Clam Shell Quotes

It takes courage to love, but pain through love is the purifying fire which those who love generously know. We all know people who are so much afraid of pain that they shut themselves up like clams in a shell and, giving out nothing, receive nothing and therefore shrink until life is a mere living death.

Happy as a clam, is what my mother says for happy. I am happy as a clam: hard-shelled, firmly closed.

There's little in taking or giving There's little in water or wine This living, this living , this living was never a project of mine. Oh, hard is the struggle, and sparse is the gain of the one at the top for art is a form of catharsis and love is a permanent flop and work is the province of cattle and rest's for a clam in a shell so I'm thinking of throwing the battle would you kindly direct me to hell?

Sadly, I part from you; Like a clam torn from its shell, I go, and autumn too.

She is the goddess in the Botticelli clam shell, her eyes are the waterlilies in Monet’s pond, she is the hand of God reaching down to mankind. Klimt’s kiss is a portrait of us and I’m gonna steal it. Take it, make it mine, make her mine too.

His lyrical whistle beckoned me to adventure and forgetting. But I didn't want to forget. Hugging my grudge, ugly and prickly, a sad sea urchin, I trudged off on my own, in the opposite direction toward the forbidding prison. As from a star I saw, coldly and soberly, the separateness of everything. I felt the wall of my skin; I am I. That stone is a stone. My beautiful fusion with the things of this world was over. The Tide ebbed, sucked back into itself. There I was, a reject, with the dried black seaweed whose hard beads I liked to pop, hollowed orange and grapefruit halves and a garbage of shells. All at once, old and lonely, I eyed these-- razor clams, fairy boats, weedy mussels, the oyster's pocked gray lace (there was never a pearl) and tiny white "ice cream cones." You could always tell where the best shells were-- at the rim of the last wave, marked by a mascara of tar. I picked up, frigidly, a stiff pink starfish. It lay at the heart of my palm, a joke dummy of my own hand. Sometimes I nursed starfish alive in jam jars of seawater and watched them grow back lost arms. On this day, this awful birthday of otherness, my rival, somebody else, I flung the starfish against a stone. Let it perish.

Listen! Clam up your mouth and be silent like an oyster shell, for that tongue of yours is the enemy of the soul, my friend. When the lips are silent, the heart has a hundred tongues.

Coda" There's little in taking or giving, There's little in water or wine; This living, this living, this living Was never a project of mine. Oh, hard is the struggle, and sparse is The gain of the one at the top, For art is a form of catharsis, And love is a permanent flop, And work is the province of cattle, And rest's for a clam in a shell, So I'm thinking of throwing the battle- Would you kindly direct me to hell?

What can I do? I can only breathe in deeply. I can only bellow in a church that is deep inside of myself. I can only blast a shell-shaped horn that would shake down the oldest buildings. I can only leap for joy in my sacred inner caves and ring out the message: I am alive. I woke up again. I might as well be sprouting leaves, I might as well be covered in little clams.

From the molten basements of the world, two hundred miles down, it comes. One crystal in a seam of others. Pure carbon, each atom linked to four equidistant neighbors, perfectly knit, octahedral, unsurpassed in hardness. Already it is old: unfathomably so. Incalculable eons tumble past. The earth shifts, shrugs, stretches. One year, one day, one hour, a great upflow of magma gathers a seam of crystals and drives it toward the surface, mile after burning mile; it cools inside a huge, smoking xenolith of kimberlite, and there it waits. Century after century. Rain, wind, cubic miles of ice. Bedrock becomes boulders, boulders become stones; the ice retreats, a lake forms, and galaxies of freshwater clams flap their million shells at the sun and close and die and the lake seeps away. Stands of prehistoric trees rise and fall and rise again in succession. Until another year, another day, another hour, when a storm claws one particular stone out of a canyon and sends it into a clattering flow of alluvium, where eventually it finds, one evening, the attention of a prince who knows what he is looking for.

Don't be satisfied with stories, how things have gone with others. Unfold your own myth.” Listen! Clam up your mouth and be silent like an oyster shell, for that tongue of yours is the enemy of the soul, my friend. When the lips are silent, the heart has a hundred tongues.

