Chefs Food Quotes

Some people who are obsessed with food become gourmet chefs. Others become eating disorders.

All worries are less with wine.

I lurched away from the table after a few hours feeling like Elvis in Vegas - fat, drugged, and completely out of it.

Hunger gives flavour to the food.

Cooking is about respect. Respect for the food, respect for your space, respect for your colleqgues and respect for your diners. The chef who ignores one of those is not a chef at all.

Some people when they see cheese, chocolate or cake they don't think of calories.

The chef turned back to the housekeeper. “Why is there doubt about the relations between Monsieur and Madame Rutledge?” The sheets,” she said succinctly. Jake nearly choked on his pastry. “You have the housemaids spying on them?” he asked around a mouthful of custard and cream. Not at all,” the housekeeper said defensively. “It’s only that we have vigilant maids who tell me everything. And even if they didn’t, one hardly needs great powers of observation to see that they do not behave like a married couple.” The chef looked deeply concerned. “You think there’s a problem with his carrot?” Watercress, carrot—is everything food to you?” Jake demanded. The chef shrugged. “Oui.” Well,” Jake said testily, “there is a string of Rutledge’s past mistresses who would undoubtedly testify there is nothing wrong with his carrot.” Alors, he is a virile man . . . she is a beautiful woman . . . why are they not making salad together?

Great chefs know it's the appearance of food that counts...but great eaters know its the amount of food that counts

Nobody believes in racial profiling until they get a red-haired sushi chef with a southern accent.

I don't believe in twisting yourself into knots of excuses and explanations over the food you make. When one's hostess starts in with self-deprecations such as "Oh, I don't know how to cook...," or "Poor little me...," or "This may taste awful...," it is so dreadful to have to reassure her that everything is delicious and fine, whether it is or not. Besides, such admissions only draw attention to one's shortcomings (or self-perceived shortcomings), and make the other person think, "Yes, you're right, this really is an awful meal!" Maybe the cat has fallen into the stew, or the lettuce has frozen, or the cake has collapsed -- eh bien, tant pis! Usually one's cooking is better than one thinks it is. And if the food is truly vile, as my ersatz eggs Florentine surely were, then the cook must simply grit her teeth and bear it with a smile -- and learn from her mistakes.

So the saying is true? Money doesn’t buy happiness?” “When you’re poor, you have things to reach for. Goals that excite you. Maybe it’s a dream house or a vacation or even a meal at a restaurant on a Friday night. But the more money you have, the harder it is to find things to be excited about. You already have your dream house. You can go anywhere in the world anytime you want to. You could hire a private chef to make you every food you ever crave. People who aren’t rich think all those things are fulfilling, but they aren’t. You can fill your life with nice things, but nice things don’t fill the holes in your soul.

The plum-colored night sky was shifting to pink to make room for the day, which looked as though it might turn out “glorious and whimsical,” as the Key West Citizen had promised.

Prior Preparation Prevents Poor Performance, as they say in the army - and I always, always want to be ready. Just like Bigfoot.

IMBECILE!" the chef shouted. "Next time why don't you just put your whole HAND in the food, hey? Yes, your whole hand, or maybe your FACE! I arrange the food on plates with care, are you understanding what I am telling you? It is part of the art form of cooking, yes? A lovely plate of food is a thing of beauty! And then you, NUMBSKULL, come along and put your fat greasy FINGERS all over my plate, and SHAKE the plate, and move my food all around the plate until it looks like pigs' vomit!" "Chef Vlad!" I cried out in delight.

I made you something to eat if you’re hungry.” Leigh peered at the steaming pile on the plate on the tray, then asked uncertainly. “What is it?” “Prime cuts in gravy.” “Prime cuts in gravy?” she echoed slowly. “Did you cook it?” "I opened the can and heated it up in the microwave for one minute. Someone named Alpo cooked it.” Leigh stiffened, her head shooting up, eyes wide with disbelief. “Alpo?” He shrugged. “That’s what the can said.” Leigh shook her head with bewilderment. “You can use a microwave, but not a phone, and don’t know that Alpo isn’t the chef, but the brand name for dog food?” There was something seriously wrong here.

Why don't you like the foods I like?" he asks sometimes. "Why don't you like the foods I make?" I answer.

I stock up on fancy food because I’m also planning on morphing into a master chef and actually cooking instead of just eating nachos for dinner every night.

Many a death was precipitated by the food, the job, or the medication whose main function was to postpone it.

This is the crepe. This is the cider. This is how we live and eat.

Cooking is an art and also science.

The food that comes in Tuesday is fresh, the station prep is new, and the chef is well rested after a Sunday or a Monday off. It's the real start of the new week, when you've got the goodwill of the kitchen on your side. Fridays and Saturdays, the food is fresh, but it's busy, so the chef and cooks can't pay as much attention to your food as they — and you — might like.

Robert, what are you doing? I'm cooking.’ ‘I like to thank the chef for the excellent food.’ ‘But surely that is done at the end of the meal.’ ‘What a good idea, I'll thank you later … as it should be done.

Great food needed more than chefs; it needed gourmet diners.

Notice how each particle moves. Notice how everyone has just arrived here from a journey. Notice how each wants a different food. Notice how the stars vanish as the sun comes up, and how all streams stream toward the ocean. Look at the chefs preparing special plates for everyone, according to what they need. Look at this cup that can hold the ocean. Look at those who see the face. Look through Shams’ eyes into the Water that is entirely jewels.

Danny shook his head, amusement relaxing the tense line of his mouth. 'Is that all you think about?' 'No! Sometimes I think about food. And beer. The color cyan. I'm a complex and multilayered flower, Danny.

We often say we're fine even if we don't feel good. We praise the chef for lousy food. We keep our real opinion in perfect disguise. Cause being polite often requires lies.

Escoffier, whose philosophy was “Good food is the basis of true happiness.

A good spice often deceives us into thinking that someone is a good cook.

All food is just a vehicle for transporting butter to my mouth

I enjoy working for my heat. I don't just press a button or twist a thermostat dial. I use the big crosscut saw and the axe, and while I'm getting my heat supply I'm working up an appetite that makes simple food just as appealing as anything a French chef could create.

When aspiring chefs ask me for career advice, I offer a few tips: Cook every single day. Taste everything thoughtfully. Go to the farmers’ market and familiarize yourself with each season’s produce. Read everything Paula Wolfert, James Beard, Marcella Hazan, and Jane Grigson have written about food. Write a letter to your favorite restaurant professing your love and beg for an apprenticeship. Skip culinary school; spend a fraction of the cost of tuition traveling the world instead.

Seafood Newburg is a dish with a history. Well, of course MOST dishes have some kind of “history,” but this particular dish is sort of a history celebrity. It all began around 1876 when an “epicurean” named Ben Wenberg (or Wenburg) demonstrated the dish at Delmonico’s restaurant in New York City. After some “tweaking” by the Delmonico chef, Charles Ranhofer, the dish was added to the menu under the name “Lobster Wenburg.” It proved to be very popular. But sometime later, Wenburg got involved in a dispute with the Delmonico’s management and the dish was subsequently removed from the menu. But customers still requested it. So, the name was changed to “Lobster Newburg” and reappeared to the delight of restaurant customers. So, that’s the story. Probably. One can never be sure about these origin myths.

Without pushing an agenda (okay, maybe I've pushed a bit), I've spread a little veganism wherever I've gone. I've become friends with chefs at the meatiest restaurants you can imagine, and shown them a few things that opened their minds (and their menus) to vegan options. It's easy to be convincing when the food is delicious. It doesn't feel like a sacrifice--it feels like a step up.

