said tonelessly. “Bring the pot of ashes.” Two warriors hefted a ceramic pot from where it had rested in the shadow of the tall platform. They forced Kavio to lean back while still on his knees. They smeared him with a paste and rubbed in the gray-black powder. His bare chest and clean shaven face disappeared under a scum of grey crud. Humiliation itched, but like poison ivy, he knew it would be worse if he scratched it. He forced himself still as stone while the warriors slapped on more mud. “You must wear mud and ash for the rest of your days,” the Maze Zavaedi concluded. His voice broke. “I am ashamed to call you my son.” Kavio struggled to his feet. The warriors escorting him surrounded him with a hedge of spears. Did they fear him, even now? “You never could just trust me, could you, Father?” Kavio asked. Father’s jaw jutted forward. A muscle moved in his neck. Otherwise, he might have been rock. “Escort my son out of the Labyrinth.

The ceramics teacher announced on opening day that he was dividing the class into two groups. All those on the left side of the studio, he said, would be graded solely on the quantity of work they produced, all those on the right solely on its quality. His procedure was simple: on the final day of class, he would bring in his bathroom scales and weigh the work of the “quantity” group: fifty pounds of pots rated an “A”, forty pounds a “B”, and so on. Those being graded on “quality”, however, needed to produce only one pot – albeit a perfect one – to get an “A”. Well, came grading time and a curious fact emerged: the works of highest quality were all produced by the group being graded for quantity. It seems that while the “quantity” group was busily churning out piles of work – and learning from their mistakes – the “quality” group had sat theorizing about perfection, and in the end, had little more to show for their efforts than grandiose theories and a pile of dead clay.

Then one day, as he was watching one of his workers sift a shovelful of earth, something among the rocks and sand caught his eye, “a flat fragment of some brick-red substance,” which appeared briefly and then disappeared. It looked, thought Suggs, exactly like a piece of pottery. But that couldn’t be—pottery was found throughout Island Southeast Asia and much of Melanesia, but it had never been seen east of Samoa. And yet, there it was: an unmistakable potsherd from the lowest level of the dark band of sand that indicated human habitation. Almost immediately, a second, larger fragment emerged, then a third: a piece of an ancient pot rim with a grooved and rounded lip and marks on the inner and outer surfaces, “from the hand of the potter who had smoothed this vessel in the dim past.” In all, five fragments of pottery were discovered, belonging to just three vessels: a poorly fired, crumbly brown pot with a coarse temper; a well-fired reddish-brown bowl with a flared rim; and a fine-tempered fragment, also reddish brown, with marks that showed it had been polished using some kind of tool. Modest though they were, these ceramic tidbits changed “the complexion of Polynesian prehistory”—though, as was so often the case, it was not immediately clear in precisely what way.

