Chef Appreciation Quotes

I'm often asked how I define "success." It's an overused term, but I fundamentally view this elusive beast as a combination of two things - achievement and appreciation. One isn't enough: Achievement without appreciation makes you ambitious but miserable. Appreciation without achievement makes you unambitious but happy.

A writer sets out to write science fiction but isn’t familiar with the genre, hasn’t read what’s been written. This is a fairly common situation, because science fiction is known to sell well but, as a subliterary genre, is not supposed to be worth study—what’s to learn? It doesn’t occur to the novice that a genre is a genre because it has a field and focus of its own; its appropriate and particular tools, rules, and techniques for handling the material; its traditions; and its experienced, appreciative readers—that it is, in fact, a literature. Ignoring all this, our novice is just about to reinvent the wheel, the space ship, the space alien, and the mad scientist, with cries of innocent wonder. The cries will not be echoed by the readers. Readers familiar with that genre have met the space ship, the alien, and the mad scientist before. They know more about them than the writer does. In the same way, critics who set out to talk about a fantasy novel without having read any fantasy since they were eight, and in ignorance of the history and extensive theory of fantasy literature, will make fools of themselves because they don’t know how to read the book. They have no contextual information to tell them what its tradition is, where it’s coming from, what it’s trying to do, what it does. This was liberally proved when the first Harry Potter book came out and a lot of literary reviewers ran around shrieking about the incredible originality of the book. This originality was an artifact of the reviewers’ blank ignorance of its genres (children’s fantasy and the British boarding-school story), plus the fact that they hadn’t read a fantasy since they were eight. It was pitiful. It was like watching some TV gourmet chef eat a piece of buttered toast and squeal, “But this is delicious! Unheard of! Where has it been all my life?

No hysterical fits, no tantrums, just meditation, absorption, relaxation. This was playfulness in the company of his very own appreciative person. So I left them to it, not wanting to shame chef out of his imagination, for there was an awful lot of shaming for playing, shaming for letting your guard down that went on in this place.

Hence we may, with proper precautions, regard a certain humility as the overall characteristic of medieval art. Of the art; not always of the artists. Self-esteem may arise within any occupation at any period. A chef, a surgeon, or a scholar, may be proud, even to arrogance, of his skill; but his skill is confessedly the means to an end beyond itself, and the status of the skill depends wholly on the dignity or necessity of that end. I think it was then like that with all the arts. Literature exists to teach what is useful, to honour what deserves honour, to appreciate what is delightful. The useful, honourable, and delightful things are superior to it: it exists for their sake; its own use, honour, or delightfulness is derivative from theirs. In that sense the art is humble even when the artists are proud; proud of their proficiency in the art, but not making for the art itself the high Renaissance or Romantic claims. Perhaps they might not all have fully agreed with the statement that poetry is infima inter omnes doctrinas.17 But it awoke no such hurricane of protest as it would awake today. In this great change something has been won and something lost. I take it to be part and parcel of the same great process of Internalisation18 which has turned genius from an attendant daemon into a quality of the mind. Always, century by century, item after item is transferred from the object’s side of the account to the subject’s. And now, in some extreme forms of Behaviourism, the subject himself is discounted as merely subjective; we only think that we think. Having eaten up everything else, he eats himself up too. And where we ‘go from that’ is a dark question.

A sous-chef with dreams of her own restaurant empire may have mastered the art of classical French sauce making, but not yet have developed the signature cooking style she imagines as the cornerstone of her own chain of restaurants. She gauges her progress not only by whether she is moving toward her aspirations, but also by her improving skills. Our chef may not yet have the stature of Chef Auguste Escoffier or Emeril Lagasse, but she can remember a time when she could not name the five French mother sauces, let alone execute them. She's made progress. Appreciating the skills she has developed is a marker along the path toward her culinary aspirations. The sense of accomplishment that accompanies improved skills is one of the rewards we reap when we dedicate ourselves to mastery.