We are, after all, citizens of the world - a world filled with bacteria, some friendly, some not so friendly. Do we really want to travel in hermetically sealed popemobiles through the rural provinces of France, Mexico and the Far East, eating only in Hard Rock Cafes and McDonald's? Or do we want to eat without fear, tearing into the local stew, the humble taqueria's mystery meat, the sincerely offered gift of a lightly grilled fish head? I know what I want. I want it all. I want to try everything once. I'll give you the benefit of the doubt, Senor Tamale Stand Owner, Sushi-chef-san, Monsieur Bucket-head. What's that feathered game bird, hanging on the porch, getting riper by the day, the body nearly ready to drop off? I want some.

A burnt and experienced hands are more important than the vessels in the kitchen.

Sensuality is the real soul food.

This book is about street-level cooking and its practitioners. Line cooks are the heroes.

Horchow's daughter, Sally, told me a story of how she once took her father to a new Japanese restaurant where a friend of hers was a chef. Horchow liked the food, and so when he went home he turned on his computer, pulled up the names of acquaintances who lived nearby, and faxed them notes telling them of a wonderful new restaurant he had discovered and that they should try it. This is, in a nutshell, what word of mouth is. It's not me telling you about a new restaurant with great food, and you telling a friend and that friend telling a friend. Word of mouth begins when somewhere along that chain, someone tells a person like Roger Horchow.

Celebrity chefs are the leaders in the field of food, and we are the led. Why should the leaders of chemical businesses be held responsible for polluting the marine environment with a few grams of effluent, which is sublethal to marine species, while celebrity chefs are turning out endangered fish at several dozen tables a night without enduring a syllable of criticism?

Food’s my only bag. It’s my gig, my art, my life. Always has been, always will be. I’m always battling myself – the part of me that says I can and the part of me that says I can’t. My greatest gift has been that the part of me that says “I can’t” is always, always just a little bit louder.

USA. The land of the free; where you accent didn’t matter. But he supposed everybody related to it; movies, TV, fat-food, outlets, you grew up with it. Cultural imperialism. Yet no wonder everybody increasingly hated it: it was stupid, self-serving and so in-your-face that it was setting itself up to be despised

A real dish has grown from all the chefs who have combined their talents over the centuries to develop a meal with unique physical characteristics, for there’s not a chef on earth who can claim sole title to a particular dish. It will have typical Iberian or French features, but with traces of Indian, Celtic, Roman, Jewish and even Moorish culture in its savour, although food can’t possibly pass from one country to another without change

We’d aligned ourselves with different foundations and food suppliers to install six thousand salad bars in school cafeterias and were recruiting local chefs to help schools serve meals that were not just healthy but tasty.

I didn't want to be a chef: just a cook. And my experiences in Italy had taught me why. For millennia, people have known how to make their food. They have understood animals and what to do with them, have cooked with the seasons and had a farmer's knowledge of the way the planet works. They have preserved the conditions of preparing food, handed down through generations, and have come to know them as expressions of their families. People don't have this kind of knowledge today, even though it seems as fundamental as the earth, and, it's true, those who have it tend to be professionals -- like chefs. But I didn't want this knowledge in order to be a professional; just to be more human. (313)

I’ve sat in restaurants and viewed the food on the plate as I would a half-blooded mongrel. I may feel sorry for it and given time even get to like it a little, but it’s never going to really gain my affections. The plate in front of you should tantalize, seduce and enchant you. It should be a cheeky devil, a minx, a hussy even, but never a desperado

As a cook, your station, and its condition, its state of readiness, is an extension of your nervous system - and it is profoundly upsetting if another cook or, God forbid, a waiter - disturbs your precisely and carefully laid-out system.

For the first time in probably the entire decade that had passed since I had seen or spoken to my own mother, I thought warm and grateful thoughts about her. She instilled in us nothing but a total and unconditional pleasure in food and eating.

Customers should understand that what they are paying for, in any restaurant situation, is not just what’s on the plate—but everything that’s not on the plate: all the bone, skin, fat, and waste product which the chef did pay for, by the pound.

This is where I disagree with food critics whose mission is to judge only what is on the plate. The story such critics tell is about THEM, THEIR preferences, THEIR expectations, not the chef's. What they write may be necessary and relevant to dining culture, but it disconnects the food from its origins, its narrative, its roots. The plate of food has never been the be-all and end-all for me. Quite the opposite for me, good food is just the beginning of a trail that leads back to a person whose story is usually worth telling.

Where Paris was once a magnet for literary minds, today it attracts a huge talent pool of international chefs. And that makes it a more interesting place to eat, even if it’s not what people are expecting.” — MEG ZIMBECK, FOOD WRITER AND FOUNDER OF PARIS BY MOUTH CULINARY TOURS

At the time, I thought the point was about representation: there should be more women chefs covered by the food media, just as there should be more people of color. But no, we’re talking about something much more vicious. It’s not just about the glass ceiling or equal opportunity. It’s about people being threatened, undermined, abused, and ashamed in the workplace. It’s embarrassing to admit how long it took me to grasp that.

But who cooks it?" I asked, imaging an underground kitchen staffed by tiny, invisible chefs. "Who serves it?" "I don't know," he said, with a disinterested shrug. I couldn't help laughing. "John, food magically appears here three times a day, and you don't know where it comes from? You've been here for almost two hundred years. Haven't you ever tried to find out?" He shot me a sarcastic look of his own. "Of course. I have theories. I think it's part of the compensation for the job I do, since there isn't any pay. But there's room and board. Anything I've ever wanted or needed badly enough usually appears, eventually. For instance"-he sent one of those knee-melting smiles in my direction-"you." I swallowed. The smile made it astonishingly hard to follow the conversation, even though I was the one who'd started it. "Compensation from whom?" He shrugged again. It was clear this was something he didn't care to discuss. "I have passengers waiting. For now, here." He lifted the lid of a platter. "I highly recommend these." I don't know what I expected to see when I looked down...a big platter of pomegranates? Of course that wasn't it at all. "Waffles?

It became such a recurring experience during this period when I was twenty -- to be starving and afraid of running out of money -- as I wandered from Brussels to Burma and everywhere in between for months on end, that I later came to see it as a part of my training as a cook. I came to see hunger as being as important a part of a stage as knife skills. Because so much starving on that trip led to such an enormous amount of time fantasizing about food, each craving became fanatically particular. Hunger was not general, ever, for just something, anything, to eat. My hunger grew so specific I could name every corner and fold of it. Salty, warm, brothy, starchy, fatty, sweet, clean and crunchy, crisp and water, and so on.

"Curry powder" is a British invention. There is no such thing as Indian food, Kip. But there are Indian methods... Allow a dialogue between our methods and the ingredients from the rest of the world... Make something new...Don't get stuck inside nationalities.' I would watch the movement of his hands for hours on end. Once the materials stripped themselves bare, Chef mixed them with all that he remembered, and all that he had forgotten.

every session I had no fewer than sixteen girls with “allergies” to dairy and wheat—cheese and bread basically—but also to garlic, eggplant, corn, and nuts. They had cleverly developed “allergies,” I believe, to the foods they had seen their own mothers fearing and loathing as diet fads passed through their homes. I could’ve strangled their mothers for saddling these girls with the idea that food is an enemy—some of them only eight years old and already weird about wanting a piece of bread—and I would’ve liked to bludgeon them, too, for forcing me to participate in their young daughters’ fucked-up relationship with food.

