Kitchen Slab Quotes

Gulls wheel through spokes of sunlight over gracious roofs and dowdy thatch, snatching entrails at the marketplace and escaping over cloistered gardens, spike topped walls and treble-bolted doors. Gulls alight on whitewashed gables, creaking pagodas and dung-ripe stables; circle over towers and cavernous bells and over hidden squares where urns of urine sit by covered wells, watched by mule-drivers, mules and wolf-snouted dogs, ignored by hunch-backed makers of clogs; gather speed up the stoned-in Nakashima River and fly beneath the arches of its bridges, glimpsed form kitchen doors, watched by farmers walking high, stony ridges. Gulls fly through clouds of steam from laundries' vats; over kites unthreading corpses of cats; over scholars glimpsing truth in fragile patterns; over bath-house adulterers, heartbroken slatterns; fishwives dismembering lobsters and crabs; their husbands gutting mackerel on slabs; woodcutters' sons sharpening axes; candle-makers, rolling waxes; flint-eyed officials milking taxes; etiolated lacquerers; mottle-skinned dyers; imprecise soothsayers; unblinking liars; weavers of mats; cutters of rushes; ink-lipped calligraphers dipping brushes; booksellers ruined by unsold books; ladies-in-waiting; tasters; dressers; filching page-boys; runny-nosed cooks; sunless attic nooks where seamstresses prick calloused fingers; limping malingerers; swineherds; swindlers; lip-chewed debtors rich in excuses; heard-it-all creditors tightening nooses; prisoners haunted by happier lives and ageing rakes by other men's wives; skeletal tutors goaded to fits; firemen-turned-looters when occasion permits; tongue-tied witnesses; purchased judges; mothers-in-law nurturing briars and grudges; apothecaries grinding powders with mortars; palanquins carrying not-yet-wed daughters; silent nuns; nine-year-old whores; the once-were-beautiful gnawed by sores; statues of Jizo anointed with posies; syphilitics sneezing through rotted-off noses; potters; barbers; hawkers of oil; tanners; cutlers; carters of night-soil; gate-keepers; bee-keepers; blacksmiths and drapers; torturers; wet-nurses; perjurers; cut-purses; the newborn; the growing; the strong-willed and pliant; the ailing; the dying; the weak and defiant; over the roof of a painter withdrawn first from the world, then his family, and down into a masterpiece that has, in the end, withdrawn from its creator; and around again, where their flight began, over the balcony of the Room of Last Chrysanthemum, where a puddle from last night's rain is evaporating; a puddle in which Magistrate Shiroyama observes the blurred reflections of gulls wheeling through spokes of sunlight. This world, he thinks, contains just one masterpiece, and that is itself.

I go to the larder for the quinces and stop in amazement. For the larder is brimming over with food. Baskets of field mushrooms. Trugs of green apples and yellow pears. A metal bath containing two pink crabs. Slabs of newly churned butter as bright as a dandelion flower. Wheels of pale yellow cheese the size of my head. An earthenware bowl of cobnuts. A ham soaking in a pail of water.

On the platter sat the roast, half of it black, the other half bloody. A wilted sprig of parsley sat beside it, as if Mary couldn't quite allow the roast to leave her kitchen without trying to disguise it. Silence hung over the table. Dougal set the cover to one side and removed the covers from the other dishes: a bowl of something green that sat in an oily liquid; a thick slab of pork in the middle of a large, chipped platter; some turnips floating unappetizingly in water; and a basket of undercooked bread. Sophia thought the turnips were a nice touch. No one liked turnips. Dougal picked up the carving knife. "Well, my dear?" he asked pleasantly, an amused glint in his eyes. "How do you like your meat? Raw? Or burned to a charred mess?