She is the goddess in the Botticelli clam shell, her eyes are the waterlilies in Monet’s pond, she is the hand of God reaching down to mankind. Klimt’s kiss is a portrait of us and I’m gonna steal it. Take it, make it mine, make her mine too. Maybe do that one first.

Poetry, I tell my students, is idiosyncratic. Poetry is where we are ourselves, (though Sterling Brown said "Every 'I' is a dramatic 'I'") digging in the clam flats for the shell that snaps, emptying the proverbial pocketbook. Poetry is what you find in the dirt in the corner, overhear on the bus, God in the details, the only way to get from here to there. Poetry (and now my voice is rising) is not all love, love, love and I'm sorry the dog died. Poetry (here I hear myself loudest) is the human voice, and are we not of interest to each other?

Listen! Clam up your mouth and be silent like an oyster shell, for that tongue of yours is the enemy of the soul, my friend. When the lips are silent, the heart has a hundred tongues.

Once she was separated from the cockles & clams, she found herself miraculously transformed into a Goddess. But she found herself different from the Goddesses & Nymphs of the sea because of the girdle. It clung to her body as a second skin, or as the shell clung to the cockle, & she had never been able to take it off. And thus, she herself had never known what she hid beneath the girdle.

In the window I smelled all the food of San Francisco. There were seafood places out there where the buns were hot, and the baskets were good enough to eat too; where the menus themselves were soft with foody esculence as though dipped in hot broths and roasted dry and good enough to eat too. Just show me the bluefish spangle on a seafood menu and I’d eat it; let me smell the drawn butter and lobster claws. There were places where they specialized in thick and red roast beef au jus, or roast chicken basted in wine. There were places where hamburgs sizzled on grills and the coffee was only a nickel. And oh, that pan-fried chow mein flavored air that blew into my room from Chinatown, vying with the spaghetti sauces of North Beach, the soft-shell crab of Fisherman’s Wharf — nay, the ribs of Fillmore turning on spits! Throw in the Market Street chili beans, redhot, and french-fried potatoes of the Embarcadero wino night, and steamed clams from Sausalito across the bay, and that’s my ah-dream of San Francisco…

I am not the sort of girl who has bad times, I have good times only. There I am, in the Grade Six class picture, smiling broadly. Happy as a clam, is what my mother says for happy. I am happy as a clam: hard-shelled, firmly closed.

The punter sweated on top of Marina, his lips all over her young body, his tongue slipping out from rows of crooked teeth, pushing hungrily from between his shrivelled lips like a clam from a shell, a bottom feeder searching for salty nutrition.

We navigate the produce stands, plucking palms full of cherries from every pile we pass, chewing them and spitting the seeds on the ground. We eat tiny tomatoes with taut skins that snap under gentle pressure, releasing the rabid energy of the Sardinian sun trapped inside. We crack asparagus like twigs and watch the stalks weep chlorophyll tears. We attack anything and everything that grows on trees- oranges, plums, apricots, peaches- leaving pits and peels, seeds and skins in our wake. Downstairs in the seafood section, the heart of the market, the pace quickens. Roberto turns the market into a roving raw seafood bar, passing me pieces of marine life at every stand: brawny, tight-lipped mussels; juicy clams on the half shell with a shocking burst of sweetness; tiny raw shrimp with beads of blue coral clinging to their bodies like gaudy jewelry. We place dominoes of ruby tuna flesh on our tongues like communion wafers, the final act in this sacred procession.

Celina surveyed her inventory. Candied lemon and orange slices dipped in chocolate, roasted coffee beans enrobed in dark chocolate, and coconut confections enveloped in milk chocolate. Petite Coeurs with a crème fraîche and raspberry liqueur filling, rum-spiked caramels covered in milk chocolate, bittersweet espresso truffles studded with crushed Sicilian pistachios. For her seaside fantasy collection, the antique cast iron molds had yielded whimsical chocolate shells and seahorses. Within clam shells formed from chocolate were nestled pearls of white chocolate. Among the delicacies were her trademark stars: creamy milk chocolate, dark chocolate filled with peppermint-flavored crème fraîche, and white chocolate iced with candied lemon peel.

