Mortar And Pestle Quotes

Hild fetched a lump of grey salt for Mildburh and mortar and pestle to crush it in. She loved the gritty crunch and thump under her hand. It sounded like a cat eating a bird.

Di manakah adanya semut? Di tempat yang banyak gula Di manakah kumbang bernyanyi? Di pohon yang banyak bunga

Be sure to separate the kneecap from the tendon and ligament and grind it to dust in a mortar and pestle. Do not let them beg. Do not let them kneel at the door.

Antonia: I meant to tell you, and then forgot: call a spade a spade, and say 'arse', 'prick', 'cunt', and 'fuck', otherwise the only people who'll understand you will be the scholars of the Capranica think tank - you and your 'rose in the ring', your 'obelisk in the arsenal' your 'leek in the garden', your 'bolt in the door', your 'key in the lock', your 'pestle in the mortar', your 'nightingale in the nest', your 'sapling in the ditch', your 'syringe in the flap-valve', your 'sword in the sheath'; and the same goes for 'the stake', 'the crozier', the parsnip', 'the little monkey', 'his thingummy', 'her thingummy', 'the apples', 'the leaves of the mass book', 'that thingy', 'the graceful whatyamacallit', 'that whatsit', 'that doings', 'that latest news', 'the handle', 'the dart', 'that carrot', 'the root' and all the other shit that comes out of your mouth, but there you go, pussyfooting around. Let your yes mean yes, your no, no, and otherwise, just shut it.

FRANK BIDART Song of the Mortar and Pestle The desire to approach obliteration preexists each metaphysic justifying it. Watch him fucked want to get fucked hard. Christianity allowed the flagellants light, for even Jesus found release from flesh requires mortification of the flesh. From the ends of the earth the song is, Grind me into dust.

If you ground up a Levy in a mortar, . . . amid the grains on the pestle would be their gentleness.

Technology is neither good nor bad; nor is it neutral.” This is certainly true in the kitchen. Tools are not neutral objects. They change with changing social context. A mortar and pestle was a different thing for the Roman slave forced to pound up highly amalgamated mixtures for hours on end for his master’s enjoyment than it is for me: a pleasing object with which I make pesto for fun, on a whim.

Rona soon picked out her own plot of land - one hundred eighty acres that stretched along the bottom of a rocky hill and only a stone's through from the shoreline. Quickly, much more quickly than natural for a man much less a woman - even one of Rona Blackburn's stature - a house appeared. She filled her new home with reminders of her previous one on the Aegean island she had loved so much: pastel seashells and a front door painted a deep cobalt blue - a color the yiayias always claimed had the power to repel evil. Then she set up her bed, made a pit for her fire, and erected two wooden tables. One table she kept bare. The other she covered in tinctures and glass jars of cut herbs and other fermented bits of flora and fauna. On this table, she kept a marble mortar and pestle, the leather sheath in which she wrapped her knives, and copper bowls - some for mixing dry ingredients, some for liquid, and a few small enough to bring to the mouth for sipping. And when the fire was stoked and the table was set, she placed a wooden sign - soon covered in a blanket of late December snow - outside that blue front door. It read one world: Witch.

Reaching up to a shelf, she grabbed a sack labeled “C8H10N4O2,” dumped some into a mortar, ground it with a pestle, overturned the resulting dirtlike substance onto a strange little scale, then dumped the scale’s contents into a 6- x 6-inch piece of cheesecloth and tied the small bundle off.

Lou hoisted up her gown and winced as she tottered across the parking lot. The sparkly four-inch heels had looked so pretty in the box, but they felt like a mortar and pestle grinding each bone in her foot. She missed her green Crocs. Lou plucked at the tight elastic, squeezing her under the sleek black dress her fiancé, Devlin, had given her. He walked five steps ahead of her, so she scurried to catch up. "Overstuffed truffle and foie gras sausage," Lou said. Devlin's face crinkled in confusion. "What?" "It's a new dish, inspired by how I feel in these clothes. Maybe served over brown butter dumplings..." Lou tilted her head, visualizing the newly formed meal.

You do seem like you’ve had a lot of practice, and some schooling, too, which surprises me. When I first met you, I took you for a soldier.” “A soldier? Why a soldier?” “Because the king of Arden uses his mages to kill people, not to heal them. Plus, you have the body of a soldier.” She reached out and squeezed his muscled arm, then quickly let go, flustered. “I mean, you didn’t get those muscles stitching up wounds or mixing potions.” “I don’t do much of that around here. I scrub a lot of floors, I’m a demon with a mortar and pestle, and I’ve been shoveling a lot of horse dung, too.” “There’s never any shortage of that,” Jenna said. The healer laughed. “No,” he said. “Especially not at court.

