Marble Cake Quotes

And she was snarling, snarling like some kind of animal as she snapped for his neck. He reared back, throwing her against the marble floor again. "Stop." But the Celaena he knew was gone. The girl he'd imagined as his wife, the girl he'd shared a bed with for the past week, was utterly gone. Her clothes and hands were caked with the blood of the men in the warehouse.

You don't notice the dead leaving when they really choose to leave you. You're not meant to. At most you feel them as a whisper or the wave of a whisper undulating down. I would compare it to a woman in the back of a lecture hall or theater whom no one notices until she slips out.Then only those near the door themselves, like Grandma Lynn, notice; to the rest it is like an unexplained breeze in a closed room. Grandma Lynn died several years later, but I have yet to see her here. I imagine her tying it on in her heaven, drinking mint juleps with Tennessee Williams and Dean Martin. She'll be here in her own sweet time, I'm sure. If I'm to be honest with you, I still sneak away to watch my family sometimes. I can't help it, and sometimes they still think of me. They can't help it.... It was a suprise to everyone when Lindsey found out she was pregnant...My father dreamed that one day he might teach another child to love ships in bottles. He knew there would be both sadness and joy in it; that it would always hold an echo of me. I would like to tell you that it is beautiful here, that I am, and you will one day be, forever safe. But this heaven is not about safety just as, in its graciousness, it isn't about gritty reality. We have fun. We do things that leave humans stumped and grateful, like Buckley's garden coming up one year, all of its crazy jumble of plants blooming all at once. I did that for my mother who, having stayed, found herself facing the yard again. Marvel was what she did at all the flowers and herbs and budding weeds. Marveling was what she mostly did after she came back- at the twists life took. And my parents gave my leftover possessions to the Goodwill, along with Grandma Lynn's things. They kept sharing when they felt me. Being together, thinking and talking about the dead, became a perfectly normal part of their life. And I listened to my brother, Buckley, as he beat the drums. Ray became Dr. Singh... And he had more and more moments that he chose not to disbelieve. Even if surrounding him were the serious surgeons and scientists who ruled over a world of black and white, he maintained this possibility: that the ushering strangers that sometimes appeared to the dying were not the results of strokes, that he had called Ruth by my name, and that he had, indeed, made love to me. If he ever doubted, he called Ruth. Ruth, who graduated from a closet to a closet-sized studio on the Lower East Side. Ruth, who was still trying to find a way to write down whom she saw and what she had experienced. Ruth, who wanted everyone to believe what she knew: that the dead truly talk to us, that in the air between the living, spirits bob and weave and laugh with us. They are the oxygen we breathe. Now I am in the place I call this wide wide Heaven because it includes all my simplest desires but also the most humble and grand. The word my grandfather uses is comfort. So there are cakes and pillows and colors galore, but underneath this more obvious patchwork quilt are places like a quiet room where you can go and hold someone's hand and not have to say anything. Give no story. Make no claim. Where you can live at the edge of your skin for as long as you wish. This wide wide Heaven is about flathead nails and the soft down of new leaves, wide roller coaster rides and escaped marbles that fall then hang then take you somewhere you could never have imagined in your small-heaven dreams.

The floors were like marble chessboards, and the ceilings were like cakes.

marshmellows over magma from the mantle has been cancelled, & how adequately can you scaffold?' -- Marble Cake

The writer Lee Smith, who once had a New York copy editor query in the margin of her manuscript “Double-wide what?” tells a perfectly marvelous, spot-on story about Eudora Welty when she came to Hollins College, where Smith was a student. Welty read a short story in which one female character presents another with a marble cake. In the back of the audience Smith noted a group of leather-elbowed, goatee-sporting PhD candidates, all of whom were getting pretty excited. One started waving his hand as soon as she stopped reading and said, “Miz Welty, how did you come up with that powerful symbol of the marble cake, with the feminine and masculine, the yin and the yang, the Freudian and the Jungian all mixed together like that?” Smith reported that Welty looked at him from the lectern without saying anything for a while. Finally she replied mildly, “Well, you see, it’s a recipe that’s been in my family for some time.