Two blind men waited at the end of an era, contemplating beauty. They sat atop the world’s highest cliff, overlooking the land and seeing nothing.’ ‘Huh?’ She looked to him. ‘“Can beauty be taken from a man?” the first asked the second. ‘“It was taken from me,” the second replied. “For I cannot remember it.” This man was blinded in a childhood accident. “I pray to the God Beyond each night to restore my sight, so that I may find beauty again.” ‘“Is beauty something one must see, then?” the first asked. ‘“Of course. That is its nature. How can you appreciate a work of art without seeing it?” ‘“I can hear a work of music,” the first said. ‘“Very well, you can hear some kinds of beauty – but you cannot know full beauty without sight. You can know only a small portion of beauty.” ‘“A sculpture,” the first said. “Can I not feel its curves and slopes, the touch of the chisel that transformed common rock into uncommon wonder?” ‘“I suppose,” said the second, “that you can know the beauty of a sculpture.” ‘“And what of the beauty of food? Is it not a work of art when a chef crafts a masterpiece to delight the tastes?” ‘“I suppose,” said the second, “that you can know the beauty of a chef’s art.” ‘“And what of the beauty of a woman,” the first said. “Can I not know her beauty in the softness of her caress, the kindness of her voice, the keenness of her mind as she reads philosophy to me? Can I not know this beauty? Can I not know most kinds of beauty, even without my eyes?” ‘“Very well,” said the second. “But what if your ears were removed, your hearing taken away? Your tongue taken out, your mouth forced shut, your sense of smell destroyed? What if your skin were burned so that you could no longer feel? What if all that remained to you was pain? You could not know beauty then. It can be taken from a man.

The first thing I see when I get home from the hospital after midnight is the glint of the stainless steel oven in the semidarkness of the kitchen. The air smells sweet and eggy. I walk to the oven and pull open the door. Six white ramekins hold six perfect-looking crème caramels, and I wonder if they're safe to eat. It's been more than three hours since I turned off the oven. I remember a Swedish chef telling me years ago when I worked as a prep cook that unrefrigerated food will keep for four hours, but he also cleaned his fingernails with the tip of his chef's knife, so who knows. I pick up one of the dishes and sniff it. It smells fine. Without taking off my coat, I dig into a drawer for a spoon and eat the crème caramel in five seconds flat. The texture is silky and it tastes sweet and custardy, if not perfect. I pull the rest of the dishes from the oven to put in the fridge, telling myself one was enough. An extra treat at the end of a hard day. I've put three ramekins into the refrigerator when I can't stand it and dig into the second, eating more slowly this time, slipping out of my coat, savoring the custard on my tongue. Two is definitely enough, I'm thinking as I lick the inside of the cup, two is perfect. I'm picking up the remaining cup to put in the fridge but I turn instead, head for the bedroom with ramekin in hand. At least wait until you've gotten undressed and in bed, I told myself, surely you can wait. I make it as far as the doorway and I'm digging my spoon into a third caramel. Don't beat yourself up, I think when I'm done, it's just fake eggs and skim milk, a little sugar. It's for Cooking for Life, for God's sake, it can't be bad for you, but I feel bad somehow as I finish off the third ramekin. Okay, I'm satisfied now, I tell myself, and I can go to sleep. I get undressed , pull on my T-shirt and flannel boxers, head for the bathroom to brush my teeth, but suddenly I'm taking a detour to the kitchen, opening the fridge, staring at the three remaining custards. If I eat just one more, there'll be two left and I can take them to share with Benny tomorrow. That won't be so bad. I pick up the fourth ramekin, close the fridge, and eat as slowly as I can to truly appreciate the flavor. Restaurant desserts are easily as big as four of these little things.