It has now been many months, at the present writing, since I have had a nourishing meal, but I shall soon have one—a modest, private affair, all to myself. I have selected a few dishes, and made out a little bill of fare, which will go home in the steamer that precedes me, and be hot when I arrive—as follows: Radishes. Baked apples, with cream Fried oysters; stewed oysters. Frogs. American coffee, with real cream. American butter. Fried chicken, Southern style. Porter-house steak. Saratoga potatoes. Broiled chicken, American style. Hot biscuits, Southern style. Hot wheat-bread, Southern style. Hot buckwheat cakes. American toast. Clear maple syrup. Virginia bacon, broiled. Blue points, on the half shell. Cherry-stone clams. San Francisco mussels, steamed. Oyster soup. Clam Soup. Philadelphia Terapin soup. Oysters roasted in shell-Northern style. Soft-shell crabs. Connecticut shad. Baltimore perch. Brook trout, from Sierra Nevadas. Lake trout, from Tahoe. Sheep-head and croakers, from New Orleans. Black bass from the Mississippi. American roast beef. Roast turkey, Thanksgiving style. Cranberry sauce. Celery. Roast wild turkey. Woodcock. Canvas-back-duck, from Baltimore. Prairie liens, from Illinois. Missouri partridges, broiled. 'Possum. Coon. Boston bacon and beans. Bacon and greens, Southern style. Hominy. Boiled onions. Turnips. Pumpkin. Squash. Asparagus. Butter beans. Sweet potatoes. Lettuce. Succotash. String beans. Mashed potatoes. Catsup. Boiled potatoes, in their skins. New potatoes, minus the skins. Early rose potatoes, roasted in the ashes, Southern style, served hot. Sliced tomatoes, with sugar or vinegar. Stewed tomatoes. Green corn, cut from the ear and served with butter and pepper. Green corn, on the ear. Hot corn-pone, with chitlings, Southern style. Hot hoe-cake, Southern style. Hot egg-bread, Southern style. Hot light-bread, Southern style. Buttermilk. Iced sweet milk. Apple dumplings, with real cream. Apple pie. Apple fritters. Apple puffs, Southern style. Peach cobbler, Southern style Peach pie. American mince pie. Pumpkin pie. Squash pie. All sorts of American pastry. Fresh American fruits of all sorts, including strawberries which are not to be doled out as if they were jewelry, but in a more liberal way. Ice-water—not prepared in the ineffectual goblet, but in the sincere and capable refrigerator.

had cooked bacon until crisp and then crumbled it and set it aside while he sautéed onion, pepper and garlic until tender. He had then combined bread crumbs, oregano, grated parmesan cheese and the sautéed vegetables with the fresh chopped clams he’d gotten from the supermarket’s fish department. He filled the shells with the mixture, sprinkled them with parsley and paprika and, after drizzling them with virgin olive oil, placed them in the hot oven until the tops were browned and the mixture bubbly. The Caesar salad with

I love the ocean. My perfect day is spent riding waves at the beach, preferably early in the morning or just before sunset, when the light is beautiful and the crowds are sparse. I've loved the ocean my whole life. Some of my greatest memories are of piling in the station wagon with my family for a long drive to the beach, where we'd spend the day swimming, playing in the sand, digging for clams, or combing the shore for shells. I've always been taken by the majesty of the sea; the mystery of the unseen world below; and the calming, rhythmic sound of the waves.

I needed to talk to Vargina, to straighten this out, but felt suddenly faint, headed for the deli across the street. Just standing in the vicinity of comfort food was comfort. The schizophrenic glee with which you cold load your plastic shell with spinach salad, pork fried rice, turkey with cranberry, chicken with pesto, curried yams, clams casino, breadsticks, and yogurt, pay for it by the pound, this farm feed for human animals in black chinos and pleated chinos, animals whose enclosure included the entire island of Manhattan, this sensation I treasured deeply.