22 grams cinchona bark 4 grams dried hawthorn berries 8 grams dried sumac berries 2 grams cassia buds 3 cloves 1 small (2-inch) cinnamon stick, preferably Ceylon cinnamon 1 star anise 12 grams dried bitter orange peel 4 grams blackberry leaf 51⁄4 cups spring water 50 grams citric acid 2 teaspoons sea salt 1 stalk lemongrass, cut into 1⁄2-inch sections Finely grated zest and juice of 2 limes Finely grated zest and juice of 1 lemon 1⁄2 cup agave syrup Combine the cinchona bark, hawthorn berries, sumac berries, cassia buds, cloves, cinnamon, and star anise in a spice mill or mortar and pestle and crush into a coarse powder. Add the orange peel and blackberry leaf, divide the mixture among three large tea baskets or tea bags, and put a few pie weights in each. Bring the water to a boil in a large stainless-steel saucepan. Add the tea baskets, citric acid, and salt. Let simmer for 5 minutes. Add the lemongrass, cover partially, and let simmer 15 minutes longer. Add the lime and lemon zests and juices and let simmer, uncovered, until the liquid is reduced by a little less than half, making about 3 cups. Remove from the heat and remove the tea balls. Pour the agave syrup into a bowl. Set a fine-mesh strainer over the bowl and strain the tonic into the syrup. You will need to work in batches and to dump out the strainer after each pour. If the tonic is cloudy, strain again. Pour into a clean bottle and seal. Store in the refrigerator for up to 1 year.

I still have no choice but to bring out Minerva instead.” “But Minerva doesn’t care about men,” young Charlotte said helpfully. “She prefers dirt and rocks.” “It’s called geology,” Minerva said. “It’s a science.” “It’s certain spinsterhood, is what it is! Unnatural girl. Do sit straight in your chair, at least.” Mrs. Highwood sighed and fanned harder. To Susanna, she said, “I despair of her, truly. This is why Diana must get well, you see. Can you imagine Minerva in Society?” Susanna bit back a smile, all too easily imagining the scene. It would probably resemble her own debut. Like Minerva, she had been absorbed in unladylike pursuits, and the object of her female relations’ oft-voiced despair. At balls, she’d been that freckled Amazon in the corner, who would have been all too happy to blend into the wallpaper, if only her hair color would have allowed it. As for the gentlemen she’d met…not a one of them had managed to sweep her off her feet. To be fair, none of them had tried very hard. She shrugged off the awkward memories. That time was behind her now. Mrs. Highwood’s gaze fell on a book at the corner of the table. “I am gratified to see you keep Mrs. Worthington close at hand.” “Oh yes,” Susanna replied, reaching for the blue, leatherbound tome. “You’ll find copies of Mrs. Worthington’s Wisdom scattered everywhere throughout the village. We find it a very useful book.” “Hear that, Minerva? You would do well to learn it by heart.” When Minerva rolled her eyes, Mrs. Highwood said, “Charlotte, open it now. Read aloud the beginning of Chapter Twelve.” Charlotte reached for the book and opened it, then cleared her throat and read aloud in a dramatic voice. “’Chapter Twelve. The perils of excessive education. A young lady’s intellect should be in all ways like her undergarments. Present, pristine, and imperceptible to the casual observer.’” Mrs. Highwood harrumphed. “Yes. Just so. Hear and believe it, Minerva. Hear and believe every word. As Miss Finch says, you will find that book very useful.” Susanna took a leisurely sip of tea, swallowing with it a bitter lump of indignation. She wasn’t an angry or resentful person, as a matter of course. But once provoked, her passions required formidable effort to conceal. That book provoked her, no end. Mrs. Worthington’s Wisdom for Young Ladies was the bane of sensible girls the world over, crammed with insipid, damaging advice on every page. Susanna could have gleefully crushed its pages to powder with a mortar and pestle, labeled the vial with a skull and crossbones, and placed it on the highest shelf in her stillroom, right beside the dried foxglove leaves and deadly nightshade berries. Instead, she’d made it her mission to remove as many copies as possible from circulation. A sort of quarantine. Former residents of the Queen’s Ruby sent the books from all corners of England. One couldn’t enter a room in Spindle Cove without finding a copy or three of Mrs. Worthington’s Wisdom. And just as Susanna had told Mrs. Highwood, they found the book very useful indeed. It was the perfect size for propping a window open. It also made an excellent doorstop or paperweight. Susanna used her personal copies for pressing herbs. Or occasionally, for target practice. She motioned to Charlotte. “May I?” Taking the volume from the girl’s grip, she raised the book high. Then, with a brisk thwack, she used it to crush a bothersome gnat. With a calm smile, she placed the book on a side table. “Very useful indeed.