I have been all over the world cooking and eating and training under extraordinary chefs. And the two food guys I would most like to go on a road trip with are Anthony Bourdain and Michael Ruhlmann, both of whom I have met, and who are genuinely awesome guys, hysterically funny and easy to be with. But as much as I want to be the Batgirl in that trio, I fear that I would be woefully unprepared. Because an essential part of the food experience that those two enjoy the most is stuff that, quite frankly, would make me ralph. I don't feel overly bad about the offal thing. After all, variety meats seem to be the one area that people can get a pass on. With the possible exception of foie gras, which I wish like heckfire I liked, but I simply cannot get behind it, and nothing is worse than the look on a fellow foodie's face when you pass on the pate. I do love tongue, and off cuts like oxtails and cheeks, but please, no innards. Blue or overly stinky cheeses, cannot do it. Not a fan of raw tomatoes or tomato juice- again I can eat them, but choose not to if I can help it. Ditto, raw onions of every variety (pickled is fine, and I cannot get enough of them cooked), but I bonded with Scott Conant at the James Beard Awards dinner, when we both went on a rant about the evils of raw onion. I know he is often sort of douchey on television, but he was nice to me, very funny, and the man makes the best freaking spaghetti in tomato sauce on the planet. I have issues with bell peppers. Green, red, yellow, white, purple, orange. Roasted or raw. Idk. If I eat them raw I burp them up for days, and cooked they smell to me like old armpit. I have an appreciation for many of the other pepper varieties, and cook with them, but the bell pepper? Not my friend. Spicy isn't so much a preference as a physical necessity. In addition to my chronic and severe gastric reflux, I also have no gallbladder. When my gallbladder and I divorced several years ago, it got custody of anything spicier than my own fairly mild chili, Emily's sesame noodles, and that plastic Velveeta-Ro-Tel dip that I probably shouldn't admit to liking. I'm allowed very occasional visitation rights, but only at my own risk. I like a gentle back-of-the-throat heat to things, but I'm never going to meet you for all-you-can-eat buffalo wings. Mayonnaise squicks me out, except as an ingredient in other things. Avocado's bland oiliness, okra's slickery slime, and don't even get me started on runny eggs. I know. It's mortifying.

Yuan Mei, one of China’s great gourmets, once asked his cook why, since he was so gifted and could produce great delicacies from even the most common ingredients, he chose to stay in their relatively modest household. The cook said, “To find an employer who appreciates one is not easy. But to find one who understands anything about cookery is harder still. So much imagination and hard thinking go into the making of every dish that one may well say I serve up along with it my whole mind and heart.” —LIANG WEI, The Last Chinese Chef

We've come to learn that the difference isn't in the quality of the produce, but the cultural history of appreciating cuisine.

Is beauty something one must see, then?’ the first asked. “‘Of course. That is its nature. How can you appreciate a work of art without seeing it?’ “‘I can hear a work of music,’ the first said. “‘Very well, you can hear some kinds of beauty—but you cannot know full beauty without sight. You can know only a small portion of beauty.’ “‘A sculpture,’ the first said. ‘Can I not feel its curves and slopes, the touch of the chisel that transformed common rock into uncommon wonder?’ “‘I suppose,’ said the second, ‘that you can know the beauty of a sculpture.’ “‘And what of the beauty of food? Is it not a work of art when a chef crafts a masterpiece to delight the tastes?

Same time as every day, Fyl..." she fussed, the rest of the bridge crew seeming to hold their breaths. "TWELVE THIRTY!" came the chorus. The next hour dragged by, in about the same way as the hour before that. At twelve twenty-five, Commander Ortez found himself stepping out of an elevator into an equally mundane grey steel corridor on his way to the mess hall. Turning a corner, he met with a stream of crewmen milling around between shifts. Some off-duty personnel were lounging around in civvies, which consisted mostly of re-revamped 60's hippy fashions. Of all the places on the ship, the mess was the most spacious, (i.e.: it was a big mess.) The command officer’s balcony overhung the rest of the crew dining area. Ortez sat at his usual place, wincing as he remembered to get someone to fix the springs in his chair. An ensign, 3rd class dressed in chef’s white, served him with a plate of what either ended up feeding the chefs latest pet - or strangling it. Marnetti, Barnum and the sciences officer Commander Jaris Skotchdopole filed in, not necessarily in that order, and found seats. After a few bites, Marnetti -- who was the first officer and navigator, put up a hand and signalled a waiter. The lad approached fearfully, appreciating the highlight of his day.