This rich pork flavor, which lands on the tongue with a thump... It's Chinese Dongpo Pork! He seasoned pork belly with a blend of spices and let it marinate thoroughly... ... before finely dicing it and mixing it into the fried rice!" "What? Dongpo Pork prepared this fast?! No way! He didn't have nearly enough time to simmer the pork belly!" "Heh heh. Actually, there's a little trick to that. I simmered it in sparkling water instead of tap water. The carbon dioxide that gives sparkling water its carbonation helps break down the fibers in meat. Using this, you can tenderize a piece of meat in less than half the normal time!" "That isn't the only protein in this dish. I can taste the seafood from an Acqua Pazza too!" "And these green beans... it's the Indian dish Poriyal! Diced green beans and shredded coconut fried in oil with chilies and mustard seeds... it has a wonderfully spicy kick!" "He also used the distinctly French Mirepoix to gently accentuate the sweetness of the vegetables. So many different delicious flavors... ... all clashing and sparking in my mouth! But the biggest key to this dish, and the core of its amazing deliciousness... ... is the rice!" "Hmph. Well, of course it is. The dish is fried rice. If the rice isn't the centerpiece, it isn't a..." "I see. His dish is fried rice while simultaneously being something other than fried rice. A rice lightly fried in butter before being steamed in some variety of soup stock... In other words, it's actually closer to that famous staple from Turkish cuisine- a Pilaf! In fact, it's believed the word "pilaf" actually comes from the Turkish word pilav. To think he built the foundation of his dish on pilaf of all things!" "Heh heh heh! Yep, that's right! Man, I've learned so much since I started going to Totsuki." "Mm, I see! When you finished the dish, you didn't fry it in oil! That's why it still tastes so light, despite the large volume and variety of additional ingredients. I could easily tuck away this entire plate! Still... I'm surprised at how distinct each grain of rice is. If it was in fact steamed in stock, you'd think it'd be mushier." "Ooh, you've got a discerning tongue, sir! See, when I steamed the rice... ... I did it in a Donabe ceramic pot instead of a rice cooker!" Ah! No wonder! A Donabe warms slowly, but once it's hot, it can hold high temperatures for a long time! It heats the rice evenly, holding a steady temperature throughout the steaming process to steam off all excess water. To think he'd apply a technique for sticky rice to a pilaf instead! With Turkish pilaf as his cornerstone... ... he added super-savory Dongpo pork, a Chinese dish... ... whitefish and clams from an Italian Acqua Pazza... ... spicy Indian green bean and red chili Poriyal... ... and for the French component, Mirepoix and Oeuf Mayonnaise as a topping! *Ouef is the French word for "egg."* By combining those five dishes into one, he has created an extremely unique take on fried rice! " "Hold it! Wait one dang minute! After listening to your entire spiel... ... it sounds to me like all he did was mix a bunch of dishes together and call it a day! There's no way that mishmash of a dish could meet the lofty standards of the BLUE! It can't nearly be gourmet enough!" "Oh, but it is. For one, he steamed the pilaf in the broth from the Acqua Pazza... ... creating a solid foundation that ties together the savory elements of all the disparate ingredients! The spiciness of the Poriyal could have destabilized the entire flavor structure... ... but by balancing it out with the mellow body of butter and soy sauce, he turned the Poriyal's sharp bite into a pleasing tingle!

Here, then, pottery has come to stand as a kind of history. Nor, in the case of the Badarians, does this equation seem unreasonable. For each one of their high-shining pots was conceived as a precious visual object, a kind of presentation. That the same few forms were carefully repeated down through generations also shows that each and every one of these precious vessels was part of a consciously maintained tradition. For both their makers and their users, the presentation which the potters offered was that of a mark of identity of a distinctive community, in the same way that today the corpse of someone buried with one of those same pots is known as a ‘Badarian’. It is this identification of a prehistoric community by pottery type and modern place name that provides the basis of a meta-history for late prehistory; a chronology of ceramic type and form which has recently been extended to take in all of Egypt’s history and which has become so all-pervasive that everything excavated within the orbit of the Nile is now dated and defined by the pottery that is its inevitable accompaniment.

We're very excited about our new line of products." John squeezed his wife's hand. "We produce churned butter with sea salt imported from France. And we just started a line of yogurt with cream on top that sold very well at the farmers market." "Try the milk. It's from Ollie, my favorite cow," Jenny interrupted, placing a tray and two glasses on the coffee table. "Did you milk her yourself?" James took a cookie and dipped it in the glass of milk. "My dad says I'm not old enough. Ollie is my best friend. Would you like to meet her?" "I'd love to meet Ollie." James stood up and brushed cookie crumbs from his slacks. "Some of my best friends growing up were cows." James followed Jenny to the barn and Cassie pored over brochures and marketing plans with John and Selma. She liked the design of their butter containers: ceramic pots with black-and-white labels and a cow's hoofprint on the bottom. "And I love the idea of selling your milk in reusable glass bottles." Cassie put down her pen. "We'll have a whole fridge of milk in colored bottles. And we'll put a display of the butter pots next to the bread oven. Customers can sample fresh baked bread with churned butter.