In this sort of hair-trigger eternity I felt that everything was justified, supremely justified; I felt the wars inside me that had left behind this pulp and wrack; I felt the crimes that were seething here to emerge tomorrow in blatant screamers; I felt the misery that was grinding itself out with pestle and mortar, the long dull misery that dribbles away in dirty handkerchiefs. On the meridian of time there is no injustice: there is only the poetry of motion creating the illusion of truth and drama. If at any moment anywhere one comes face to face with the absolute, that great sympathy which makes men like Guatama and Jesus seem divine freezes away; the monstrous thing is not that men have created roses out of this dung heap, but that, for some reason or other, they should want roses. For some reason or other man looks for the miracle, and to accomplish it he will wade through blood. He will debauch himself with ideas, he will reduce himself to a shadow if for only one second of his life he can close his eyes to the hideousness of reality. Everything is endured -- disgrace, humiliation, poverty, war, crime, ennui -- in the belief that overnight something will occur, a miracle, which will render life tolerable. And all the while a meter is running inside and there is no hand that can reach in there and shut it off.

That knife! It looks similar to a machete-like weapon used in India- the Kukri! He's using it to chop leeks, ginger and some herbs... Which he's tossing into a pot of rich chicken stock!" "Ah! Now he's grinding his spices!" Cross! "What?! He's crossing different implements in every step of his recipe?! Can he even do that?!" "I recognize that mortar and pestle. It's the kind they use in India to grind spices." "Oh gosh... I can already smell the fragrance from here!" He clearly knows just how much to grind each spice... ... and to toast each in a little oil to really bring out its fragrance! "Ah, I see! What he has steaming on that other burner is shark fin!" "From Indian cuisine, we dive straight into something very Chinese! Cross! Saiba x Mò Liú Zhâo!" "What the heck? He's stroking the fin... ... quickly running the claws along its grain!" Ah! I see what he's doing! Shark fin by itself is flavorless. Even in true Chinese cuisine... ...it's simmered in Paitan stock or oyster sauce first to give it a stronger, more concentrated umami punch. But by using those claws, he can't skip that step... ... and directly infuse the fin with umami flavor compounds! "Saiba... Cross..." "Aaaah! That implement! I recognize that one! Eishi Tsukasa!" Tsukasa Senpai's Super-Sized Grater-Sword! "He took a huge lump of butter... ... and is grating it down into shavings at unbelievable speed!"

This kitchen had been the home to my beloved kitchen utensils too. There was the hundred-year-old pestle and mortar that belonged to my late grandmother, a container made of Japanese cypress that I'd used for keeping rice, a Le Creuset enamel pot I'd bought with my first pay cheque, a set of long-serving chopsticks with extra fine tips I'd found in a specialty shop in Kyoto, an Italian paring knife given to me on my twentieth birthday by the owner of an organic-vegetables shop, a comfortable cotton apron, jade gravel I used for making pickled aubergine, and the traditional cast-iron nambu frying pan I'd travelled as far north as Morioka to buy. It was a collection of quality items built to last a lifetime.

This is an art I can enjoy. There is a kind of sorcery in all cooking; in the choosing of ingredients, the process of mixing, grating, melting, infusing, and flavoring, the recipes taken from ancient books, the traditional utensils- the pestle and mortar with which my mother made her incense turned to a more homely purpose, her spices and aromatics giving up their subtleties to a baser, more sensual magic. And it is partly the transience of it delights me; so much loving preparation, so much art and experience, put into a pleasure that can last only a moment, and which only a few will ever fully appreciate. My mother always viewed my interest with indulgent contempt. To her, food was no pleasure but a tiresome necessity to be worried over, a tax on the price of our freedom. I stole menus from restaurants and looked longingly into patisserie windows. I must have been ten years old- maybe older- before I first tasted real chocolate. But still the fascination endured. I carried recipes in my head like maps. All kinds of recipes: torn from abandoned magazines in busy railway stations, wheedled from people on the road, strange marriages of my own confection. Mother with her cards, her divinations, directed our mad course across Europe. Cookery cards anchored us, placed landmarks on the bleak borders. Paris smells of baking bread and croissants; Marseille of bouillabaisse and grilled garlic. Berlin was Eisbrei with sauerkraut and Kartoffelsalat, Rome was the ice cream I ate without paying in a tiny restaurant beside the river.