So there are cakes and pillows and colors galore, but underneath this more obvious patchwork quilt are places like a quiet room where you can go hold someone’s hand and not have to say anything. Give no story. Make no claim. Where you can live at the edge of your skin for as long as you wish. This wide wide heaven is about flat head nails and the soft down of new leaves, wild roller coaster rides and escaped marbles that fall, then hang, then take you somewhere you could never imagined in your small-heaven dreams.

What do we have left from this morning?" "We have a Sousa Leão cake, a marble cake, and a passion fruit cake. They're all small, unfortunately." Seu Romário frowns. "Any frosting left?" "Some ganache, Chef." "Use it as frosting on the marble cake. Add a few strawberries on top. Then take all the small cakes we have left to tonight's wedding. Grab an assortment of guava and doce de leite bolos de rolo, too, that we were going to put on display tomorrow.

I close my eyes and hear wind rushing through palm trees again. And then laughter. The scene is foggy at first, and then it comes into sharp focus. I am standing in a kitchen. It's one of those big, well-appointed spaces you see in magazines, but this one is well loved, not just staged. A cake bakes in the oven. Carrot. There are matches and a box of birthday candles at the ready by the stove. Stan Getz's smoky-sweet saxophone filters from a speaker somewhere nearby. I'm stirring a pot of marinara sauce; a bit has splattered onto the marble countertop, but I don't care. I take a sip of wine and sway to the music. A little girl giggles on the sofa. I don't see her face, just her blond ponytail. And then warm, strong arms around my waist as he presses his body against me. I breathe in the scent of rugged spice, fresh cotton, and love.

The rooms I occupied were on the ground floor. The parlour was papered with an old marbled paper and on the walls were water colours of romantic scenes, cavaliers bidding good-bye to their ladies and knights of old banqueting in stately halls; there were large ferns in pots, and the armchairs were covered with faded leather. There was about the room an amusing air of the eighteen eighties, and when I looked out of the window I expected to see a private hansom rather than a Chrysler. The curtains were of a heavy red rep.

India’s success in building a modern state that defied predictions of its demise derived from its thorough insistence on institutionalizing what was Mahatma Gandhi’s greatest bequest to the freedom movement: the construction of a new Indian nation, not by suppressing its many particularities but by incorporating them into a new composite identity that preserved in “marble-cake” fashion all its constituent diversities across ethnic, religious, and racial lines. These diversities, far from being obliterated, acquired salience depending on context but, being enmeshed and free-flowing, they erased the boundaries between the insular and national identities, congealing the latter even as they preserved the former. The modern Indian polity, therefore, emerged not as a nation-state since, given its myriad diversities, it could not be so—but rather as a nations-state. Under the rubric of “unity in diversity,” its different ethnic, religious, and racial groups combined to create a novel, multilayered political identity. However confusing that reality may be to the outside world, it is authentically and indisputably Indian.