In the window I smelled all the food of San Francisco. There were seafood places out there where the buns were hot, and the baskets were good enough to eat too; where the menus themselves were soft with foody esculence as though dipped in hot broths and roasted dry and good enough to eat too. Just show me the bluefish spangle on a seafood menu and I’d eat it; let me smell the drawn butter and lobster claws. There were places where they specialized in thick red roast beef au jus, or roast chicken basted in wine. There were places where hamburgs sizzled on grills and the coffee was only a nickel. And oh, that pan-fried chow mein flavored air that blew into my room from Chinatown, vying with the spaghetti sauces of North Beach, the soft-shell crab of Fisherman’s Wharf—nay, the ribs of Fillmore turning on spits! Throw in the Market Street chili beans, redhot, and french-fried potatoes of the Embarcadero wino night, and steamed clams from Sausalito across the bay, and that’s my ah-dream of San Francisco. Add fog, hunger-making raw fog, and the throb of neons in the soft night, the clack of high-heeled beauties, white doves in a Chinese grocery window . . .

I believe by Elizabeth Alexander Poetry, I tell my students, is idiosyncratic. Poetry is where we are ourselves, (though Sterling Brown said “Every ‘I’ is a dramatic ‘I’”) digging in the clam flats for the shell that snaps, emptying the proverbial pocketbook. Poetry is what you find in the dirt in the corner, overhear on the bus, God in the details, the only way to get from here to there. Poetry (and now my voice is rising) is not all love, love, love, and I’m sorry the dog died. Poetry (here I hear myself loudest) is the human voice, and are we not of interest to each other?

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

From the molten basements of the world, two hundred miles down, it comes. One crystal in a seam of others. Pure carbon, each atom linked to four equidistant neighbors, perfectly knit, tetrahedral, unsurpassed in hardness. Already it is old: unfathomably so. Incalculable eons tumble past. The earth shifts, shrugs, stretches. One year, one day, one hour, a great upflow of magma gathers a seam of crystals and drives it toward the surface, mile after burning mile; it cools inside a huge, smoking xenolith of kimberlite, and there it waits. Century after century. Rain, wind, cubic miles of ice. Bedrock becomes boulders, boulders become stones; the ice retreats, a lake forms, and galaxies of freshwater clams flap their million shells at the sun and close and die and the lake seeps away. Stands of prehistoric trees rise and fall and rise again in succession. Until another year, another day, another hour, when a storm claws one particular stone out of a canyon and sends it into a clattering flow of alluvium, where eventually it finds, one evening, the attention of a prince who knows what he is looking for. It is cut, polished; for a breath, it passes between the hands of men. Another hour, another day, another year. Lump of carbon no larger than a chestnut. Mantled with algae, bedecked with barnacles. Crawled over by snails. It stirs among the pebbles.

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

By the time Columbus discovered America, the Indians were already using beads for decoration. Beads were made from shells, bones, claws, stones, and minerals. The Algonquin and Iroquois tribes of the eastern coast made beads from clam, conch, periwinkle, and other seashells. These beads were used as a medium of exchange by the early Dutch and English colonists. They were called “wampum,” a contraction of the Algonquin “wampumpeak” or “wamponeage,” meaning string of shell beads. The purple beads had twice the value of the white ones. The explorer, followed by the trader, missionary and settler, soon discovered that he had a very good trade item in glass beads brought from Europe. The early beads that were used were about 1/8 inch in diameter, nearly twice as large as beads in the mid-1800’s. They were called pony beads and were quite irregular in shape and size. The colors most commonly used were sky-blue, white, and black. Other less widely used colors were deep bluff, light red, dark red, and dark blue. The small, round seed beads, as they are called, are the most generally used for sewed beadwork. They come in a variety of colors. Those most commonly used by the Indians are red, orange, yellow, light blue, dark blue, green, lavender, and black. The missionaries’ floral embroidered vestments influenced the Woodland tribes of the Great Lakes to apply beads in flower designs. Many other tribes, however, are now using flower designs. There are four main design styles used in the modern period. Three of the styles are largely restricted to particular tribes. The fourth style is common to all groups. It is very simple in pattern. The motifs generally used are solid triangles, hourglasses, crosses, and oblongs. This style is usually used in narrow strips on leggings, robes, or blankets. Sioux beadwork usually is quite open with a solid background in a light color. White is used almost exclusively, although medium or light blue is sometimes seen. The design colors are dominated by red and blue with yellow and green used sparingly. The lazy stitch is used as an application. The Crow and Shoshoni usually beaded on red trade or blanket cloth, using the cloth itself for a background. White was rarely used, except as a thin line outlining other design elements. The most common colors used for designs are pale lavender, pale blue, green, and yellow. On rare occasions, dark blue was used. Red beads were not used very often because they blended with the background color of the cloth and could not be seen. The applique stitch was used. Blackfoot beadwork can be identified by the myriad of little squares or oblongs massed together to make up a larger unit of design such as triangles, squares, diamonds, terraces, and crosses. The large figure is usually of one color and the little units edging it of many colors. The background color is usually white, although other light colors such as light blue and green have been used. The smallness of the pattern in Blackfoot designs would indicate this style is quite modern, as pony trading beads would be too large to work into these designs. Beadwork made in this style seems to imitate the designs of the woven quill work of some of the northwestern tribes with whom the Blackfoot came in contact.