He's on to sashimi now, fanning and curling slices of snapper and fugu into white roses on his cutting board. Before Toshio can plate the slices, Shunichi reaches over and calmly replaces the serving plate his son has chosen with an Edo-era ceramic rectangle more to his liking. Three pieces of tempura- shrimp, eggplant, new onion- emerge hissing and golden from the black iron pot in the corner, and Toshio arranges them on small plates with wedges of Japanese lime. Before the tempura goes out, Shunichi sneaks in a few extra granules of salt while Toshio's not looking. By now Dad is shadowing his son's every move. As Toshio waves a thin plank of sea cucumber eggs over the charcoal fire, his dad leans gently over his shoulder. "Be careful. You don't want to cook it. You just want to release its aroma." Toshio places a fried silverfish spine on a craggy ceramic plate, tucks grated yuzu and sansho flowers into its ribs, then lays a sliver of the dried eggs over the top. The bones shatter like a potato chip, and the sea cucumber detonates in my mouth.

Frida Kahlo once told her class of painting students that there is not one single teacher in the world capable of teaching art. The truth in these words comes to mind in every art class I teach. I believe you can teach technique and theory, but it is up to the individual to do the art part. For the student, this means giving yourself permission to work your way, whatever way that is. Once you accept that permission, you can incorporate foundation skills. This is no longer the Renaissance, and artists are no longer judged (or compensated) solely for realism and representation. There was a time when painting and drawing, coiling a clay pot, or fashioning a bucket to draw water from a well was part of daily life. Now we peck at keyboards, buy Tupperware, and drink from plastic bottles. By not using our hands, we lose our senses. I see this in my students. Proficient on the computer, they click out sophisticated graphics. But they are baffled by and fumble with a brush, frustrated at the time it takes to manually create what they can Photoshop in a flash. I’ve taught art for a quarter of a century and rely on sound lesson plans and discipline as well as creative freedom. Still, during each drawing, painting, and ceramic class I teach, I remind myself how I felt when I scratched out my first drawings, brushed paint on a surface, or learned to center porcelain on a wheel—how it felt to tame and be liberated by the media. And, how it felt to become discouraged by an instructor’s insistence on controlling a pencil, paintbrush, or lump of clay her or his way. For most of my Kuwaiti students, a class taken with me will be their first and last studio arts class. I work at creating a learning environment both structured and free, one that cultivates an atmosphere where one learns to give herself permission to see.

Even today, with no spaces left on the shelves and walls, my octo-genarian mother builds stock off fanciful garden decor: a patch of copper whirligigs among the crepe myrtles, concrete tortoises creeping around the succulents, a ceramic Mediterranean pot that could house a small family.

a glazed ceramic pot with a knitted cozy, full-cream milk, a freshly opened pack of Gorreana Broken Leaf Black Tea and a handful of golden tea buds added for good measure. Let the whole thing sit for six minutes—not five, not seven—and then sieve the tea only as it is poured into fine china.

In their book Art and Fear David Bayles and Ted Orland tell the story of a ceramics teacher who announced on the opening day of class that he was dividing the students into two groups. Half were told that they would be graded on quantity. On the final day of term, the teacher said he would come to class with some scales and weigh the pots they had made. They would get an “A” for 50 lbs of pots, a “B” for 40 lbs, and so on. The other half would be graded on quality. They just had to bring along their one, perfect pot. The results were emphatic: the works of highest quality were all produced by the group graded for quantity. As Bayles and Orland put it: “It seems that while the ‘quantity’ group was busily churning out piles of work—and learning from their mistakes—the ‘quality’ group had sat theorizing about perfection, and in the end had little more to show for their efforts than grandiose theories and a pile of dead clay.

ave you thought of your family photos as a collection? One of my tables held photos of many generations of women in our family. I displayed them in a variety of frames, and the mother-daughter-granddaughter theme pulled the collection together. No one could resist stopping and taking a peek. Group as black-and-white photos or formal or informal in groups. Another idea is to keep the same frames but change the photos for the seasons. If you have a ton of photos, rotate them so you can enjoy your entire collection. And for a designer touch, add a surprise to your grouping-something that doesn't "match," such as that silly picture of your Aunt Lily. The idea is to share yourself with others in a way that is interesting. ant to change your room? Put two lamps of different sizes on a side table with books, a small clock, a pot of flowers, or a ceramic creation. These change the look and provide better lighting. Your coffee table is an ideal spot for a plant or a terracotta pot with candles. For a softer look, add a throw rug made of mohair or wool-something warm and inviting. And I don't know about you, but I like bookshelves in the living room-complete with books, family pictures, and a mixture of the things I collect. I also love to frame favorite scriptures to welcome me as I go from room to room.