The Enchanted Broccoli Forest. Oh, what a pleasure that was! Mollie Katzen's handwritten and illustrated recipes that recalled some glorious time in upstate New York when a girl with an appetite could work at a funky vegetarian restaurant and jot down some tasty favorites between shifts. That one had the Pumpkin Tureen soup that Margo had made so many times when she first got the book. She loved the cheesy onion soup served from a pumpkin with a hot dash of horseradish and rye croutons. And the Cardamom Coffee Cake, full of butter, real vanilla, and rich brown sugar, said to be a favorite at the restaurant, where Margo loved to imagine the patrons picking up extras to take back to their green, grassy, shady farmhouses dotted along winding country roads. Linda's Kitchen by Linda McCartney, Paul's first wife, the vegetarian cookbook that had initially spurred her yearlong attempt at vegetarianism (with cheese and eggs, thank you very much) right after college. Margo used to have to drag Calvin into such phases and had finally lured him in by saying that surely anything Paul would eat was good enough for them. Because of Linda's Kitchen, Margo had dived into the world of textured vegetable protein instead of meat, and tons of soups, including a very good watercress, which she never would have tried without Linda's inspiration. It had also inspired her to get a gorgeous, long marble-topped island for prep work. Sometimes she only cooked for the aesthetic pleasure of the gleaming marble topped with rustic pottery containing bright fresh veggies, chopped to perfection. Then Bistro Cooking by Patricia Wells caught her eye, and she took it down. Some pages were stuck together from previous cooking nights, but the one she turned to, the most splattered of all, was the one for Onion Soup au Gratin, the recipe that had taught her the importance of cheese quality. No mozzarella or broken string cheeses with- maybe- a little lacy Swiss thrown on. And definitely none of the "fat-free" cheese that she'd tried in order to give Calvin a rich dish without the cholesterol. No, for this to be great, you needed a good, aged, nutty Gruyère from what you couldn't help but imagine as the green grassy Alps of Switzerland, where the cows grazed lazily under a cheerful children's-book blue sky with puffy white clouds. Good Gruyère was blocked into rind-covered rounds and aged in caves before being shipped fresh to the USA with a whisper of fairy-tale clouds still lingering over it. There was a cheese shop downtown that sold the best she'd ever had. She'd tried it one afternoon when she was avoiding returning home. A spunky girl in a visor and an apron had perked up as she walked by the counter, saying, "Cheese can change your life!" The charm of her youthful innocence would have been enough to be cheered by, but the sample she handed out really did it. The taste was beyond delicious. It was good alone, but it cried out for ham or turkey or a rich beefy broth with deep caramelized onions for soup.

We ate three tiny, geometrically engineered appetizers, including a perfect cube of kabocha squash-flavored fish cake and an octopus "salad" consisting of one tiny piece of octopus brushed with a plum dressing. Then the waitress uncovered and lit the burner in the center of the table and set a shallow cast-iron pan on top. She poured a thin layer of sauce from a pitcher. Sukiyaki is all about the sauce, a mixture of soy sauce, mirin, sake, and sugar. It's frankly sweet. Usually I'm a tiresome person who complains about overly sweet food, but where soy sauce is involved, I make an exception, because soy sauce and sugar were born to hang. The waitress set down a platter of thin-sliced Wagyu beef, so marbled that it was nearly white. She asked if we wanted egg. This time I was prepared: only for me, thanks. Then she cooked us each a slice of beef. It was tender enough to cut with your tongue against the roof of your mouth. While we sighed over the meat, she began adding other ingredients to the pan: napa cabbage, tofu, wheat gluten (fu), fresh shiitake mushrooms, shirataki noodles, chrysanthemum leaves (shungiku), and, of course, negi. Suggested tourist slogan: Tokyo: We put negi in it. Then we were left to cook the rest of the meat and vegetables ourselves. I think we nailed it. (Actually, it's impossible to do it wrong.) Like chanko nabe and all Japanese hot pots, sukiyaki gets better as the meal goes on, because the sauce becomes more concentrated and soaks up more flavor from the ingredients cooking in it.

