Cherry Blossom Season Quotes

Come see the cherry trees of a water constellation and the round key of the rapid universe, come touch the fire of instantaneous blue, come before its petals are consumed.

Soldiers falling fast Battle of white and scarlet Blossoms on the ground

Okay. You go first. Do you really think I look like a camel?’ “No. I think you look like Rockefeller Center at Christmas, Japan in cherry blossom season, and the thousand vivid shades of green in the wild moors of Northern Ireland, all rolled into one.

Or in Brooklyn Botanic Gardes during the cherry blossom season?

I wish I could see a cherry blossom or a lotus flower. Where could they be?

I could pass a thousand seasons staring at you and never have my fill of your beauty. I want you when the cherry blossoms fall in spring, and during the balmy nights of summer. I want you on a forest floor filled with autumn leaves and shivering in winter’s snow.

No. I think you look like Rockefeller Center at Christmas, Japan in cherry blossom season, and the thousand vivid shades of green in the wild moors of Northern Ireland, all rolled into one.

Like any great and good country, Japan has a culture of gathering- weddings, holidays, seasonal celebrations- with food at the core. In the fall, harvest celebrations mark the changing of the guard with roasted chestnuts, sweet potatoes, and skewers of grilled gingko nuts. As the cherry blossoms bloom, festive picnics called hanami usher in the spring with elaborate spreads of miso salmon, mountain vegetables, colorful bento, and fresh mochi turned pink with sakura petals.

I brought a withered flower back to life. I banished flies from my house. I made the cherries blossom out of season and turned the fire vivid green. If Aeetes had been there, he would have choked on his beard to see such kitchen tricks. Yet because I knew nothing, nothing was beneath me.

Lord Karasumaru considered it a grave mistake on the part of the gods to have made a man like himself a nobleman. And, though a servant of the Emperor, he saw only two paths open to him: to live in constant misery or to spend his time carousing. The sensible choice was to rest his head on the knees of a beautiful woman, admire the pale light of the moon, view the cherry blossoms in season and die with a cup of sake in his hand.

Wild Peaches" When the world turns completely upside down You say we’ll emigrate to the Eastern Shore Aboard a river-boat from Baltimore; We’ll live among wild peach trees, miles from town, You’ll wear a coonskin cap, and I a gown Homespun, dyed butternut’s dark gold color. Lost, like your lotus-eating ancestor, We’ll swim in milk and honey till we drown. The winter will be short, the summer long, The autumn amber-hued, sunny and hot, Tasting of cider and of scuppernong; All seasons sweet, but autumn best of all. The squirrels in their silver fur will fall Like falling leaves, like fruit, before your shot. 2 The autumn frosts will lie upon the grass Like bloom on grapes of purple-brown and gold. The misted early mornings will be cold; The little puddles will be roofed with glass. The sun, which burns from copper into brass, Melts these at noon, and makes the boys unfold Their knitted mufflers; full as they can hold Fat pockets dribble chestnuts as they pass. Peaches grow wild, and pigs can live in clover; A barrel of salted herrings lasts a year; The spring begins before the winter’s over. By February you may find the skins Of garter snakes and water moccasins Dwindled and harsh, dead-white and cloudy-clear. 3 When April pours the colors of a shell Upon the hills, when every little creek Is shot with silver from the Chesapeake In shoals new-minted by the ocean swell, When strawberries go begging, and the sleek Blue plums lie open to the blackbird’s beak, We shall live well — we shall live very well. The months between the cherries and the peaches Are brimming cornucopias which spill Fruits red and purple, sombre-bloomed and black; Then, down rich fields and frosty river beaches We’ll trample bright persimmons, while you kill Bronze partridge, speckled quail, and canvasback. 4 Down to the Puritan marrow of my bones There’s something in this richness that I hate. I love the look, austere, immaculate, Of landscapes drawn in pearly monotones. There’s something in my very blood that owns Bare hills, cold silver on a sky of slate, A thread of water, churned to milky spate Streaming through slanted pastures fenced with stones. I love those skies, thin blue or snowy gray, Those fields sparse-planted, rendering meagre sheaves; That spring, briefer than apple-blossom’s breath, Summer, so much too beautiful to stay, Swift autumn, like a bonfire of leaves, And sleepy winter, like the sleep of death.

Finally, we would have been offered either a spring takiawase, meaning "foods boiled or stewed together," or a wanmori (the apex of a tea kaiseki meal) featuring seasonal ingredients, such as a cherry blossom-pink dumpling of shrimp and egg white served in a dashi base accented with udo, a plant with a white stalk and leaves that tastes like asparagus and celery, and a sprig of fresh sansho, the aromatic young leaves from the same plant that bears the seedpods the Japanese grind into the tongue-numbing spice always served with fatty eel.