I ask the ladies what we lose with each generation. They seem to agree: usually language goes first, then memories of relatives and grandparents, then traditions, then longing for home, then a sense of identity. What do we have left? A wedding ritual, a few old photos? For me, what is left is our connection to food. Our food traditions are the last thing we hold on to. They are not just recipes; they are a connection to the nameless ancestors who gave us our DNA. That's why our traditional foods are so important. The stories, the memories, the movements that have been performed for generations - without them, we lose our direction.

What most people don't get about professional-level cooking is that it is not all about the best recipe, the most innovative presentation, the most creative marriage of ingredients, flavours and textures; that, presumably, was all arranged long before you sat down to dinner. Line cooking - the real business of preparing the food you eat - is more about consistency, about mindless, unvarying repetition, the same series of tasks performed over and over and over again in exactly the same way.

Apply the cook’s brain and visualize that fried egg on the plate. Do you want it to be burned around the edges? Do you want to see craters on the egg white? Should the yolk look as if you’d need a hammer to break into it? The answer to all three questions should be no. Yet the majority of people still crack an egg and drop it into searingly hot oil or fat and continue to cook it on high heat. You need to insert earplugs to reduce the horrific volume of the sizzle. And the result, once served up in a pool of oil, is an inedible destruction of that great ingredient—the egg. Maybe that’s how you like it, in which case carry on serving your disgusting food.

Lobster-both-ways is popular tonight. The preparation is easy enough. Take a two-pound lobster. Kill it with a sharp chef’s knife straight between the eyes. Remove the claw and knuckle meat. Steam for five minutes, chop into salad with aioli, celery, and lots of shallots and chives. Chill. Reserve the tail until ordered. Paint with herb-infused oil, season with kosher salt and fresh ground pepper, grill for two or three minutes until it’s just cooked through. Serve with spicy organic greens.

Father... this Institute, which you have denied with all of your might... ... is the place where I've lived, grown and been reborn. I have become a different chef... ... a different person! "All right! Time for the clincher, don'tcha think? You've already swiped a ton from me, so why not finish the job? Go on and say it!" "You can't be serious?! Must I?" "C'mon! Who else could close this out but our Captain? Do it!" "Ugh. Fine. If you insist." "THE WINNER IS... THE RESISTANCE!" "HAPPY TO SERVE!

studies of “crispness” have shown that the sound created by certain foods is as important to our enjoyment of them as their taste. This has inspired some chefs to create dishes with added sound effects. Some potato chip manufacturers, meanwhile, have increased not just the crunchiness of their chips but the noisiness of the chip bag itself.

Her sense of artistry reached even as far as her plating and presentation... arranging her tarts in a woven basket like a bouquet of flowers. The sight of her bringing them to us was like a scene straight out of a fairy tale! Yes... she too... is like a character straight from fantasy. A fairy godmother who casts her spells on ordinary ingredients... ... turning them into beautiful and delicious princesses of food! All who take a bite of her apples... ... fall under her spell... ... and are transported into a land of dreams!

It’s only that we have vigilant maids who tell me everything. And even if they didn’t, one hardly needs great powers of observation to see that they do not behave like a married couple.” The chef looked deeply concerned. “You think there’s a problem with his carrot?” “Watercress, carrot—is everything food to you?” Jake demanded. The chef shrugged. “Oui.” “Well,” Jake said testily, “there is a string of Rutledge’s past mistresses who would undoubtedly testify there is nothing wrong with his carrot.” “Alors, he is a virile man . . . she is a beautiful woman . . . why are they not making salad together

In Paris in the 1950s, I had the supreme good fortune to study with a remarkably able group of chefs. From them I learned why good French good is an art, and why it makes such sublime eating: nothing is too much trouble if it turns out the way it should. Good results require that one take time and care. If one doesn't use the freshest ingredients or read the whole recipe before starting, and if one rushes through the cooking, the result will be an inferior taste and texture--a gummy beef Wellington, say. But a careful approach will result in a magnificent burst of flavor, a thoroughly satisfying meal, perhaps even a life-changing experience. Such was the case with the sole meunière I ate at La Couronne on my first day in France, in November 1948. It was an epiphany. In all the years since the succulent meal, I have yet to lose the feelings of wonder and excitement that it inspired in me. I can still almost taste it. And thinking back on it now reminds me that the pleasures of table, and of life, are infinite--toujours bon appétit!

A sampler of England's hottest 'chefs' would include a mostly hairless young blond lad named Jamie Oliver, who is referred to as the Naked Chef. As best as I can comprehend, he's a really rich guy who pretends he scoots around on a Vespa, hangs out in some East End cold-water flat, and cooks green curry for his 'mates'. He's a TV chef, so few actually eat his food. I've never seen him naked. I believe the 'Naked' refers to his 'simple, straightforward, unadorned' food; though I gather that a great number of matronly housewives would like to believe otherwise. Every time I watch his show, I want to go back in time and bully him at school.

Who's cooking your food anyway? What strange beasts lurk behind the kitchen doors? You see the chef: he's the guy without the hat, with the clipboard under his arm, maybe his name stitched in Tuscan blue on his starched white chef's coat next to those cotton Chinese buttons. But who's actually cooking your food? Are they young, ambitious culinary school grads, putting in their time on the line until they get their shot at the Big Job? Probably not. If the chef is anything like me, the cooks are a dysfunctional, mercenary lot, fringe-dwellers motivated by money, the peculiar lifestyle of cooking and grim pride. They're probably not even American.

The doors burst open, startling me awake. I nearly jumped out of bed. Tove groaned next to me, since I did this weird mind-slap thing whenever I woke up scared, and it always hit him the worst. I'd forgotten about it because it had been a few months since the last time it happened. "Good morning, good morning, good morning," Loki chirped, wheeling in a table covered with silver domes. "What are you doing?" I asked, squinting at him. He'd pulled up the shades. I was tired as hell, and I was not happy. "I thought you two lovebirds would like breakfast," Loki said. "So I had the chef whip you up something fantastic." As he set up the table in the sitting area, he looked over at us. "Although you two are sleeping awfully far apart for newlyweds." "Oh, my god." I groaned and pulled the covers over my head. "You know, I think you're being a dick," Tove told him as he got out of bed. "But I'm starving. So I'm willing to overlook it. This time." "A dick?" Loki pretended to be offended. "I'm merely worried about your health. If your bodies aren't used to strenuous activities, like a long night of lovemaking, you could waste away if you don't get plenty of protein and rehydrate. I'm concerned for you." "Yes, we both believe that's why you're here," Tove said sarcastically and took a glass of orange juice that Loki had poured for him. "What about you, Princess?" Loki's gaze cut to me as he filled another glass. "I'm not hungry." I sighed and sat up. "Oh, really?" Loki arched an eyebrow. "Does that mean that last night-" "It means that last night is none of your business," I snapped. I got up and hobbled over to Elora's satin robe, which had been left on a nearby chair. My feet and ankles ached from all the dancing I'd done the night before. "Don't cover up on my account," Loki said as I put on the robe. "You don't have anything I haven't seen." "Oh, I have plenty you haven't seen," I said and pulled the robe around me. "You should get married more often," Loki teased. "It makes you feisty." I rolled my eyes and went over to the table. Loki had set it all up, complete with a flower in a vase in the center, and he'd pulled off the domed lids to reveal a plentiful breakfast. I took a seat across from Tove, only to realize that Loki had pulled up a third chair for himself. "What are you doing?" I asked. "Well, I went to all the trouble of having someone prepare it, so I might as well eat it." Loki sat down and handed me a flute filled with orange liquid. "I made mimosas." "Thanks," I said, and I exchanged a look with Tove to see if it was okay if Loki stayed. "He's a dick," Tove said over a mouthful of food, and shrugged. "But I don't care." In all honesty, I think we both preferred having Loki there. He was a buffer between the two of us so we didn't have to deal with any awkward morning-after conversations. And though I'd never admit it aloud, Loki made me laugh, and right now I needed a little levity in my life. "So, how did everyone sleep last night?" Loki asked. There was a quick knock at the bedroom doors, but they opened before I could answer. Finn strode inside, and my stomach dropped. He was the last person I'd expected to see. I didn't even think he would be here anymore. After the other night I assumed he'd left, especially when I didn't see him at the wedding. "Princess, I'm sorry-" Finn started to say as he hurried in, but then he saw Loki and stopped abruptly. "Finn?" I asked, stunned. Finn looked appalled and pointed at Loki. "What are you doing here?" "I'm drinking a mimosa." Loki leaned back in his chair. "What are you doing here?" "What is he doing here?" Finn asked, turning his attention to me. "Never mind him." I waved it off. "What's going on?" "See, Finn, you should've told me when I asked," Loki said between sips of his drink.