There is no magic bullet, secret formula, or quick fix to success. You don’t make $200,000 a year by spending two hours a day on the internet, lose thirty pounds in a week with a “Hollywood diet,” rub twenty years off your face with a cream, fix your love life with a pill, or find lasting success with a get-rich-quick scheme. It would be great if you could buy your success, fame, self-esteem, good relationships, health, and well-being in a nicely clam-shelled package at the local Walmart, but that’s not how it works.

There wasn’t a hamburger or hot dog in sight at the family picnic. Trays of lasagna, eggplant parmigiana, swordfish, clams on the half shell, steamed mussels, calamari salads, veal rollatini, stuffed artichokes, and more covered the redwood picnic tables. The tuna casserole and noodle salad brought by the few cousins who had married non-Italians were politely put on a separate picnic table and went untouched.

A relentless worker, Myers only stopped producing when he was felled in 2006 by an inoperable brain tumor. He died at fifty-four on March 27, 2007; that week the journal Science published his last, groundbreaking paper: it provided convincing evidence that the decimation of sharks in the Atlantic had produced a cascade of unintended effects that were distorting ecosystems up and down the East Coast. He and his colleagues calculated that between 1970 and 2005, the number of scalloped hammerhead and tiger sharks declined by more than 97 percent, and bull, dusky, and smooth hammerhead sharks dropped by more than 99 percent. During that same period nearly all of the sharks’ prey species exploded: the cownose ray population off the East Coast expanded to as much as forty million. They became the thugs of the ocean, rampaging and pillaging in their quest to sustain their ever-rising numbers. Cownose rays eat tremendous amounts of bay scallops, oysters, and soft-shell and hard clams, and by 2004 their consumption of nearly all the adult scallops in the North Carolina sounds forced the state to shutter its century-old bay scallop fishery.

The ocean, indeed, has long been the silent hero in this burning world. It has absorbed almost one-third of the carbon dioxide released by humans since the Industrial Revolution and more than 90 percent of the resulting heat---helping the air we breathe at the expense of a souring sea. Warm water, put simply, expands, whereas cold water takes up less space. And when carbon dioxide mixes with seawater, it undergoes chemical reactions that increase the water's acidity. It we treat Earth as our most ailing patient, the symptoms are right here in the water. Across the seven seas, coral reefs are dying, oysters and clams are struggling to build their shells. Gray whales, sentinels of the Pacific as they migrate 12,000 miles each year from the Arctic to Baja California, have washed up dead in staggering numbers. A special report by the Intergovernmental Panel on Climate Change found that marine heatwaves---extreme periods of broiling water that disrupt entire ecosystems--have doubled in frequency since 1982. In just one year, the world's oceans got hotter by about 14 zettajoules (one zettajoule is 1,000,000,000,000,000,000,000 joules of energy). This is a mind-bending number, so one thermal scientist put it this way: "The oceans have absorbed heat equivalent to seven Hiroshima atomic bombs detonating each second, twenty-four hours a day, three hundred sixty-five days a year.