Along the wide curving moat surrounding the palace, rows of cherry trees announced the end of their seasonal beauty. Some of the trees were weeping: blossoms in white and palest pink, ponderous with decreptitude, eddying on the brown water, stirred by the paddling of ducks.

If you blink, you might miss it. You might miss the wet floor at the threshold, symbolically cleansing you before the meal begins. You might overlook the flower arrangement in the corner, a spare expression of the passing season. You might miss the scroll on the wall drawn with a single unbroken line, signaling the infinite continuity of nature. You might not detect the gentle current of young ginger rippling through the dashi, the extra sheet of Hokkaido kelp in the soup, the mochi that is made to look like a cherry blossom at midnight. You might miss the water.

My eye keeps escaping towards the big blue lacquered door that I've had painted in a trompe-l'oeil on the back wall. I would like to call Mrs. Cohen back and tell her there's no problem for her son's bar mitzvah, everything's ready: I would like to go through that door and disappear into the garden my mind's eye has painted behind it. The grass there is soft and sweet, there are bulrushes bowing along the banks of a river. I put lime trees in it, hornbeams, weeping elms, blossoming cherries and liquidambars. I plant it with ancient roses, daffodils, dahlias with their melancholy heavy heads, and flowerbeds of forget-me-nots. Pimpernels, armed with all the courage peculiar to such tiny entities, follow the twists and turns between the stones of a rockery. Triumphant artichokes raise their astonished arrows towards the sky. Apple trees and lilacs blossom at the same time as hellebores and winter magnolias. My garden knows no seasons. It is both hot and cool. Frost goes hand in hand with a shimmering heat haze. The leaves fall and grow again. row and fall again. Wisteria climbs voraciously over tumbledown walls and ancient porches leading to a boxwood alley with a poignant fragrance. The heady smell of fruit hangs in the air. Huge peaches, chubby-cheeked apricots, jewel-like cherries, redcurrants, raspberries, spanking red tomatoes and bristly cardoons feast on sunlight and water, because between the sunbeams it rains in rainbow-colored droplets. At the very end, beyond a painted wooden fence, is a woodland path strewn with brown leaves, protected from the heat of the skies by a wide parasol of foliage fluttering in the breeze. You can't see the end of it, just keep walking, and breathe.

Can I make you a cup of tea?” He says that would be wonderful, and she smiles handsomely; then her face darkens in terrible sorrow. “And I am so sorry, Mr. Arthur,” she says, as if imparting the death of a loved one. “You are too early to see the cherry blossoms.” After the tea (which she makes by hand, whisking it into a bitter green foam—“Please eat the sugar cookie before the tea”) he is shown to his room and told it was, in fact, the novelist Kawabata Yasunari’s favorite. A low lacquered table is set on the tatami floor, and the woman slides back paper walls to reveal a moonlit corner garden dripping from a recent rain; Kawabata wrote of this garden in the rain that it was the heart of Kyoto. “Not any garden,” she says pointedly, “but this very garden.” She informs him that the tub in the bathroom is already warm and that an attendant will keep it warm, always, for whenever he needs it. Always. There is a yukata in the closet for him to wear. Would he like dinner in the room? She will bring it personally for him: the first of the four kaiseki meals he will be writing about. The kaiseki meal, he has learned, is an ancient formal meal drawn from both monasteries and the royal court. It is typically seven courses, each course composed of a particular type of food (grilled, simmered, raw) and seasonal ingredients. Tonight, it is butter bean, mugwort, and sea bream. Less is humbled both by the exquisite food and by the graciousness with which she presents it. “I most sincerely apologize I cannot be here tomorrow to see you; I must go to Tokyo.” She says this as if she were missing the most extraordinary of wonders: another day with Arthur Less. He sees, in the lines around her mouth, the shadow of the smile all widows wear in private. She bows and exits, returning with a sake sampler. He tries all three, and when asked which is his favorite, he says the Tonni, though he cannot tell the difference. He asks which is her favorite. She blinks and says: “The Tonni.” If only he could learn to lie so compassionately.