As my library of podcast interviews was growing, I realized I had more to say about the common threads and insights I had gained into how chefs think, their methodologies, and their inspirations. Combined with my own experiences in the food industry, it was clear I had a story to tell. The result is my book, Conversations Behind the Kitchen Door. Whether you’re a professional in the industry or just a dedicated food enthusiast, I’m confident you’ll enjoy reading it.

As I traveled, I noticed that in every country, whether I was watching home cooks or professional chefs, and whether they were cooking over live fire or on a camp stove, the best cooks looked at the food, not the heat source. I saw how good cooks obeyed sensory cues, rather than timers and thermometers. They listened to the changing sounds of a sizzling sausage, watched the way a simmer becomes a boil, felt how a slow-cooked pork shoulder tightens and then relaxes as hours pass, and tasted a noodle plucked from boiling water to determine whether it’s al dente. In order to cook instinctually, I needed to learn to recognize these signals. I needed to learn how food responds to the fourth element of good cooking: Heat.

If only my love was a net that could keep the flies out. If only my love was a net full of food for all the hungry bellies. I understand why so many people have given up on Africa - no one wants to say we are leaving a continent of people behind to tough it out in a hundreds-of-years-old war of survival, but we are, and the reason is because the level of change it would take to make a difference, to heal past wounds and chart a new path is mammoth, gargantuan, almost unimaginable.

As Amani frantically diced the ingredients for her Pan seared Mahi-Mahi with Mango Salsa, she recalled her first meeting with him during a class he taught on the presentation of food and organization the previous year. Amani had been immediately drawn to the tall, serious Californian, and not just because of his looks. With dark wavy hair, strong features and the deepest blue eyes she had ever seen short of Paul Newman’s, David Spencer was everything Amani admired in a man, and then some. http://omadisonpress.com/romance/all-...

Cooking is like playing a violin. The bow is a tool used to play, as is the knives and other tools you use to prepare. (a chef's knife is even held in the same manner) Spices are the notes used in the score. The way the food is cooked and prepared is the rhythm and tempo. The ingredients are the violin themselves, ready to be played upon. The finished dish is the music played to its best melody. All of these things must be applied together at the right pace, manner, and time in order to create a flavourful rush of artwork and beauty.

away from fast food - for three weeks already. And I was starting to miss the occasional burger and fries. I assumed there'd be a few of the other lads feeling the same way. I talked to Sven, who thought it wouldn't do any harm, and then had a word with the England chefs. On the Wednesday night we all trooped down to dinner. The doors of the dining room were shut and there were two giant golden arches stuck up on them. We all went inside and there was a McDonald's takeaway mountain waiting for us: more burgers, cheeseburgers and chips than you've ever seen piled up in one room in your life. It was a complete surprise to all the players. We just devoured everything: it was like watching kids going mad in a candy store. And it worked. We did it again before we played Denmark. Maybe fast food was what was missing from our preparations for facing Brazil.

There is such a thing as "live" cooking. Instead of chefs cooking in a kitchen and bringing a complete dish to the waiting customer... the chefs cook out on the floor where the customer can watch them perform. Good performances heighten anticipation for the dish... and entertain the customer by showing them how contrasting ingredients come together. "Wooow! Look at how many he's doing at once!" "He's crazy fast!" "Cool..." Soma has put on a flamboyant show... ... to capture the hearts of his customers! Not bad! Who would have thought he'd turn his own skills... ... into a performance to turn the situation around.

People always talk about the health benefits of Japanese food,’ he said, ‘but I’m fascinated by other aspects of the Japanese dining experience. Like the whole system of serving food at a counter like this, with the customers all facing the same direction, instead of each other. It’s strange when you think about it. At a sushi bar, for example, everyone’s facing the itamae-san, and you discuss the things you’re eating – what type of squid this is, and where they’re caught, and how this is the season for them but they’ll only be at their best for another couple of weeks, and so on. Discussing the food with the chef even as you eat it – that’s a peculiar system.’ ‘I suppose it is, isn’t it? I don’t go to sushi restaurants very often – they’re so expensive – and I could probably count the number of times I’ve sat at the counter, but I know what you mean. There’s something about that atmosphere.’ ‘At its worst, it’s almost an atmosphere of collusion.’ ‘Collusion?’ ‘Everyone at the counter becomes a member of the group. In some sushi bars, all the customers are regulars and they all know each other. As an outsider, you need courage to walk into a place like that and take a seat. It’s a tight-knit little community, and harmony is of the utmost importance. Nobody’s confronting anyone else individually. The conversation all proceeds through the chef, who’s like a moderator or a master of ceremonies. You couldn’t spend some quiet time with a lover, for example, in a place like that, because you’d be isolating yourselves from the others and spoiling the atmosphere for everyone.

A Wrong Planet Chef always take an interest in the origins of the food he cooks. A particular dish of vegetables, herbs and spices could, for instance, have begun life 5000 years ago on the Indian subcontinent, perhaps in Central India where vegetarian Hindi food is considered as God (Brahman) as it sustains the entire physical, mental, emotional and sensual aspects of the human being. The dish may then have migrated to the Punjab region of the Indian-Pakistan border - The Land of Five Waters - around 250 BC, and from here could have moved on to Western Asia or North Africa as soldiers and merchants moved west with their families into the Eastern parts of the Roman empire, where the cooks would have experimented with new combinations of food, adding fruits, shellfish or poultry to the exotic dish. The dish could then have travelled in any direction heading North through Germany or Sweden to Britain or maybe migrating through Persia or North Africa to Spain and Portugal, creating two very distinct and separate menus but meeting once again in France

I’m over here in my unit, isolated and alone, eating my terrible tasting food, and I have to look over at that. That looks like the most fun I’ve ever seen in my entire life, and it’s B.S. - excuse my language. I’m just saying that I wash and dry; I’m like a single mother. Look, we all know home-ec is a joke—no offense—it’s just that everyone takes this class to get an A, and it’s bullshit—and I’m sorry. I’m not putting down your profession, but it’s just the way I feel. I don’t want to sit here, all by myself, cooking this shitty food—no offense—and I just think that I don’t need to cook tiramisu. When am I gonna need to cook tiramisu? Am I going to be a chef? No. There’s three weeks left of school, give me a fuckin’ break! I’m sorry for cursing.