All those songs I used to pretend to understand, all the angsty, heartbroken songs I had heard all my life, they suddenly made so much more sense. "Well, then she probably needs a giant coffee, a huge box of your creations, and some time to nurse her feelings in private, don't you think?" Brantley Dane, local hero, saves girl from sure death brought on by sheer mortification. That'd be his headline. "Come on, sweetheart," he said, moving behind me, casually touching my hip in the process, and going behind counter. "What's your poison? Judging by the situation, I am thinking something cold, mocha or caramel filled and absolutely towering with full fat whipped cream." That was exactly what I wanted. But, broken heart aside, I knew I couldn't let myself drown in sweets. Gaining twenty pounds wasn't going to help anything. There was absolutely no enthusiasm in my voice when I said, "Ah, actually, can I have a large black coffee with one sugar please?" "Not that I'm not turned on as all fuck by a woman who appreciates black coffee," he started, making me jerk back suddenly at the bluntness of that comment and the dose of profanity I wasn't accustomed to hearing in my sleepy hometown. "But if you're only one day into a break-up, you're allowed to have some full fat chocolate concoction to indulge a bit. I promise from here on out I won't make you anything even half as food-gasm-ing as this." He leaned across the counter, getting close enough that I could see golden flecks in his warm brown eyes. "Honey, not even if you beg," he added and, if I wasn't mistaken, there was absolutely some kind of sexually-charged edge to his words. "Say yes," he added, lips tipping up at one corner. "Alright, yes," I agreed, knowing I would love every last drop of whatever he made me and likely punish myself with an extra long run for it too. "Good girl," he said as he turned away. And there was not, was absolutely not some weird fluttering feeling in my belly at that. Nope. That would be completely insane. "Okay, I got you one of everything!" my mother said, coming up beside me and pressing the box into my hands. She even tied it with her signature (and expensive, something I had tried to talk her out of many times over the years when she was struggling financially) satin bow. I smiled at her, knowing that sometimes, there was nothing liked baked goods from your mother after a hard day. I was just lucky enough to have a mother who was a pastry chef. "Thanks, Mom," I said, the words heavy. I wasn't just thanking her for the sweets, but for letting me come home, for not asking questions, for not making it seem like even the slightest inconvenience. She gave me a smile that said she knew exactly what I meant. "You have nothing to thank me for." She meant that too. Coming from a family that, when they found out she was knocked up as a teen, had kicked her out and disowned her, she made it clear all my life that she was always there, no matter what I did with my life, no matter how high I soared, or how low I crashed. Her arms, her heart, and her door were always open for me. "Alright. A large mocha frappe with full fat milk, full fat whipped cream, and both a mocha and caramel drizzle. It's practically dessert masked as coffee," Brantley said, making my attention snap to where he was pushing what was an obnoxiously large frappe with whipped cream that was towering out of the dome that the pink and sage straw stuck out of. "Don't even think about it, sweetheart," he said, shaking his head as I reached for my wallet. "Thank you," I smiled, and found that it was a genuine one as I reached for it and, in a move that was maybe not brilliant on my part, took a sip. And proceeded to let out an almost porn-star worthy groan of pure, delicious pleasure. Judging by the way Brant's smile went a little wicked, his thoughts ran along the same lines as well.

Y'know, suddenly I'm in the mood for salmon roe." "Huh? W-where did that come from?" "C'mon, ain't they similar?" "Not in the least! Sheesh! Do you not have any appreciation for the beauty of the scenery around us? 'Bread is better than the song of birds,' indeed. Goodness gracious." "Hey! That's not what I meant. I do think the scenery is pretty. It's just that noshing on these salmon-skin crisps made me think of it, that's all." "Oh goodness. The strange places your mind goes. *giggle*" That's weird. Before, all it took was the mere mention of Yukihira's name or a glimpse of his face to utterly ruin my mood. Realizing that he's the son of Chef Saiba, the one man I admire most, felt as if the precious memories of my youth were suddenly tarnished. Yet here I am, sitting and chatting with him in this small cabin... And honestly... ... it isn't all that bad.

Why couldn’t Captain Smith and his officers see the difference? Certainly they knew the importance of wireless in an emergency. The help summoned by the sinking liner Republic in 1909 proved that. But no one on the Titanic’s bridge seemed to appreciate the value of wireless as a constant, continuous navigational aid. Basically, they still thought of it as a novelty—something that lay outside the normal running of the ship. It was a mindset tellingly illustrated by the way the wireless operators were carried on the roster of the crew. Phillips and Bride were not listed with the Deck Department; they came under the Victualling Department—like stewards and pastry chefs.