I can tell right away by looking at you what you want to eat," he says. "I can tell how many brothers and sisters you have." After divining my favorite color (blue) and my astrological sign (Aquarius), Nakamura pulls out an ivory stalk of takenoko, fresh young bamboo ubiquitous in Japan during the spring. "This came in this morning from Kagumi. It's so sweet that you can eat it raw." He peels off the outer layer, cuts a thin slice, and passes it across the counter. First, he scores an inch-thick bamboo steak with a ferocious santoku blade. Then he sears it in a dry sauté pan until the flesh softens and the natural sugars form a dark crust on the surface. While the bamboo cooks, he places two sacks of shirako, cod milt, under the broiler. ("Milt," by the way, is a euphemism for sperm. Cod sperm is everywhere in Japan in the winter and early spring, and despite the challenges its name might create for some, it's one of the most delicious things you can eat.) Nakamura brings it all together on a Meiji-era ceramic plate: caramelized bamboo brushed with soy, broiled cod milt topped with miso made from foraged mountain vegetables, and, for good measure, two lightly boiled fava beans. An edible postcard of spring. I take a bite, drop my chopsticks, and look up to find Nakamura staring right at me. "See, I told you I know what you want to eat." The rest of the dinner unfolds in a similar fashion: a little counter banter, a little product display, then back to transform my tastes and his ingredients into a cohesive unit. The hits keep coming: a staggering plate of sashimi filled with charbroiled tuna, surgically scored squid, thick circles of scallop, and tiny white shrimp blanketed in sea urchin: a lesson in the power of perfect product. A sparkling crab dashi topped with yuzu flowers: a meditation on the power of restraint. Warm mochi infused with cherry blossoms and topped with a crispy plank of broiled eel: a seasonal invention so delicious it defies explanation.

Trees clinging to their leaves whirled by. In Dallas the seasons didn't change in graceful, vivid colors. Leaves simply exploded in a riot one day, fell off the next. Spring arrived with the same urgency and violence. Want to tell winter good-bye? Boom, cherry blossoms.

Seeing as it's cherry season, I've gone for an imitation of a lunchbox from a blossom-viewing picnic. On top of that folded kaishi paper is the wild vegetable tempura. Ostrich fern, mugwort, devil's walking stick, koshiabura and smilax. There's some matcha salt on the side, or you can try it with the regular dipping sauce. The sashimi is cherry bass and halfbeak. Try it with the ponzu. For the grilled fish dish, I've gone with masu salmon in a miso marinade, together with some simmered young bamboo. Firefly squid and wakame seaweed dressed with vinegared miso, overnight Omi beef, and deep-fried chicken wing-tips. In that wooden bowl is an Asari clam and bamboo shoot broth.

Ah, the Lunar New Year —a time of vibrant traditions, sumptuous feasts, and ancient wisdom. Amidst the festive dragon dances and glittering lanterns, it whispers profound life lessons. Like the patient blooming of cherry blossoms, it teaches resilience in adversity. The red envelopes, symbols of generosity, remind us of the joy of giving. And in the gathering of loved ones, it celebrates the power of community and connection

I put my phone away and stare out the window at Japan's countryside, watching the scenery zip by at 320 kilometers per hour. Mount Fuji has come and gone, as have laundry on metal merry-go-racks, houses plastered with party signs, weathered baseball diamonds, an ostrich farm, and now, miles of rice paddy fields tended by people wearing conical hats and straw coats. Japan is dressed in her best this morning, sunny and breezy, with few clouds in the sky as accessories. It's the first official day of spring. Cherry blossoms have disappeared in twists of wind or trampled into the ground. Takenoko, bamboo season, will begin soon.

In Japan, the season is much more defined. The flowers of each Somei-yoshino tree survive for about eight days, no more, and the reason they all blossom together and then lose those blossoms together is that they are clones.

spring did seem to come to this part of London earlier than to other, rougher neighbourhoods, the cherry-blossom anticipated warmer weather, as if the rich were owed nicer seasons.

Four scrolls hung on the east-facing wall, their edges slightly wrinkled with age. Her great-grandfather had spent years painting the scrolls. Each one portrayed a different season- spring, summer, autumn, and winter- in their family garden. Mulan stopped in front of the scroll of spring, studying her ancestor's confident brushstrokes and the delicate cherry blossoms forever captured in midbloom. Her fingers crept up, skimming the painting from the top of the trees to the bright yellow carp swimming in the pond.

In spring, streams gush with frigid waters, and inspired songbirds wake before dawn. Trees come alive with buds that swell and crack open; cherry blossoms, magnolias, and dogwoods seek rays of sunlight that will coax them into full bloom. Green tips poke up from between the crumbling dried leaves of last fall, and the days slowly, slowly grow longer before evening darkness envelopes the subtly bustling earth. Your sleepy senses wake in tandem with spring, and your body craves new sensations.

Cherry blossom season is short but breathtaking, and after the blossoms fade, the flowers fall to the ground, scattered by the wind and rain. Grandmama said that the cherry blossom was life. Sweet and beautiful, but so darn short. Too short not to do what you wanna do. Too short to not spend it with the people… you love.” Her eyes closed slowly as she took a deep breath.