Thus it was we entered a low eating-house on the lamplit shores of the river in a Moslem neighbourhood, a modest boxwood shanty having no walls at all, but sufficiently screened with hanging bags. There were several benches and three tables, and upon each table were oil-lamps which cast soft shadows on the haze of airborne cooking-fats and wood-smoke, and gently illuminating a dozen Africans at food; on the floor at the farther end were cooking-fires, and a fine diversity of smells arose from bubbling pots and sizzling pans. The chef was a robust ogre of glistening dark bronze with an incense pastille smouldering in his hair, a swearing, sweating Panta-gruel naked to the waist and stoking fires, lifting lids, and scooping out great globs of meat and manioc and fish: he might have been cooking skulls on the shores of River Styx.

To want to own a restaurant can be a strange and terrible affliction. What causes such a destructive urge in so many otherwise sensible people? Why would anyone who has worked hard, saved money, often been successful in other fields, want to pump their hard-earned cash down a hole that statistically, at least, will almost surely prove dry? Why venture into an industry with enormous fixed expenses (...), with a notoriously transient and unstable workforce, and highly perishable inventory of assets? The chances of ever seeing a return on your investment are about one in five. What insidious spongi-form bacteria so riddles the brains of men and women that they stand there on the tracks, watching the lights of the oncoming locomotive, knowing full well it will eventually run over them? After all these years in the business, I still don't know.

It's a difficult path that we tread, us Indie self-publishers, but we're not alone. How many bands practicing in their dad’s garage have heard of a group from the neighbourhood who got signed by a recording company? Or how many artists who love to paint, but are not really getting anywhere with it hear of someone they went to art school with being offered an exhibition in a gallery? How many chefs who love to get creative around food hear of someone else who’s just landed a job with Marco Pierre White? There’s no difference between us and them. There is, however, a huge difference in how everyone else perceives the writer. And there’s a huge difference between all of us – the writers, the musicians, the composers, the chefs, the dance choreographers and to a certain extent the tradesmen - and the rest of society in that no one understands us. It’s a wretched dream to hope that our creativity gets recognised while our family thinks we’re wasting our time when the lawn needs mowing, the deck needs painting and the bedroom needs decorating. It’s acceptable to go into the garage to tinker about with a motorbike, but it’s a waste of a good Sunday afternoon if you go into the garage and practice your guitar, or sit in your study attempting to capture words that have been floating around your brain forever.

Everyone's here except for St. Clair." Meredith cranes her neck around the cafeteria. "He's usually running late." "Always," Josh corrects. "Always running late." I clear my throat. "I think I met him last night. In the hallway." "Good hair and an English accent?" Meredith asks. "Um.Yeah.I guess." I try to keep my voice casual. Josh smirks. "Everyone's in luuurve with St. Clair." "Oh,shut up," Meredith says. "I'm not." Rashmi looks at me for the first time, calculating whether or not I might fall in love with her own boyfriend. He lets go of her hand and gives an exaggerated sigh. "Well,I am. I'm asking him to prom. This is our year, I just know it." "This school has a prom?" I ask. "God no," Rashmi says. "Yeah,Josh. You and St. Clair would look really cute in matching tuxes." "Tails." The English accent makes Meredith and me jump in our seats. Hallway boy. Beautiful boy. His hair is damp from the rain. "I insist the tuxes have tails, or I'm giving your corsage to Steve Carver instead." "St. Clair!" Josh springs from his seat, and they give each other the classic two-thumps-on-the-back guy hug. "No kiss? I'm crushed,mate." "Thought it might miff the ol' ball and chain. She doesn't know about us yet." "Whatever," Rashi says,but she's smiling now. It's a good look for her. She should utilize the corners of her mouth more often. Beautiful Hallway Boy (Am I supposed to call him Etienne or St. Clair?) drops his bag and slides into the remaining seat between Rashmi and me. "Anna." He's surprised to see me,and I'm startled,too. He remembers me. "Nice umbrella.Could've used that this morning." He shakes a hand through his hair, and a drop lands on my bare arm. Words fail me. Unfortunately, my stomach speaks for itself. His eyes pop at the rumble,and I'm alarmed by how big and brown they are. As if he needed any further weapons against the female race. Josh must be right. Every girl in school must be in love with him. "Sounds terrible.You ought to feed that thing. Unless..." He pretends to examine me, then comes in close with a whisper. "Unless you're one of those girls who never eats. Can't tolerate that, I'm afraid. Have to give you a lifetime table ban." I'm determined to speak rationally in his presence. "I'm not sure how to order." "Easy," Josh says. "Stand in line. Tell them what you want.Accept delicious goodies. And then give them your meal card and two pints of blood." "I heard they raised it to three pints this year," Rashmi says. "Bone marrow," Beautiful Hallway Boy says. "Or your left earlobe." "I meant the menu,thank you very much." I gesture to the chalkboard above one of the chefs. An exquisite cursive hand has written out the morning's menu in pink and yellow and white.In French. "Not exactly my first language." "You don't speak French?" Meredith asks. "I've taken Spanish for three years. It's not like I ever thought I'd be moving to Paris." "It's okay," Meredith says quickly. "A lot of people here don't speak French." "But most of them do," Josh adds. "But most of them not very well." Rashmi looks pointedly at him. "You'll learn the lanaguage of food first. The language of love." Josh rubs his belly like a shiny Buddha. "Oeuf. Egg. Pomme. Apple. Lapin. Rabbit." "Not funny." Rashmi punches him in the arm. "No wonder Isis bites you. Jerk." I glance at the chalkboard again. It's still in French. "And, um, until then?" "Right." Beautiful Hallway Boy pushes back his chair. "Come along, then. I haven't eaten either." I can't help but notice several girls gaping at him as we wind our way through the crowd.

There is no chef without a homeland. To be a chef today is to center yourself in the traditions of your roots and use them to define your art and speak to any human being about who you are; your plate is your flag. Many of our most pungent memories are carried through food, just as connections to our ancestors are reaffirmed by cooking the dishes handed down to us. For some chefs, this bond is as easy as pointing to a Tuscan village or a Korean neighborhood, while others adopt the foods of culinary kinfolk outside their own background and use them to express their personal identity. Many take for granted their fast and easy connections to a food narrative that grounds them in a tradition, gives them a broad palette to explore, and affords them a genuine taste of eudaemonia, all of which is the holistic feeling of flourishing in life; and of course it is often blissfully apolitical.

When older people ask me, “How have you been so successful after age 65?” I tell them, “Anyone who’s reached 65 years of age has had a world of experience behind him. He’s had his ups and downs and all the trials and tribulations of life. He certainly ought to be able to gather something out of that, something he can put together at the end of his 65 years so he can get a new start.” The way I see it, a man’s life is written by the way he lives it. It’s using any talent God has given him, even if his talent is cooking food or running a good motel. You can reach higher, think bigger, grow stronger and live deeper in this country of ours than anywhere else on Earth. The rules here give everybody a chance to win. If my story is different, it’s because my life really began at age 65 when most folks have already called it a day. I’d been modestly successful before I hit 65. After that I made millions. When they’re about 60 or 65, a lot of people feel that life is all over for them. Too many of them just sit and wait until they die or they become a burden to other people. The truth is they can make a brand new life for themselves if they just don’t give up and hunker down. I want to tell people, “You’re only as old as you feel or as you think, and no matter what your age there’s plenty of work to be done.” I don’t want to sound like I’m clearing my throat and giving advice about how a man can be successful. I’m not all puffed up. My main trade secret is I’m not afraid of hard, back-cracking work. After all, I was raised on a farm where hard work is the way of life.