There is a sort of subdued pandemonium in the air, a note of repressed violence, as if the awaited explosion required the advent of some utterly minute detail, something microscopic but thoroughly unpremeditated, completely unexpected. In that sort of half-reverie which permits one to participate in an event and yet remain quite aloof, the little detail which was lacking began obscurely but insistently to coagulate, to assume a freakish, crystalline form, like the frost which gathers on the windowpane. And like those frost patterns which seem so bizarre, so utterly free and fantastic in design, but which are nevertheless determined by the most rigid laws, so this sensation which commenced to take form inside me seemed also to be giving obedience to ineluctable laws. My whole being was responding to the dictates of an ambience which it had never before experienced; that which I could call myself seemed to be contracting, condensing, shrinking from the stale, customary boundaries of the flesh whose perimeter knew only the modulations of the nerve ends. And the more substantial, the more solid the core of me became, the more delicate and extravagant appeared the close, palpable reality out of which I was being squeezed. In the measure that I became more and more metallic, in the same measure the scene before my eyes became inflated. The state of tension was so finely drawn now that the introduction of a single foreign particle, even a microscopic particle, as I say, would have shattered everything. For the fraction of a second perhaps I experienced that utter clarity which the epileptic, it is said, is given to know. In that moment I lost completely the illusion of time and space: the world unfurled its drama simultaneously along a meridian which had no axis. In this sort of hair-trigger eternity I felt that everything was justified, supremely justified; I felt the wars inside me that had left behind this pulp and wrack; I felt the crimes that were seething here to emerge tomorrow in blatant screamers; I felt the misery that was grinding itself out with pestle and mortar, the long dull misery that dribbles away in dirty handkerchiefs. On the meridian of time there is no injustice: there is only the poetry of motion creating the illusion of truth and drama. If at any moment anywhere one comes face to face with the absolute, that great sympathy which makes men like Gautama and Jesus seem divine freezes away; the monstrous thing is not that men have created roses out of this dung heap, but that, for some reason or other, they should want roses. For some reason or other man looks for the miracle, and to accomplish it he will wade through blood. He will debauch himself with ideas, he will reduce himself to a shadow if for only one second of his life he can close his eyes to the hideousness of reality. Everything is endured – disgrace, humiliation, poverty, war, crime, ennui – in the belief that overnight something will occur, a miracle, which will render life tolerable. And all the while a meter is running inside and there is no hand that can reach in there and shut it off. All the while someone is eating the bread of life and drinking the wine, some dirty fat cockroach of a priest who hides away in the cellar guzzling it, while up above in the light of the street a phantom host touches the lips and the blood is pale as water. And out of the endless torment and misery no miracle comes forth, no microscopic vestige of relief. Only ideas, pale, attenuated ideas which have to be fattened by slaughter; ideas which come forth like bile, like the guts of a pig when the carcass is ripped open.

she picked up a jug of distilled water and poured it into a flask, plugging the flask with a stopper outfitted with a tube wriggling from its top. Next, she clipped the flask onto one of two metal stands that stood between two Bunsen burners and struck a strange metal gadget that sparked like flint striking steel. A flame appeared; the water began to heat. Reaching up to a shelf, she grabbed a sack labeled “C8H10N4O2,” dumped some into a mortar, ground it with a pestle, overturned the resulting dirtlike substance onto a strange little scale, then dumped the scale’s contents into a 6- x 6-inch piece of cheesecloth and tied the small bundle off. Stuffing the cheesecloth into a larger beaker, she attached it to the second metal stand, clamping the tube coming out of the first flask into the large beaker’s bottom. As the water in the flask started to bubble, Mrs. Sloane, her jaw practically on the floor, watched as the water forced its way up the tube and into the beaker. Soon the smaller flask was almost empty and Elizabeth shut off the Bunsen burner. She stirred the contents of the beaker with a glass rod. Then the brown liquid did the strangest thing: it rose up like a poltergeist and returned to the original flask. “Cream and sugar?” Elizabeth