Except for the coconut cake (filled with Meyer lemon curd and glazed with brown sugar), most of the desserts she made for Walter were not her best or most original, but they were exemplars of their kind: portly, solid-citizen desserts, puddings of rice, bread, and noodles-sweets that the Pilgrims and other humble immigrants who had scraped together their prototypes would have bartered in a Mayflower minute for Greenie's blood-orange mousse, pear ice cream, or tiny white-chocolate eclairs. Walter had also commissioned a deep-dish apple pie, a strawberry marble cheesecake, and a layer cake he asked her to create exclusively for him. "Everybody expects one of those, you know, death-by-chocolate things on a menu like mine, but what I want is massacre by chocolate, execution by chocolate- firing squad by chocolate!" he told her. So that very night, after tucking George in bed, Greenie had returned to the kitchen where she made her living, in a basement two blocks from her home, and stayed up till morning to birth a four-layer cake so dense and muscular that even Walter, who could have benched a Shetland pony, dared not lift it with a single hand. It was the sort of dessert that appalled Greenie on principle, but it also embodied a kind of uberprosperity, a transgressive joy, flaunting the potential heft of butter, that Protean substance as wondrous and essential to a pastry chef as fire had been to early man. Walter christened the cake Apocalypse Now; Greenie held her tongue. By itself, this creation doubled the amount of cocoa she ordered from her supplier every month. After it was on his menu for a week, Walter bet her a lobster dinner that before the year was out, Gourmet would request the recipe, putting both of them on a wider culinary map.

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.

The theme of this exhibition is folk art, and the building, which is usually a typical white-cube space, has been dressed up to look like a circus. The walls are covered in strange murals; level with my head are alligators eating trapeze artists who are, in turn, eating small alligators. In large display cases are arrangements by the famous Victorian taxidermist and artist, Walter Potter. There's a feast being had by little ginger kittens that look like they were once---before dying and being stuffed with hay and then seated on miniature dining chairs and put in front of tiny cakes, pots of tea, and samovars---from the same litter. Their eyes are beautiful, black, glistening marbles. Next to the cat feast is another Walter Potter---rabbits diligently working at desks in a miniature classroom. It's thrilling seeing these works. I've known them for years; I studied them for my A-levels. In photographs, they seem clean and unreal. Up close, I can see the little dimples in the animals' skin where their muscles used to attach; I can smell the tiny, microscopic traces of hundred-year-old-blood inside them.

Estonian students, sitting in a café, impervious to the sparkling weather out of doors, impervious to the far roar of the world. It would not be so bad, if the café had an atmosphere of its own, if it could encourage the growth of an Estonian Boheme, throughout these winter months. But it has nothing of the sort. It is only a shabby reproduction of that indescribably vacuous institution: the typical northern-European café, where heavy red draperies shut out the healthy light of day; where coffee and cake is served on little tables with sticky imitation-marble tops and paper-napkins, where bored traveling salesmen read the daily papers and look at the women; where women sit patiently, by themselves, hoping to appear mysterious and romantic through their anonymity, hoping someday to encounter the shadowy Prince Charming, as he is encountered in fiction magazines; where a second-rate orchestra scrapes out tunes to which nobody listens—in short, where there is not even the lure of intoxication and vice and despair, but only sickening pretension, dullness, boredom, and stale air.

He had a satisfying wholeness about him, American good looks like a baseball player's- level shoulders, a pale shock of hair. A good mind and ethical nature: little gave him more pleasure than learning laws and governance- "It shows you the shape of your society." But what drew the deepest sliver of her self toward him, was the weakness in his chin, his slightly disoriented air, like an injury he allowed only Avis to see. Brian was the opposite of her mother. There wasn't a whiff of mystery about him: he was solid, entirely himself. Avis still cooked in those days and she invited him to her minuscule studio. She set a hibachi up on the fire escape and grilled him a marbled, crimson rib-eye, crusty with salt and pepper, its interior brilliant with juices. Some garlicky green beans with pine nuts, rich red wine, mushrooms and onions sautéed in a nut-brown butter. She'd intuited his indifference to chocolate, so dessert was a velvety vanilla bean cake with a toasted almond frosting.