For months beforehand, I fielded calls from British media. A couple of the reporters asked me to name some British chefs who had inspired me. I mentioned the Roux brothers, Albert and Michel, and I named Marco Pierre White, not as much for his food as for how—by virtue of becoming an apron-wearing rock-star bad boy—he had broken the mold of whom a chef could be, which was something I could relate to. I got to London to find the Lanesborough dining room packed each night, a general excitement shared by everyone involved, and incredibly posh digs from which I could step out each morning into Hyde Park and take a good long run around Buckingham Palace. On my second day, I was cooking when a phone call came into the kitchen. The executive chef answered and, with a puzzled look, handed me the receiver. Trouble at Aquavit, I figured. I put the phone up to my ear, expecting to hear Håkan’s familiar “Hej, Marcus.” Instead, there was screaming. “How the fuck can you come to my fucking city and think you are going to be able to cook without even fucking referring to me?” This went on for what seemed like five minutes; I was too stunned to hang up. “I’m going to make sure you have a fucking miserable time here. This is my city, you hear? Good luck, you fucking black bastard.” And then he hung up. I had cooked with Gordon Ramsay once, a couple of years earlier, when we did a promotion with Charlie Trotter in Chicago. There were a handful of chefs there, including Daniel Boulud and Ferran Adrià, and Gordon was rude and obnoxious to all of them. As a group we were interviewed by the Chicago newspaper; Gordon interrupted everyone who tried to answer a question, craving the limelight. I was almost embarrassed for him. So when I was giving interviews in the lead-up to the Lanesborough event, and was asked who inspired me, I thought the best way to handle it was to say nothing about him at all. Nothing good, nothing bad. I guess he was offended at being left out. To be honest, though, only one phrase in his juvenile tirade unsettled me: when he called me a black bastard. Actually, I didn’t give a fuck about the bastard part. But the black part pissed me off.

This dish... it's sweet-and-sour pork but with black vinegar. In fact, you could call it "Black Vinegar Pork." The glossy black of the vinegar was used to great effect in the plating, giving the dish a classy and luxuriant appearance. But the moment you put a bite in your mouth... fresh, vibrant green tea explodes in a sea of invigorating green. It is extravagantly delicious. Chef Kuga's Sweet-and-Sour sauce includes not just black vinegar but also balsamic vinegar as well as Chef Mimasaka's smoked soy sauce! It destroys the traditional boundaries of sweet-and-sour pork, creating a dish that's rich, tangy and savory while erasing the pork's thick greasiness to push the taste of the green tea to the forefront! He has completely succeeded in taking the green tea leaves and making them the centerpiece of his dish! But the point most worthy of attention... ... is that this sublime taste experience wasn't created using solely Chinese-cooking techniques. It shows an equally deft use of traditional French techniques!" "What the... French?! But isn't he supposed to be a purely Sichuan-Chinese chef?!" "Yes, yes. I'm gonna explain, so quiet down and listen up, 'kay? See, there's another secret y'all don't know. That sweet-and-sour sauce? I based it on Sauce au Vinaigre Balsamique. That's a balsamic vinegar sauce used in a whole lot of French recipes." "Aha! Now I see. So that's where it came from! French Vinaigre Balsamique sauce is a reduction of balsamic vinegar and Glacé de Viande! It has a light tanginess and thick richness, which must have boosted the deliciousness of the sweet-and-sour pork into the stratosphere!

Working hard is important. But more effort does not necessarily yield more results. “Less but better” does. Ferran Adrià, arguably the world’s greatest chef, who has led El Bulli to become the world’s most famous restaurant, epitomizes the principle of “less but better” in at least two ways. First, his specialty is reducing traditional dishes to their absolute essence and then re-imagining them in ways people have never thought of before. Second, while El Bulli has somewhere in the range of 2 million requests for dinner reservations each year, it serves only fifty people per night and closes for six months of the year. In fact, at the time of writing, Ferran had stopped serving food altogether and had instead turned El Bulli into a full-time food laboratory of sorts where he was continuing to pursue nothing but the essence of his craft.1 Getting used to the idea of “less but better” may prove harder than it sounds, especially when we have been rewarded in the past for doing more … and more and more. Yet at a certain point, more effort causes our progress to plateau and even stall. It’s true that the idea of a direct correlation between results and effort is appealing. It seems fair. Yet research across many fields paints a very different picture. Most people have heard of the “Pareto Principle,” the idea, introduced as far back as the 1790s by Vilfredo Pareto, that 20 percent of our efforts produce 80 percent of results. Much later, in 1951, in his Quality-Control Handbook, Joseph Moses Juran, one of the fathers of the quality movement, expanded on this idea and called it “the Law of the Vital Few.”2 His observation was that you could massively improve the quality of a product by resolving a tiny fraction of the problems. He found a willing test audience for this idea in Japan, which at the time had developed a rather poor reputation for producing low-cost, low-quality goods. By adopting a process in which a high percentage of effort and attention was channeled toward improving just those few things that were truly vital, he made the phrase “made in Japan” take on a totally new meaning. And gradually, the quality revolution led to Japan’s rise as a global economic power.3

My favorite of all was still the place on Vermont, the French cafe, La Lyonnaise, that had given me the best onion soup on that night with George and my father. The two owners hailed from France, from Lyon, before the city had boomed into a culinary sibling of Paris. Inside, it had only a few tables, and the waiters served everything out of order, and it had a B rating in the window, and they usually sat me right by the swinging kitchen door, but I didn't care about any of it. There, I ordered chicken Dijon, or beef Bourguignon, or a simple green salad, or a pate sandwich, and when it came to the table, I melted into whatever arrived. I lavished in a forkful of spinach gratin on the side, at how delighted the chef had clearly been over the balance of spinach and cheese, like she was conducting a meeting of spinach and cheese, like a matchmaker who knew they would shortly fall in love. Sure, there were small distractions and preoccupations in it all, but I could find the food in there, the food was the center, and the person making the food was so connected with the food that I could really, for once, enjoy it.

What is this food in my head, anyway? Let’s see...it’s green and good for you and so delicious. It’s prepared by angels with love. The minute you bite into it, it’s savory, chewy, nourishing, and whole- some. You feel instantly revitalized. A small, tiny amount, just a few bites, rejuvenates every cell, deepens your breath, clears your mind, heals your wounds, and mends your heart. It’s made from joyous plants that voluntarily separate themselves from their stalks, laying themselves at the feet of the approaching gardener who gathers them. They eagerly offer their vital energies to nourish living spirits. The angels in their chef hats, singing mantras, cook it tenderly to retain all the benefits of the generous plants. It’s barely sweet, barely salty, and contains all the freshness of spring herbs, summer fruit, spreading leaves, and burgeoning seeds. It comes premade in bags or boxes...you just open it up, sit down, and enjoy. It’s a full meal, enough maybe for a whole day, maybe for a week, maybe for your family, maybe for your friends and neighbors. It multiplies like loaves and fishes, in little biodegradable containers that vaporize instantly the moment you finish them, without any greenhouse emissions. Nothing to clean up!