Smith and Kemp bought a run-down restaurant on the beach that had formerly served burgers and fried clams, and they transformed it into the Blue Bistro, with seating for over a hundred facing the Atlantic Ocean. The only seats harder to procure than the seats at the blue granite bar are the four tables out in the sand where the Bistro serves its now-famous version of seafood fondue. (Or, as the kitchen fondly refers to it, the all-you-can-eat fried shrimp special.) Many of Ms. Kemp's offerings are twists on old classics, like the fondue. She serves impeccable steak frites, a lobster club sandwich, and a sushi plate, which features a two-inch-thick slab of locally caught bluefin tuna.

Gulls wheel through spokes of sunlight over gracious roofs and dowdy thatch, snatching entrails at the marketplace and escaping over cloistered gardens, spike-topped walls and treble-bolted doors. Gulls alight on whitewashed gables, creaking pagodas and dung-ripe stables; circle over towers and cavernous bells and over hidden squares where urns of urine sit by covered wells, watched by mule-drivers, mules and wolf-snouted dogs, ignored by hunchbacked makers of clogs; gather speed up the stoned-in Nakashima River and fly beneath the arches of its bridges, glimpsed from kitchen doors, watched by farmers walking high, stony ridges. Gulls fly through clouds of steam from laundries’ vats; over kites unthreading corpses of cats; over scholars glimpsing truth in fragile patterns; over bath-house adulterers; heartbroken slatterns; fishwives dismembering lobsters and crabs; their husbands gutting mackerel on slabs; woodcutters’ sons sharpening axes; candle-makers, rolling waxes; flint-eyed officials milking taxes; etoliated lacquerers; mottled-skinned dyers; imprecise soothsayers; unblinking liars; weavers of mats; cutters of rushes; ink-lipped calligraphers dipping brushes; booksellers ruined by unsold books; ladies-in-waiting; tasters; dressers; filching page-boys; runny-nosed cooks; sunless attic nooks where seamstresses prick calloused fingers; limping malingerers; swineherds; swindlers; lip-chewed debtors rich in excuses; heard-it-all creditors tightening nooses; prisoners haunted by happier lives and ageing rakes by other men’s wives; skeletal tutors goaded to fits; firemen-turned-looters when occasion permits; tongue-tied witnesses; purchased judges; mothers-in-law nurturing briars and grudges; apothecaries grinding powders with mortars; palanquins carrying not-yet-wed daughters; silent nuns; nine-year-old whores; the once-were-beautiful gnawed by sores; statues of Jizo anointed with posies; syphilitics sneezing through rotted-off noses; potters; barbers; hawkers of oil; tanners; cutlers; carters of night-soil; gate-keepers; bee-keepers; blacksmiths and drapers; torturers; wet-nurses; perjurers; cut-purses; the newborn; the growing; the strong-willed and pliant; the ailing; the dying; the weak and defiant; over the roof of a painter withdrawn first from the world, then his family, and down into a masterpiece that has, in the end, withdrawn from its creator; and around again, where their flight began, over the balcony of the Room of the Last Chrysanthemum, where a puddle from last night’s rain is evaporating; a puddle in which Magistrate Shiroyama observes the blurred reflections of gulls wheeling through spokes of sunlight. This world, he thinks, contains just one masterpiece, and that is itself.

I know you're a chocolate lover. I can always tell. I'm about to temper the chocolate. I have my own method; want to watch?" "Could I?" Inside my head, a little voice was reminding me that I had to get back to the office, but it was drowned out by the scent of chocolate, which flooded all my senses with a heady froth of cocoa and coffee, passion fruit, cinnamon and clove. I closed my eyes, and for one moment I was back in Aunt Melba's kitchen with Genie. I opened them to find Kim dancing with a molten river of chocolate. I stood hypnotized by the scent and the grace of her motions, which were more beautiful than any ballet. Moving constantly, she caressed the chocolate like a lover, folding it over and over on a slab of white marble, working it to get the texture right. She stopped to feed me a chocolate sprinkled with salt, which had the fierce flavor of the ocean, and another with the resonant intensity of toasted saffron. One chocolate tasted like rain, another of the desert. I tried tracking the flavors, pulling them apart to see how she had done it, but, like a magician, she had hidden her tricks. Each time I followed the trail, it vanished, and after a while I just gave up and allowed the flavors to seduce me. Now the scent changed as Kim began to dip fruit into the chocolate: raspberries, blackberries, tiny strawberries that smelled like violets. She put a chocolate-and-caramel-covered slice of peach into my mouth, and the taste of summer was so intense that I felt the room grow warmer. I lost all sense of time.