The dining room has been transformed into a fairy garden this evening. Flowers are strewn across the long table--- magnolias, anemones, and roses--- paired with hydrangea-and-peony centerpieces. Long taper candles flicker over the display, complemented by the remaining sunlight. A feast sprawls out from one end of the table to the other, a medley of some of my favorites--- crab cioppino with bright tomatoes and red wine, garlic bread flecked with parsley, linguine and clams swimming in broth, seared abalone presented in its opalescent shell, fresh oysters on a bed of ice.

New England Clam Chowder YIELD: 4 TO 6 SERVINGS (ABOUT 8 CUPS) I DON’T REMEMBER ever eating clams when I was in France. Oysters and mussels, yes, but not clams. Fried clams and New England clam chowder were popular menu items at Howard Johnson’s, and I soon learned to love them. Although HoJo’s clam chowder recipe was made in 3,000-gallon amounts and canned, it was quite good. I reproduce that taste at home when a bit of Howard Johnson’s nostalgia creeps in. 5 quahog clams or 10 to 12 large cherrystone clams 4 cups water 4 ounces pancetta or lean, cured pork, cut into 1-inch pieces (about ¾ cup) 1 tablespoon good olive oil 1 large onion (about 8 ounces), peeled and cut into 1-inch pieces (1½ cups) 2 teaspoons chopped garlic 1 tablespoon all-purpose flour 2 sprigs fresh thyme 1 pound Yukon Gold potatoes, peeled and cut into ½-inch dice (2¼ cups) 1 cup light cream 1 cup milk ¼ teaspoon freshly ground black pepper Wash the clams well under cold water, and put them in a saucepan with 2 cups of the water. Bring to a boil (this will take about 5 minutes), and boil gently for 10 minutes. Drain off and reserve the cooking liquid, remove the clams from their shells, and cut the clams into ½-inch pieces (1½ cups). Put the clam pieces in a bowl, then carefully pour the cooking liquid into another bowl, leaving behind any sediment or dirt. (You should have about 3½ cups of stock.) Set aside the stock and the clams. Put the pancetta or pork pieces in a large saucepan, and cover with the remaining 2 cups water. Bring to a boil, and boil for 30 seconds. Drain the pancetta, and wash it in a sieve under cold water. Rinse the saucepan, and return the pancetta to the pan with the oil. Place over medium heat, and cook gently, stirring occasionally, for 7 to 8 minutes. Add the onion and garlic, and continue cooking, stirring, for 1 minute. Add the flour, mix it in well, and cook for 10 seconds. Add the reserved stock and the thyme, and bring to a boil. Then add the potatoes and clams, bring to a boil, cover, reduce the heat to very low, and cook gently for 2 hours. At serving time, add the cream, milk, and pepper, bring to a boil, and serve. (Note: No salt should be needed because of the clam juice and pancetta, but taste and season to your liking.)

Mihai had asked his father about the man one summer when the family went to the Black Sea. His father had picked up a clam shell and held it out for his young son to examine. 'Something used to live here,' he’d said that day. 'This was its house. The inside, the essence of the clam—the part that gave it life—died, and the house became empty.' From the outside, it looked the same as it always had, just like the man. He was a shell of who he used to be.

Soft washed river sand is still the best toy ever invented for children. It serves countless other purposes too. It cannot be beat for scouring dirty pots and pans and for cleaning wooden floors. Mixed with burnt powdered clam shells, you have the finest cement. Take a smooth slab of wood and cover it with tree or bush resin, sprinkle different colored river sand on the sticky resin to form colored pictures. River sand laid under animal traps prevent them from freezing down even in the coldest weather. River sand makes fine sidewalks and good insulation under buildings.

Mariana screamed again, the sound so violent it made Robbie flinch away from her and clap his hands over his ears, wondering in horror how anyone could survive making a noise like that, wondering if he did want to die. He backed away from the pulsing white-hot sun of the kneeling woman's loss and staggered out through a gap in the half-built wall to where he'd left his clams, the pearlescent strips of their shells catching the thin sunlight.