A honey pie, lovingly made. The tiny sugar bee, still perched on the edge of the flaky crust, mocked me. That little bee nibbling on her honey pie. A pulse of sheer heat lit up my sex, licked down my thighs, tweaked my nipples. I shoved another messy bite into my mouth, relishing the taste, wanting...him. This was his work, made with his hands, his skill, his mind. My grumpy man with the ability to create sweetness in the most unexpected of ways. Somehow, at the back of my mind, I'd known from the start. From the way he'd all but ordered me to try his brest. How he'd watched me eat it with that strange intent look upon his face. Pride. That was what it was. He was proud of his work. I ate up my honey pie without pause, devouring it until it was nothing more than a sticky paste on my fingers, buttery crumble on my lips. Moaning, I licked my skin clean like a cat might. I swore I felt claws prickling, aching to come out. Because he had known, and I hadn't. Was it a joke to him? What had he said? The chef was temperamental. Oh, how he must have laughed on the inside at that. With a growl, I washed my hands and headed for the door, half of me more turned on than I'd ever been in my life, the other half ready to tear into the most irritating man I'd ever met.

Tender poached egg. Creamy mashed potatoes. And the thick layer of hot, melted cheese! Those are all incredibly delicious, but what takes the cake is the roux! It's been made in a VICHYSSOISE style!" VICHYSSOISE Boiled potatoes, onions, leeks and other ingredients are pureed with cream and soup stock to make this potage. It's often served chilled. Its creation is generally credited to Louis Diat, a French chef at the Ritz Carlton in New York, who first put it on the hotel's menu in 1917. "Amazing! It looks like a thick, heavy dish that would sit in the stomach like lead, but it's so easy to eat!" "The noodles! It's the udon noodles, along with the coriander powder, that makes it feel so much lighter! Coriander is known for its fresh, almost citrusy scent and its mildly spicy bite. It goes exceptionally well with the cumin kneaded into the noodles, each spice working to heighten the other's fragrance. AAAH! It's immensely satisfying!" "I have also included dill, vichyssoise's traditional topping. Dry roasting the dill seeds together with the cumin seeds made a spice mix that gave a strong aroma to the roux." "Hm! Fat noodles in a thick, creamy roux. Eating them is much the same experience as having dipping noodles. What an amazing concept to arrive at from a century-old French soup recipe!

clothes off, cept for the big chef’s hat I was wearin at the time. An it blowed stew all over us, so’s we looked like—well, I don’t know what we looked like—but man, it was strange. Incredibly, it didn’t do nothin to all them guys settin out there in the mess hall neither. Jus lef em settin at they tables, covered with stew, actin kinda shell-shocked or somethin—but it sure did shut their asses up about when they food is gonna be ready. Suddenly the company commander come runnin into the buildin. “What was that!” he shouted. “What happen?” He look at the two of us, an then holler, “Sergeant Kranz, is that you?” “Gump—Boiler—Stew!” the sergeant say, an then he kind of git holt of hissef an grapped a meat cleaver off the wall. “Gump—Boiler—Stew!” he scream, an come after me with the cleaver. I done run out the door, an he be chasin me all over the parade grounds, an even thru the Officer’s Club an the Motorpool. I outrunned him tho, cause that is my specialty, but let me say this: they ain’t no question in my mind that I am up the creek for sure. One night, the next fall, the phone rung in the barracks an it was Bubba. He say they done dropped his atheletic scholarship cause his foot broke worst than they thought, an so he’s leavin school too. But he axed if I can git off to come up to Birmingham to watch the University play them geeks from Mississippi. But I am confined to quarters that Saturday, as I have been ever weekend since the stew

The whole suggestion is predicated on a damnable fucking lie—the BIG lie, actually—one which Richman himself happily helped create and which he works hard, on a daily basis, to keep alive. See … it makes for a better article when you associate the food with a personality. Richman, along with the best and worst of his peers, built up these names, helped make them celebrities by promoting the illusion that they cook—that if you walk into one of dozens of Jean-Georges’s restaurants, he’s somehow back there on the line, personally sweating over your halibut, measuring freshly chopped herbs between thumb and forefinger. Every time someone writes “Mr. Batali is fond of strong, assertive flavors” (however true that might be) or “Jean Georges has a way with herbs” and implies or suggests that it was Mr. Batali or Mr. Vongerichten who actually cooked the dish, it ignores the reality, if not the whole history, of command and control and the creative process in restaurant kitchens. While helpful to chefs, on the one hand, in that the Big Lie builds interest and helps create an identifiable brand, it also denies the truth of what is great about them: that there are plenty of great cooks in this world—but not that many great chefs. The word “chef” means “chief.” A chef is simply a cook who leads other cooks. That quality—leadership, the ability to successfully command, inspire, and delegate work to others—is the very essence of what chefs are about. As Richman knows. But it makes better reading (and easier writing) to first propagate a lie—then, later, react with entirely feigned outrage at the reality.

No, I’d open a refuge for mothers. A retreat. Concrete 1970s brutalism, an anti-domestic architecture without flounces. Something low with big windows and wide corridors, carpets to deaden sound. There will be five or six rooms off the corridor, each with a wall of glass and sliding doors looking on to a cold, grey beach. Each room has a single bed in the corner, a table and chair. You may bring your laptop but there is no internet access and no telephone. There are books with a body count of zero and no suffering for anyone under the age of eight. A cinema where everything you wanted to see in the last eight years is shown at a time that allows you to have an early night afterwards. And the food, the kind of food you’re pleased to have eaten as well as pleased to eat, is made by a chef, a childless male chef, and brought to your room. You may ask him for biscuits at any moment of the day or night, send your mug back because you dislike the shape of the handle, and change your mind after ordering dinner. And there is a swimming pool, lit from below in a warm, low-ceilinged room without windows, which may be used by one mummy at a time to swim herself into dream. Oh, fuck it, I am composing a business plan for a womb with a view. So what? I’ll call it Hôtel de la Mère and the only real problem is childcare. Absent, children cause guilt and anxiety incompatible with the mission of the Hôtel; present, they prevent thought or sleep, much more swimming and the consumption of biscuits. We need to turn them off for a few days, suspend them like computers. Make them hibernate. You can’t uninvent children any more than you can uninvent the bomb.

In summer, most ramen restaurants in Tokyo serve hiyashi chūka, a cold ramen noodle salad topped with strips of ham, cucumber, and omelet; a tart sesame- or soy-based sauce; and sometimes other vegetables, like a tomato wedge or sheets of wakame seaweed. The vegetables are arranged in piles of parallel shreds radiating from the center to the edge of the plate like bicycle spokes, and you toss everything together before eating. It's bracing, ice-cold, addictive- summer food from the days before air conditioning. In Oishinbo: Ramen and Gyōza, a young lifestyle reporter wants to write an article about hiyashi chūka. "I'm not interested in something like hiyashi chūka," says my alter ego Yamaoka. It's a fake Chinese dish made with cheap industrial ingredients, he explains. Later, however, Yamaoka relents. "Cold noodles, cold soup, and cold toppings," he muses. "The idea of trying to make a good dish out of them is a valid one." Good point, jerk. He mills organic wheat into flour and hires a Chinese chef to make the noodles. He buys a farmyard chicken from an old woman to make the stock and seasons it with the finest Japanese vinegar, soy sauce, and sake. Yamaoka's mean old dad Kaibara Yūzan inevitably gets involved and makes an even better hiyashi chūka by substituting the finest Chinese vinegar, soy sauce, and rice wine. When I first read this, I enjoyed trying to follow the heated argument over this dish I'd never even heard of. Yamaoka and Kaibara are in total agreement that hiyashi chūka needs to be made with quality ingredients, but they disagree about what kind of dish it is: Chinese, Japanese, or somewhere in between? Unlike American food, Japanese cuisine has boundary issues.