The walls were painted a robin's-egg blue. Antique wood-and-glass display cases had mottled milk chocolate-brown marble countertops. Antique iron-and-glass stands would make the future little cakes (under their glass domes) pop up and down on the counter like jaunty hats. From the top of the left wall of the bakery, Gavin had hung a canvas curtain and arranged a display area in front of it. Both the curtain and display would change each month- as would, of course, the colors and flavors we showcased. The idea was to sell not only cakes, but also cake stands, serving pieces, plates, paper napkins, and other goodies, so once your little cakes got home, they'd look as good as they did in my bakery. One-stop shopping. On the right, Gavin had arranged a seating area with dark bentwood chairs and cafe tables. It looked like a tea salon in Paris. I sighed with delight. But I wanted to see where I would spend most of my time. The work and storage areas were screened off in the back, although I would have been happy to show off my two Vulcan convection-ovens-on-wheels and the big stainless steel worktable with the cool marble slab at one end for chocolate work. The calm milk-chocolate plaster walls, stainless steel, and white marble made the workspace look like a shrine to the cake baker's art.

Is there anything I can do?" He gave her a tired grin. "Crawl in bed with me." She glared at him, then got up and tossed him a terry-cloth robe she found hanging on the back of the bathroom door. "Meet me in the kitchen. I'll make you a sandwich." "You don't need to make me a sandwich." "But I'm going to." She left the room before he could protest further. In the kitchen, she layered grilled pancetta, tomato and lettuce on toasted thick slabs of sourdough. She added some chopped cornichons, Dijon mustard and fresh snipped tarragon to the mayo, just to show off. Around Bella Vista, her PLT's were legendary. Mac wasn't wearing the robe when he came downstairs. He'd thrown on a pair of lived-in cutoffs, faded in all the right places, and a rumpled but clean T-shirt with a logo from a kiteboarding resort in Australia. She cut the sandwich into quarters and set it on a pottery plate, along with a side of grapes and parmesan chips, and a beer in a frosty mug. He regarded the small feast on the table. "I hope you don't mind if I moan in ecstasy while I eat this." "I'd rather you didn't," she said, helping herself to a quarter of the sandwich. "Cook's tax," she explained.

In my little house I have my worktable, I have my Smith-Corona, my mattress, my box springs, my bed frame. I have a couch I found on the street in Pacific Grove. I have kitchen utensils—a pot, a teakettle, a frying pan. I have one spoon and one fork. I have a knife. I have no TV, no radio, no stereo. This is before computers, so no email, no Instagram, no social media. I have no correspondents. I write to nobody—not friends, not family. Nobody. And nobody writes to me. My day goes like this. I wake before dawn, eat a breakfast for a lumberjack. Four eggs, raw milk, potatoes, tomatoes. Bacon or sausage are too weak for me. Liver. A big slab for power. I walk for an hour. The sun is coming up now.