My mouth watered. The lobster and waffles was extremely delicious, but I also loved the fancy toast topped with snow crab and avocado (rich, sweet, and textually balanced, given nice contrast by a zing of black pepper on top). And the soft-shell crab BLT, where the the sweet, earthy tomato met the crisp, watery crunch of the iceberg lettuce and thick, chewy smoke of bacon, and then the sweet, crispy crackles of the soft-shell crab. And Chef Stephanie's version of New England clam chowder, which was rich with cream, but not heavy, and delicately spiced; the clams were big and briny, and the bits of the bacon throughout somehow still crispy. It would have qualified as an excellent but not all that memorable clam chowder if not for the salsify root, which had the texture of a parsnip but the taste, almost, of an oyster or a clam. It made for a marvelously interesting bite.

The green sponge turned out to be fu (wheat gluten), a high-protein Buddhist staple food often flavored with herbs and spices. The pink-and-yellow cigarette lighters turned out to be yogurts. The lime-green yo-yos were rice taffy cakes bulging with sweet white bean paste. As for the vermilion-colored mollusks, they were a kind of cockle called blood clams (or arc shell) and, according to Tomiko, "delicious as sushi." The jumbo green sprouts came from the daikon radishes and were "tasty in salads." And the pebbly-skinned yellow fruit was yuzu, an aromatic citrus with a lemony pine flavor that was "wonderful in soup.

From the salty bite of gizzard shad to the supple sweetness of horse mackerel to the crunch and brine of ark shell clam, Sawada guides you through the full spectrum of ocean taste and texture. A giant prawn split into two pieces delivers dessert levels of sweetness. Saltwater eel is equal parts crunchy skin and tender flesh. Smoked bonito, in all its concentrated, fire-kissed intensity, will keep you awake at night.

After I steamed four giant clams over a skillet of sake, Stephen ripped out the meat and hacked it into chunks. With cupped hands, he scooped up the chewy bits and threw them in a bowl. Then he stirred in spicy red-and-white radish wedges and a warm dressing of wasabi, sugar, and sweet white miso that I had stirred in a small saucepan over a low flame until it became thick and shiny. Following his directions, I spooned the golden clams back into their shells. Stephen garnished them with a pink-and-white "congratulatory" flower of spongy wheat gluten. "Precious," he said, winking at me. Next, we made sea urchin- egg balls, first blending creamy lobes of sea urchin with raw egg yolk and a little dashi. Stephen cooked the mixture until it formed a stiff paste and then pressed it through a sieve. I plopped a golden dollop in a clean damp cloth and flattened it into a disc. In the center I put three crescents of lily bulb tenderized in salt water. "Try one," urged Stephen, handing me a wedge of lily bulb. It was mealy and sweet, kind of like a boiled cashew. Stephen brought together the four corners of the damp cloth and twisted it gently to create a bubble of eggy sea urchin paste stuffed with lily bulb. When unveiled, it looked like a Rainier cherry. I twisted out nineteen more balls, which we later arranged on fresh green leaves draped across black lacquer trays. Next, we impaled several fat shrimp on two metal skewers, sending one rod through the head and the other through the tail. We grilled the grayish pink bodies until they became rosy on one side and then flipped them over until they turned opaque. Stephen painted golden egg yolk for prosperity over the juicy crustaceans and returned them to the grill until they smoldered and charred.

The cough penetrates my dream with the sandpapered force of a chain-smoking speed freak. It’s Daddy’s pneumonia-laden cough, Mother’s emphysema wheeze. Even without the monitor, I can hear the hacking gasps start. My body’s a sandbag, but my eyelids split open like clam shells (3:10). On the table, a tumbler of mahogany whiskey burns bright as any flaming oil slick. Gone a little watery on top, it’s still possessed of a golden nimbus. That’s the secret to getting up: the glass talks and my neck cranes toward the drink like flower to sunbeam. My heavy skull rises, throbbing with a pulse beat. I grab the drink and let a long gulp burn a corridor through the sludge that runs up the middle of me—that trace of fire my sole brightness. A drink once brought ease, a bronze warmth spreading through all my muddy regions. Now it only brings a brief respite from the bone ache of craving it, no more delicious numbness. Slurping these spirits is soul preparation, a warped communion, myself serving as god, priest, and congregation. I rise on rickety legs, dripping sweat despite the air conditioner’s blast across my naked chest. Forgoing bathrobe, I pull on a wife-beater T-shirt. (3:15!)