The ceramics teacher announced on opening day that he was dividing the class into two groups. All those on the left side of the studio, he said, would be graded solely on the quantity of work they produced, all those on the right solely on its quality. His procedure was simple: on the final day of class he would bring in his bathroom scales and weigh the work of the “quantity” group: 50 pounds of pots rated an “A”, 40 pounds a “B”, and so on. Those being graded on “quality”, however, needed to produce only one pot — albeit a perfect one — to get an “A”. Well, came grading time and a curious fact emerged: the works of highest quality were all produced by the group being graded for quantity. It seems that while the “quantity” group was busily churning out piles of work-and learning from their mistakes — the “quality” group had sat theorizing about perfection, and in the end had little more to show for their efforts than grandiose theories and a pile of dead clay.

My daughter was a woman whose father had disappointed her. She’d made Joe clay pots over the years in art class, an endless ceramics shower in a prolonged effort to win his attention. She already had his love; love was easy. Attention was something else entirely, and how could she ever get that? She wasn’t a sex partner. She wasn’t a colleague. She wasn’t a book. She was a girl at a potter’s wheel, furiously spinning cups and bowls and plates for a father who would never drink out of them, never eat off them, but would occasionally stuff a clump of pencils in one of the mugs or shove one of the plates to the back of his desk.

However, the words died on my tongue when I stepped fully onto the rooftop and saw what he’d planned for our first date. Oh my God. A giant standing TV screen dominated one side of the rooftop, kitty-corner to a table covered with every snack one could think of. There were white ceramic dishes filled with M&M’s, pretzels, gummy bears, and other candies I couldn’t identify at this distance; plates groaning with chips, cookies, and sundry snacks; massive bowls containing six different types of popcorn; and a full charcuterie board. A champagne bucket sat next to tea, coffee, and three bottles of wine (one red, one white, one rosé). Beneath the table, a glass-fronted minifridge boasted an assortment of water, juice, and soda. Area rugs and potted plants scattered across the floor, lending the scene a cozy feel. Strategically placed candles and the canopy of lights overhead illuminated the rooftop in lieu of the setting sun while portable heat lamps warded off the cold. However, the real star of the show was the giant mattress laid out in front of the screen. Piled high with pillows, cushions, and cashmere blankets, it looked so cozy I wanted to dive right into the middle and never get up. The entire setup was so cheesy, it looked like something out of a rom-com. And I loved it.

All my life, I’d thought of having kids with the seriousness that I’d thought of taking a ceramics class. When I finally took one and came home with three beautifully glazed but warped bowls, my husband said: “You’re not going to turn into a lady who makes pots, are you?” I was not. I kept the bowls and display them proudly—one holds fruit, one batteries, one loose change—but I had no interest in making anything else.

Wilhelm Rau has compiled the Vedic references to pottery from the oldest strands of the Black Yajurveda and found that although the potter’s wheel was known, it was hand made pottery that was prescribed for the ritual sphere. This suggests to him that “the more primitive technique persisted in the ritual sphere while in secular life more advanced methods of potting had already been adopted.” Should this assumption be correct, “we can pin down the transition from hand-made to wheel-thrown pottery, as far as the Aryans are concerned, (down) to the earlier phases of Vedic times” (Rau 1974, 141).12 Of relevance to this line of argument is a verse from the Taittīrlya Samhitā (4, 5, 4), stating that what is turned on the wheel is Āsuric and what is made without the wheel is godly (e.g., Kuzmina 1983, 21). According to Rau’s philological investigations, the characteristic of this oldest pottery was that it was made of clay mixed with various materials, some of them organic, resulting in porous pots. These pots were poorly-fired and ranged in size from about 0.24 m to 1.0 m in diameter at the opening and from 0.24 m to 0.40 m in height. Furthermore, they showed a lack of plastic decoration and were unpainted (Rau 1974, 142). Of further relevance is the fact that firing was accomplished by the covered baking method between two layers of raw bricks in a simple open pit. In later times this was done with materials producing red color. Rau advises excavators to be “on the lookout for ceramics of this description among their finds” (142).