LENTILS WITH SAUSAGES { LENTILLES AUX SAUCISSES } My friend Fabienne makes this dish at the drop of a hat, because it’s quick, simple, satisfying, and delicious! Traditional vegetables in a dish like this are carrots, celery, onions, and perhaps fennel, which make it so flavorful. Sometimes it’s fun to go a bit wild, though, as Fabienne says. “I use red bell pepper,” she said. “It gives the dish exciting color and flavor.” Whichever vegetables you use, be sure to dice them so they blend in nicely. This calls for a hearty red, from Cahors. NOTE: You need delicious pork for this recipe. I’ve suggested kielbasa and slab bacon; use pork belly or unsmoked bacon, salt pork that you’ve boiled in fresh water twice first, or fresh pork sausages. 1 tablespoon duck fat or extra-virgin olive oil 2 medium onions, diced 1 small red bell pepper, seeds and pith removed Sea salt and freshly ground black pepper 1 large clove garlic, green germ removed, minced 1 cup (250g) green lentils (ideally lentilles de Puy), picked over for small stones, rinsed 1 bouquet garni 1 (8-ounce; 250g) Morteau or kielbasa, cut into ½-inch (1.2cm) rounds 2 to 3 fresh sausages (about 8 ounces; 250g total), cut into 2-inch (5cm) pieces 6 ounces (180g) lean slab bacon, cut into 1-inch (2.5cm) chunks Fresh flat-leaf parsley, for garnish Grainy mustard, for serving Melt the duck fat in a medium, heavy-bottomed saucepan over medium heat. Add the onions and bell pepper and stir. Season with salt and black pepper and cook until the onions are translucent, stirring frequently so they don’t stick, about 6 minutes. Add the garlic and stir. Add the lentils, stir, and add water to cover them by 1 inch (2.5cm). Add the bouquet garni, pushing it under the water. Raise the heat to medium-high and when the water boils, reduce the heat to medium so it is simmering, partially cover, and cook until the lentils begin to soften, about 15 minutes. Add the meats, pushing them into the lentils, and additional water if necessary to make sure that the lentils are moist. Return the liquid to a boil, then reduce the heat to maintain a simmer and cook, partially covered, until the lentils are “al dente” and not too soft, 15 to 20 minutes more. Remove from the heat and ladle into four shallow soup bowls. Garnish with a generous grind of black pepper and a parsley leaf. Serve immediately with the mustard alongside. SERVES 4

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Nobody else knew it, but the creek was magic. There was one bend in particular where the banks widened to form a craggy circle; the bed beneath had been formed millions of years ago when the earth sighed and shifted and great rock slabs were brought together jaggedly, so what was shallow at the rims deepened and darkened suddenly at its center. And that's where Vivien had made her discovery. She'd been fishing with the glass jars she'd pilfered from Mum's kitchen and kept now in the rotten log behind the ferns. Vivien stored all her treasures inside that log. There was always something to find within the creek's waters: eels and tadpoles, rusted old buckets from the gold-rush days. Once, she'd even found a set of false teeth.

At only nine in the morning the kitchen was already pregnant to its capacity, every crevice and countertop overtaken by Marjan's gourmet creations. Marinating vegetables ('torshis' of mango, eggplant, and the regular seven-spice variety), packed to the briny brims of five-gallon see-through canisters, sat on the kitchen island. Large blue bowls were filled with salads (angelica lentil, tomato, cucumber and mint, and Persian fried chicken), 'dolmeh,' and dips (cheese and walnut, yogurt and cucumber, baba ghanoush, and spicy hummus), which, along with feta, Stilton, and cheddar cheeses, were covered and stacked in the enormous glass-door refrigerator. Opposite the refrigerator stood the colossal brick bread oven. Baking away in its domed belly was the last of the 'sangak' bread loaves, three feet long and counting, rising in golden crests and graced with scatterings of poppy and nigella seed. The rest of the bread (paper-thin 'lavash,' crusty 'barbari,' slabs of 'sangak' as well as the usual white sliced loaf) was already covered with comforting cheesecloth to keep the freshness in. And simmering on the stove, under Marjan's loving orders, was a small pot of white onion soup (not to be mistaken for the French variety, for this version boasts dried fenugreek leaves and pomegranate paste), the last pot of red lentil soup, and a larger pot of 'abgusht.' An extravaganza of lamb, split peas, and potatoes, 'abgusht' always reminded Marjan of early spring nights in Iran, when the cherry blossoms still shivered with late frosts and the piping samovars helped wash down the saffron and dried lime aftertaste with strong, black Darjeeling tea.

I am watching his every move. I can see where this is going. I am motionless like the cheese before the mouse strikes. The deer before the headlights hit. The mouth before the lips kiss. He has me up on that butcher block and splayed like a slab of meat before I know what hits me.