Diner Film Quotes

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The girl in the Four Seasons coat check was eating handfuls of colored jelly beans and reading a thin yellow paperback. I’d read in the witness report in Ashley’s police file that the coat-check girl’s name was Nora Halliday and she was nineteen. Every time a party of diners arrived—midwestern tourists, finance dudes, a couple so elderly they moved like they were doing a form of tai chi—she whisked off her black-rimmed eyeglasses, hid the book, and with a cheerful “Good evening!” took their coats. After they moved upstairs to the restaurant, she put her glasses back on, brought out the paperback, and started reading again, hunched over the counter of the stall.
Marisha Pessl (Night Film)
At one chew per second, the Fletcherizing of a single bite of shallot would take more than ten minutes. Supper conversation presented a challenge. “Horace Fletcher came for a quiet dinner, sufficiently chewed,” wrote the financier William Forbes in his journal from 1906. Woe befall the non-Fletcherizer forced to endure what historian Margaret Barnett called “the tense and awful silence which . . . accompanies their excruciating tortures of mastication.” Nutrition faddist John Harvey Kellogg, whose sanatorium briefly embraced Fletcherism,* tried to reenliven mealtimes by hiring a quartette to sing “The Chewing Song,”† an original Kellogg composition, while diners grimly toiled. I searched in vain for film footage, but Barnett was probably correct in assuming that “Fletcherites at table were not an attractive sight.” Franz Kafka’s father, she reports, “hid behind a newspaper at dinnertime to avoid watching the writer Fletcherize.
Mary Roach (Gulp: Adventures on the Alimentary Canal)
In general, it could be said that we talk about many things. I’ll try to list them in no particular order. 1) The Latin American hell that, especially on weekends, is concentrated around some Kentucky Fried Chickens and McDonald’s. 2) The doings of the Buenos Aires photographer Alfredo Garófano, childhood friend of Rodrigo and now a friend of mine and of anyone with the least bit of discernment. 3) Bad translations. 4) Serial killers and mass murderers. 5) Prospective leisure as the antidote to prospective poetry. 6) The vast number of writers who should retire after writing their first book or their second or their third or their fourth or their fifth. 7) The superiority of the work of Basquiat to that of Haring, or vice versa. 8) The works of Borges and the works of Bioy. 9) The advisablity of retiring to a ranch in Mexico near a volcano to finish writing The Turkey Buzzard Trilogy. 10) Wrinkles in the space-time continuum. 11) The kind of majestic women you’ve never met who come up to you in a bar and whisper in your ear that they have AIDS (or that they don’t). 12) Gombrowicz and his conception of immaturity. 13) Philip K. Dick, whom we both unreservedly admire. 14) The likelihood of a war between Chile and Argentina and its possible and impossible consequences. 15) The life of Proust and the life of Stendhal. 16) The activities of some professors in the United States. 17) The sexual practices of titi monkeys and ants and great cetaceans. 18) Colleagues who must be avoided like limpet mines. 19) Ignacio Echevarría, whom both of us love and admire. 20) Some Mexican writers liked by me and not by him, and some Argentine writers liked by me and not by him. 21) Barcelonan manners. 22) David Lynch and the prolixity of David Foster Wallace. 23) Chabon and Palahniuk, whom he likes and I don’t. 24) Wittgenstein and his plumbing and carpentry skills. 25) Some twilit dinners, which actually, to the surprise of the diner, become theater pieces in five acts. 26) Trashy TV game shows. 27) The end of the world. 28) Kubrick’s films, which Fresán loves so much that I’m beginning to hate them. 29) The incredible war between the planet of the novel-creatures and the planet of the story-beings. 30) The possibility that when the novel awakes from its iron dreams, the story will still be there.
Roberto Bolaño (Between Parentheses: Essays, Articles and Speeches, 1998-2003)
I really want my roots to come through in this meal," I said, very conscious of the cameras filming everything I was saying. "I want to make sure viewers and diners"----and investors, please, especially investors----"see everything that the food of my ancestors can be. That Jewish food isn't just matzah ball soup and pastrami sandwiches." So it was with that attitude I went about planning my menu. "I'm thinking my first dish is going to be a tribute to my grandmother," I said. "She was very into chopped liver. I hated it as a kid, for good reason: her chopped liver was bland and gritty." Grandma Ruth hissed in my ear, but I ignored her. "I want to make good chopped liver on good bread with something vinegary and acidic to cut through it. Maybe some kind of pickled fruit, because the judges really loved my pickled cherries in the last round." "How about kumquats?" suggested Kaitlyn. "Or gooseberries?" "I like gooseberries," said Kel. I made a note. "We'll see what they have at the store, since we'll be on a budget. With the second course, Ashkenazi cooking has so many preserved and sometimes weird fish dishes. Think gefilte fish and pickled herring. I've wanted to do my special gefilte fish this whole competition and never got a chance, so I think now's the time." "If not now, when?" Kel said reasonably. "Indeed. And I think coupling it with pickled herring and maybe some other kind of fish to make a trio will create something amazing. Maybe something fried, since the other two parts of the dish won't have any crunch. Or I could just do, like, a potato chip? I do love potatoes." I made another note. "And for the third dish, I'm thinking duck. I want to do cracklings with the duck skin and then a play on borscht, which is what the dish is really about. Beets on the plate, pickled onions, an oniony sauce, et cetera." "Ducks and beets play well together," Kel said, approval warm on their round face.
Amanda Elliot (Sadie on a Plate)
Even after I met a nurse in Detroit who opened doors inside me I hadn’t known I’d locked. Even then, I’d still see Sally sipping coffee at a diner counter, or sticking her arm out of a dressing room for another size, or in the balcony at a movie theater watching a picture by herself. And each time, I’d feel that same inner gasp, that exquisite anticipation—that moment the lights go down and the film begins, that moment when, for just a few seconds, the whole world feels on the verge of awakening.
Lara Prescott (The Secrets We Kept)