Marble’s attitude toward her parents has already softened since then. She has learned from Eleanor Bennett’s message that her parents kept the name that had been chosen by her birth mother. Baby Mathilda became Mabel Mathilda and, even when she changed her first name to Marble, her longtime nickname, she unwittingly held on to the name of her biological grandmother. Her parents may not have wanted to admit that she was adopted but they hadn’t erased every trace of her birth mother, either

Max falls back over and rests one cheek on the table, his face in my line of sight. “I’m so warm. So full. So bloated.” He ekes out the words in a scratchy voice. “I don’t think I want to eat another piece of cake ever again.” “Not even marble with buttercream frosting?” I say, unable to hide my amusement. He shuts his eyes tightly and pretends to cry. “Not even that one.” He’s adorable. Absolutely adorable. No. Wait. I’m trying to torture him. This isn’t supposed to be cute. But it is, dammit. How could it not be? He looks like a drunk chipmunk. A stunningly handsome drunk chipmunk, but still.

She had not been sure what to wear—a classic peach maid of honor dress or a black leather corset. Her compromise: peach leather with a fringed hem, sleeveless so as to display arms with the relative dimensions and consistency of marble columns on a Georgian mansion. Big Cyndi’s hair was done up in a mauve Mohawk and pinned on the top was a little bride-and-groom cake decoration.

Sylvie flicked her brush over the dragon, leaving a line of glittering pigment on the spiked tail. The edible paint had an oil-slick effect, shimmering from blue to pink to purple to black under the light. "What time do I have to---" Jay began. "Shhh," hissed about fifteen voices at once, as Sylvie picked up the dragon and set it on the lowest tier of the cake. Three layers of rich chocolate cake, covered in mirror glaze icing, marbled blue, purple, and black, with gold paint etched and feathered to replicate the appearance of the sugar dragon's scales. She wound the tail upward, adjusting the long curve to swoop neatly around the top tier, the very tip coming to rest protectively on the sculpted couple who sat on the edge, their legs dangling, tiny sugar ankles entwined. One totally edible princess with long black hair and thick eyeliner. Her endearingly fluffy blond love. And Caractacus, the dragon sentinel from the video game I, Slayer, over which the royal couple had apparently bonded, turning an excruciating first private date into an all-nighter. From curt questions and stammering answers to a beer-drinking, ogre-bashing bonk-fest. Just like all good fairy tales. The Brothers Grimm would be proud.

A white vintage A-line dress brushed just below her knees. Soft tendrils escaped her honey-colored bun, a grandmother's antique brooch the only accent. She clasped a loose pink bouquet in one hand, his hand in the other as they stood solemnly before the judge. Lush, wild clusters of pink peonies and white hydrangeas interspersed with soft dusty miller lined the aisle of simple white folding chairs. Two larger arrangements in antique silver urns flanked the couple. A single cellist sat in the corner of the room. All simple, but stunningly elegant. She couldn't stop smiling, and I realized I'd never seen her so at ease. They quietly said vows they wrote themselves. Our small crowd watched in happy silence. I tried not to shift too loudly, every movement echoing on the cold marble tiles. Someone sniffled. The sound reverberated in the cavernous space. The groom's mother caught me staring and winked at me across the room. This bride had sent me on quite a journey, forcing me to finally reckon with my past and my future. With my identity, even. It hadn't been easy, but I was grateful. I had no right to be here, but here I was. How I ended up here remained a bit of a mystery to me. Her forgiveness was simply a gift, one of the type I was gradually learning to receive. Maybe, just maybe, that could be me someday.

The home I grew up in was something you might expect to find in an F. Scott Fitzgerald novel. Domed ceilings with ornate moldings, inlaid marble floors, and more powder rooms than people. It was a small palace. Mom loved French architecture and décor and would take trips overseas to find unique antiques. There were two exterior swimming pools, a tennis court, a pavilion, plus a rose garden, Italian stepped stone fountains, and grounds galore. A branch of the Trinity River flowed near stone-covered walking paths, swaths of carefully tended grass in green spaces waving nearby.

he put the tray down on a long marble table in front of the fire. The Dean seated himself and lifted an enormous chintz tea cozy from a chipped earthenware teapot, incongruous in the midst of a handsome silver tea service,. There were eggs in china cups, a plate of muffins dripping with butter, and a raisin cake.