DAWN TREADER SOUP When Caspian, King of Narnia, in the company of Reepicheep the mouse knight, Lucy, Edmund, and Eustace, decides to go in search of the lost Lords of Narnia, he sets sail on a ship called the Dawn Treader. The crew experiences many adventures at sea and on land, and have to live off the food on board and what they can find around them. This soup was a particular favorite of Eustace…. At least, until he turned into a dragon! This recipe can easily be made on board a ship, using produce from the sea and supplies from the hold. INGREDIENTS • serves 4 1 lb 2 oz clams 2 3/4 oz smoked bacon 1 shallot 1 1/2 oz butter 3 sprigs thyme 1 bay leaf 1 T flour 2 cooked potatoes, chopped into chunks 1 3/4 oz crème fraîche or sour cream Salt and pepper PREPARATION TIME • 15 mins COOKING TIME • 25 mins Collect the clams on the island of Felimath, rinse them carefully, and place in a cauldron with about 4 oz of water. Boil them for 2 minutes, until the clams open, and discard any that remain closed. Drain the clams, saving the juices, and remove them from their shells. Strain and reserve the juices through a piece of cheesecloth. Chop the bacon and let it brown for a few minutes in a nonstick frying pan. Drain off the excess fat and set the bacon aside on paper towels. Peel the shallot, sauté it for 5 minutes in the butter without browning, then add the bacon, thyme, and bay leaf before the ship reaches the Dark Island. Sprinkle with the flour and let the shallot and bacon cook for 1 minute, stirring constantly. Slowly add the clam juice, stirring at the same time to prevent lumps forming, then add the potato chunks and simmer for 10 minutes. Remove bay leaf and purée with a blender until the soup is quite smooth. Add the clams and the crème fraîche or sour cream, reheat for 2 minutes, season with salt and pepper, and serve. Note: Reepicheep likes to add a handful of samphire to nibble with this soup.

Spaghetti del mare," she said, coming through the door, "from the sea." In the large, wide blue bowl, swirls of thin noodles wove their way between dark black shells and bits of red tomato. "Breathe first," Charlie told him, "eyes closed." The steam rose off the pasta like ocean turned into air. "Clams, mussels," Tom said, "garlic, of course, and tomatoes. Red pepper flakes. Butter, wine, oil." "One more," she coaxed. He leaned in- smelled hillsides in the sun, hot ground, stone walls. "Oregano," he said, opening his eyes. Charlie smiled and handed him a forkful of pasta. After the sweetness of the melon, the flavor was full of red bursts and spikes of hot pepper shooting across his tongue, underneath, like a steadying hand, a salty cushion of clam, the soft velvet of oregano, and pasta warm as beach sand.

the Skeleton King’s massive ribcage split apart up the center and opened up like a sideways chest—like a great clam-shell trap—and my body crumpled inside of it! The ribcage trap slammed shut on me, crushing me inside the abomination’s body. Pain...

The journey was more important than the place; most important was to return home, with crumpled maps, salt and pepper shakers shaped like clam shells, a sweatshirt with whales on it, and be able to say: I have been there, I have gone on a journey, I have come safely home.

We made a fire and cooked the clams, adding some wild onions and sea asparagus for flavor, and ate out of bowls made of abalone shells, with mussel shells for spoons and berries for dessert.

Money is only clam shells or metal discs or scraps of paper, and there are treasures of the heart and soul which money cannot buy, but most people, being broke, are unable to keep this in mind and sustain their spirits. When a man is down and out and on the street, unable to get any job at all, something happens to his spirit which can be observed in the droop of his shoulders, the set of his hat, his walk, and his gaze. He cannot escape a feeling of inferiority among people with regular employment, even though he knows they are definitely not his equals in character, intelligence or ability. "These people-- even his friends--feel, on the other hand, a sense of superiority and regard him, perhaps unconsciously, as a casualty. He may borrow for a time, but not enough to carry on in his accustomed way, and he cannot continue to borrow very long. But borrowing in itself, when a man is borrowing merely to live, is a depressing experience, and the money lacks the power of earned money to revive his spirits. Of course, none of this applies to bums or habitual ne'er-do-wells, but only to men of normal ambitions and self-respect