Last Week Dara had asked Claire to bring him a houseplant. She'd come back with a tiny little pothos vine in a ceramic pot. Dara had positioned it near the window, and he was embarrassed to admit he'd taken to talking with the plant, one-sided conversations to fill the empty hours.

I followed her through the house into a surprisingly large kitchen with yellow and white checkered curtains hanging in the windows. A green ceramic frog with a dish scrubber in his mouth sat on the side of the sink and a cheery red tea kettle was on the spotless white stove. All together it looked like a completely normal kitchen—there was nothing witchy about it at all except for a huge black pot hanging from the rack over the oven. Gwendolyn saw me eyeing it and grinned. “That’s Grams’ gumbo pot. She always says you can’t make good authentic roux in anything but cast iron.” “Oh,” I said. “I thought—” “That we were hunched over the cauldron cackling and brewing spells?” She arched an eyebrow at me. “Sorry,” I said. “I guess there’s a lot about witches I don’t know.” “That’s okay—apparently there’s a lot about vamps I don’t know,” she said, opening a spotless white refrigerator. She brought out a mason jar and held it up.

Nearby, towers of bottled water were staged near the runway awaiting distribution. Sure, some bottled water is necessary after a natural disaster, but in general I think it’s one of the least sustainable methods of addressing a water crisis. Once that water was consumed, the bottles simply became mountains of litter covering the already trashed streets of the capital. Without enough bottled water to go around, many earthquake survivors resorted to drinking water from the street gutters. More than one million folks were being exposed to deadly waterborne diseases such as cholera and typhoid. Reusable water filters were what the Haitians needed most. That was exactly where I chose to direct Wine to Water’s response. We partnered with FilterPure, a nonprofit organization out of the Dominican Republic that builds water filters. The filters were ceramic, simple things made much like clay flowerpots. Before the firing process, the clay is mixed with sawdust and a small amount of fine-grain silver. The sawdust burns in the kiln, leaving tiny porous holes for the water to trickle through. The silver mixed throughout kills any bacteria making it through the tiny pores. These pot filters, sitting inside a simple five-gallon plastic bucket, are capable of filtering water for a family of eight to ten people for up to five years. Some folks from FilterPure picked me up at the airport in a truck loaded with filters. Together we started handing them out throughout the city, in refugee camps and at orphanages in the area.

This restaurant had a thing and that thing was plants. Vines cascaded from terra-cotta pots; succulents topped reclaimed wood shelves; miniature white orchids sprouted from handmade ceramic mugs centered on the tables. It was where Pinterest came to vomit, trading in the sort of motif that seemed so effortless and natural that it had to be attainable, only it absolutely was not and Sloane lived for it.

Moving slowly and carefully to avoid bruising the fruit, I combined handfuls of plump raspberries and deep purple blueberries, a healthy cup of sugar, and some spring water into a heavy saucepan. It climbed slowly to a gentle boil while I stirred and folded it carefully onto itself. I lowered the heat and let it form a syrup before adding another handful of raspberries and a splash of raspberry brandy. Avery came back to hover as I was finishing the dish. I puddled the warm berries into the bottom of a bowl and added a scoop of my housemade vanilla bean ice cream. Nestling the bowl onto a white rectangular dish, I added two ceramic shot glasses and poured in the final piece. "What is that?" Tova asked, her voice hushed. "Something I've been tinkering with. It's kind of a hot chocolate meets a pot de crème. Silky, espresso-laced chocolate sauce with a touch of cream and a pinch of freshly grated cinnamon. They can sip it, like a mini-cocktail. I think it will go well with the berries.