You're making tarte à la bouille as an angel food cake?" Ah. He got it. And, if I wasn't mistaken, he was impressed. Or maybe he was just confused. I felt pretty gratified, either way. I flipped my wrist to remove his hand and then went about my business. "Have you read To Kill a Mockingbird, Chef Cavanagh?" "Yes. Of course I have." "So you remember when Heck Tate told Atticus that they should keep the secret, about Boo Radley saving the kids. He told him that if the people of the town found out, they'd all use their appreciation as an excuse to meddle in Boo's life." I finished pouring my mix into the pan and then looked at him- probably a little more pleased with myself than good manners allowed for. "They'd all be showing up at Boo's door with angel food cake.

are a lazy, undisciplined and, worst of all, high-maintenance lot, annoyingly opinionated, possessed of egos requiring constant stroking and tune-ups, and, as members of a privileged and wealthy population, unused to the kind of 'disrespect' a busy chef is inclined to dish out. No one understands and appreciates the American Dream of hard work leading to material rewards better than a non-American. The Ecuadorian, Mexican, Dominican and Salvadorian cooks I've worked with over the years make most CIA-educated white boys look like clumsy, sniveling little punks.

I started with a wedge of triple-cream cheese because that seemed like a rich and elegant base that would need little embellishment. I cut a large slice of cheese and stripped off the skin, leaving only the voluptuous center, which I set into a clean bowl. I had noticed that wine went into the best dishes, so I added enough claret to thin the cheese to a mixable consistency. As I beat it together, I watched the pure white turn a murky shade of rose, and the sharp smell of wine overpowered the milky fragrance of cheese. Although such a dramatic change in color and aroma was unexpected, I decided it was not a fatal blow to the plan. The chef had once said that the cornerstones of culinary art were butter and garlic, so I cheerfully whipped in a knob of softened butter and pressed a large clove of garlic. I whisked it all until it was smooth, tested it with a fingertip, and judged it to be not bad. But not bad wasn't good enough for a grand gesture. I stood before the brick oven and pondered what might elevate this concoction from an oddly flavored cheese to something that would make the chef raise his eyebrows with appreciation. The brick oven reminded me of Enrico, who often bragged that his lightly sweetened breads and confections were everyone's favorite. He once said, "Meals are only an excuse to get to the dessert." I wasn't sure that was true, but I had noticed that people usually greeted the dessert course with smiles, even though they had already eaten their fill. Confections always found favor, and so I poured a golden stream of honey into my mélange. After it was well blended, it was rather pretty- smooth and thick, luscious looking, like pudding or custard.

The halo effect depends not on the ingredients themselves but on the eater, or more specifically, on the degree of control the eater has over his or her food. Before the 1800s, sugar itself separated rich from poor; now it is your state of mind while enjoying the sugar that separates the haves from the have-nots. For instance, Drewnowski’s absolute favorite dessert is a slice of coconut cream pie—not just any coconut cream pie, but the signature dessert by Seattle’s resident celebrity chef Tom Douglas. (“You have to share it,” he warns. “There’s a lot of sugar and cream in it, but it’s delicious.”) So he and his dinner companion savor the slice of pie, which happens to cost $8 (or the price of about two bags of Chips Ahoy! cookies). Nice sweets with a big price tag are meant to be appreciated like that. You eat a little at a time. Sensory-specific satiety, as we saw earlier, may compel you to eat more than you need, but chances are, if you’re making at least middle-class wages, you’re not wolfing it down to ease hunger. Nor are you eating sweets all the time. Sometimes you might have fruit; sometimes you might have a cappuccino. If you’re making at least middle-class wages, then you have the freedom and the money to decide how much to eat and when to eat it. That’s how even down-market foods can sometimes be elite in the right context. Lollipops at fashion shows and Coca-Cola-infused sauces in trendy restaurants aren’t demonized because the people who consume such items in those contexts have the power to choose something else entirely if they feel like it.