Chef Ayden says you have something special. An 'affinity with the things that come from the dirt,' he says. A master of spices. And coming from Ayden that means a lot. He doesn't usually believe in natural inclinations. Only in working hard enough to make the hard work seem effortless. Is it true about you?" I know my eyebrows look about ready to parachute off my face. "You mean the bay-leaf thing?" "No more oil, that's good." She takes the bowl of marinated octopus from my hand, covers it with a red cloth, and puts it in the fridge. "The 'bay-leaf thing' is exactly what I mean. You're new to Spain. From what your teacher tells me, not many of you have had exposure to world cuisines. Yet, you know a variety of herb that looks and smells slightly different when found outside of this region. I'm sure you've probably seen it in other ways. You've probably mixed spices together no one told you would go together. Cut a vegetable in a certain way that you believe will render it more flavorful. You know things that no one has taught you, sí?" I shake my head no at her. 'Buela always said I had magic hands but I've never said it out loud about myself. And I don't know if I believed it was magic as much as I believed I'm a really good cook. But she is right; most of my experimenting is with spices. "My aunt Sarah sends me recipes that I practice with. And I watch a lot on Food Network. Do you have that channel here? It's really good. They have this show called Chopped-" Chef Amadí puts down the rag she was wiping down the counter with and takes my hands in hers. Studies my palms. "Chef Ayden tells me you have a gift. If you don't want to call it magic, fine. You have a gift and it's probably changed the lives of people around you. When you cook, you are giving people a gift. Remember that.

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.

Sensuality is for you, not about you. It’s for you in a sense that you are allowed to indulge all of your senses and taste the goodness of this world and beyond. It’s also for you in a sense that you’re allowed to curate and express yourself in an authentic way (i.e. in the way you dress, communicate, live, love, play, etc.). However, sensuality is not ABOUT you, it’s about those to whom you were brought here to touch and inspire. It’s about the joy and pleasure you’re here to bring. You didn’t come here for yourself nor empty-handed, but you came here bearing special gifts. You were brought here to be a vessel of sensual innovation and a conveyor of heaven’s most deepest pleasures. Your passion is an indication of the sensual gift(s) you were endowed with before you made your grand entry into this world. Your divine mandate now is to exploit every sensual gift you have to the fullest whether it’s music, photography, boudoir or fashion modeling, etc. If you have a love for fashion, always dress impeccably well like my friend Kefilwe Mabote. If you have a love for good food and wine, create culinary experiences the world has never seen before like chef Heston Blumenthal whom I consider as one of the most eminent sensual innovators in the culinary field. Chef Heston has crafted the most sensually innovative culinary experience where each sense has been considered with unparalleled rigour. He believes that eating is a truly multi-sensory experience. This approach has not only led to innovative dishes like the famous bacon and egg ice cream, but also to playing sounds to diners through headphones, and dispersing evocative aromas with dry ice. Chef Heston is indeed a vessel of sensual innovation and a conveyor of heaven’s most deepest pleasures in his own right and field. So, what sensual gift(s) are you here to use? It doesn’t have to be a big thing. For instance, you may be a great home maker. That may be an area where you’re endowed with the most sensual innovative abilities than any other area in your life. You need to occupy and shine your light in that space, no matter how small it seems.

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 cooked with so many of the greats: Tom Colicchio, Eric Ripert, Wylie Dufresne, Grant Achatz. Rick Bayless taught me not one but two amazing mole sauces, the whole time bemoaning that he never seemed to know what to cook for his teenage daughter. Jose Andres made me a classic Spanish tortilla, shocking me with the sheer volume of viridian olive oil he put into that simple dish of potatoes, onions, and eggs. Graham Elliot Bowles and I made gourmet Jell-O shots together, and ate leftover cheddar risotto with Cheez-Its crumbled on top right out of the pan. Lucky for me, Maria still includes me in special evenings like this, usually giving me the option of joining the guests at table, or helping in the kitchen. I always choose the kitchen, because passing up the opportunity to see these chefs in action is something only an idiot would do. Susan Spicer flew up from New Orleans shortly after the BP oil spill to do an extraordinary menu of all Gulf seafood for a ten-thousand-dollar-a-plate fund-raising dinner Maria hosted to help the families of Gulf fishermen. Local geniuses Gil Langlois and Top Chef winner Stephanie Izard joined forces with Gale Gand for a seven-course dinner none of us will ever forget, due in no small part to Gil's hoisin oxtail with smoked Gouda mac 'n' cheese, Stephanie's roasted cauliflower with pine nuts and light-as-air chickpea fritters, and Gale's honey panna cotta with rhubarb compote and insane little chocolate cookies. Stephanie and I bonded over hair products, since we have the same thick brown curls with a tendency to frizz, and the general dumbness of boys, and ended up giggling over glasses of bourbon till nearly two in the morning. She is even more awesome, funny, sweet, and genuine in person than she was on her rock-star winning season on Bravo. Plus, her food is spectacular all day. I sort of wish she would go into food television and steal me from Patrick. Allen Sternweiler did a game menu with all local proteins he had hunted himself, including a pheasant breast over caramelized brussels sprouts and mushrooms that melted in your mouth (despite the occasional bit of buckshot). Michelle Bernstein came up from Miami and taught me her white gazpacho, which I have since made a gajillion times, as it is probably one of the world's perfect foods.

Moscow can be a cold, hard place in winter. But the big old house on Tverskoy Boulevard had always seemed immune to these particular facts, the way that it had seemed immune to many things throughout the years. When breadlines filled the streets during the reign of the czars, the big house had caviar. When the rest of Russia stood shaking in the Siberian winds, that house had fires and gaslight in every room. And when the Second World War was over and places like Leningrad and Berlin were nothing but rubble and crumbling walls, the residents of the big house on Tverskoy Boulevard only had to take up a hammer and drive a single nail—to hang a painting on the landing at the top of the stairs—to mark the end of a long war. The canvas was small, perhaps only eight by ten inches. The brushstrokes were light but meticulous. And the subject, the countryside near Provence, was once a favorite of an artist named Cézanne. No one in the house spoke of how the painting had come to be there. Not a single member of the staff ever asked the man of the house, a high-ranking Soviet official, to talk about the canvas or the war or whatever services he may have performed in battle or beyond to earn such a lavish prize. The house on Tverskoy Boulevard was not one for stories, everybody knew. And besides, the war was over. The Nazis had lost. And to the victors went the spoils. Or, as the case may be, the paintings. Eventually, the wallpaper faded, and soon few people actually remembered the man who had brought the painting home from the newly liberated East Germany. None of the neighbors dared to whisper the letters K-G-B. Of the old Socialists and new socialites who flooded through the open doors for parties, not one ever dared to mention the Russian mob. And still the painting stayed hanging, the music kept playing, and the party itself seemed to last—echoing out onto the street, fading into the frigid air of the night. The party on the first Friday of February was a fund-raiser—though for what cause or foundation, no one really knew. It didn’t matter. The same people were invited. The same chef was preparing the same food. The men stood smoking the same cigars and drinking the same vodka. And, of course, the same painting still hung at the top of the stairs, looking down on the partygoers below. But one of the partygoers was not, actually, the same. When she gave the man at the door a name from the list, her Russian bore a slight accent. When she handed her coat to a maid, no one seemed to notice that it was far too light for someone who had spent too long in Moscow’s winter. She was too short; her black hair framed a face that was in every way too young. The women watched her pass, eyeing the competition. The men hardly noticed her at all as she nibbled and sipped and waited until the hour grew late and the people became tipsy. When that time finally came, not one soul watched as the girl with the soft pale skin climbed the stairs and slipped the small painting from the nail that held it. She walked to the window. And jumped. And neither the house on Tverskoy Boulevard nor any of its occupants ever saw the girl or the painting again.