I took up the pestle as she left, and pounded and ground automatically, paying little heed to the results. The shut window blocked the sound both of the rain and the crowd below; the two blended in a soft, pattering susurrus of menace. Like any schoolchild, I had read Dickens. And earlier authors, as well, with their descriptions of the pitiless justice of these times, meted out to all illdoers, regardless of age or circumstance. But to read, from a cozy distance of one or two hundred years, accounts of child hangings and judicial mutilation, was a far different thing than to sit quietly pounding herbs a few feet above such an occurrence. Could I bring myself to interfere directly, if the sentence went against the boy? I moved to the window, carrying the mortar with me, and peered out. The crowd had increased, as merchants and housewives, attracted by the gathering, wandered down the High Street to investigate. Newcomers leaned close as the standees excitedly relayed the details, then merged into the body of the crowd, more faces turned expectantly to the door of the house. Looking down on the assembly, standing patiently in the drizzle awaiting a verdict, I suddenly had a vivid understanding of something. Like so many, I had heard, appalled, the reports that trickled out of postwar Germany; the stories of deportations and mass murder, of concentration camps and burnings. And like so many others had done, and would do, for years to come, I had asked myself, “How could the people have let it happen? They must have known, must have seen the trucks, the coming and going, the fences and smoke. How could they stand by and do nothing?” Well, now I knew. The stakes were not even life or death in this case. And Colum’s patronage would likely prevent any physical attack on me. But my hands grew clammy around the porcelain bowl as I thought of myself stepping out, alone and powerless, to confront that mob of solid and virtuous citizens, avid for the excitement of punishment and blood to alleviate the tedium of existence. People are gregarious by necessity. Since the days of the first cave dwellers, humans—hairless, weak, and helpless save for cunning—have survived by joining together in groups; knowing, as so many other edible creatures have found, that there is protection in numbers. And that knowledge, bred in the bone, is what lies behind mob rule. Because to step outside the group, let alone to stand against it, was for uncounted thousands of years death to the creature who dared it. To stand against a crowd would take something more than ordinary courage; something that went beyond human instinct. And I feared I did not have it, and fearing, was ashamed.

warm places with ample supply of water. In the Philippines, rice planting is a celebration. The soil is first prepared by the farmer and his carabao (KAH-RAH-BOW), then the land is flooded and the planters come in to do their jobs. Each seedling could develop two or more offshoots, each producing about 200 flowers, which turn into grains. After harvest time, these grains are removed from the stalks by threshing them. They are then hulled in a big wooden mortar and pestle, usually by the synchronized pounding of two men. The process of winnowing, usually done by the females using a bilao (a woven, flat, round, bamboo tray),

which turn into grains. After harvest time, these grains are removed from the stalks by threshing them. They are then hulled in a big wooden mortar and pestle, usually by the synchronized pounding of two men. The process of winnowing, usually done by the females using a bilao (a woven, flat, round, bamboo tray), separates the kernels that we eat from the hulls, the rough outer

into grains. After harvest time, these grains are removed from the stalks by threshing them. They are then hulled in a big wooden mortar and pestle, usually by the synchronized pounding of two men. The process of winnowing, usually done by the females using a bilao (a woven, flat, round, bamboo tray), separates

1 shallot, finely chopped 1/2 teaspoon salt red or white wine vinegar 1 bunch parsley, leaves picked from stems and roughly chopped 1/2 clove garlic, chopped and pounded to a paste with a tiny bit of salt in a mortar with a pestle or on a cutting board 1 anchovy fillet, finely chopped 1 teaspoon capers, finely chopped 1/2 cup olive oil Put the shallot in a small mixing bowl. Add the salt and then enough vinegar to cover. Let it sit for 10 to 15 minutes. Drain the shallot of its vinegar, reserving it for a future vinaigrette. Mix the shallot and the rest of the ingredients together.

We often avoid the responsibility of thinking about our food choices; we become lazy and relinquish this luxury to large companies because food is plentiful or because we use the excuse of affordability and availability.

Red lentil soup, although quite seductive in scent, is as simple to make as its name suggests. Marjan preferred to boil her lentils before frying the chopped onions, garlic, and spices with some good, strong olive oil. Covering the ready broth, lentils, and onions, she would then allow the luscious soup to simmer for half an hour or so, as the spices embedded themselves into the compliant onion skins. In the recipe book filed away in her head, Marjan always made sure to place a particular emphasis on the soup's spices. Cumin added the aroma of afternoon lovemaking to the mixture, but it was another spice that had the greatest tantric effect on the innocent soup drinker: 'siah daneh'- love in the midst- or nigella seed. This modest little pod, when crushed open by mortar and pestle, or when steamed in dishes such as this lentil soup, excites a spicy energy that hibernates in the human spleen. Unleashed, it burns forever with the unbound desire of an unrequited lover. So powerful is nigella in its heat that the spice should not be taken by pregnant women, for fear of early labor. Indigenous to the Middle and Near Easts of the girls' past lives, nigella is rarely used in Western recipes, its ability to soothe heartburn and abolish fatigue quite overlooked.

French Fried Green Beans Finger food to go with a steak or burger, or just by themselves for the fun of it! Ingredients: 1 pound of fresh green beans 1 teaspoon coarse sea salt ½ teaspoon black peppercorns or rose peppercorns ¼ teaspoon garlic powder ½ teaspoon dried Italian seasoning mix 1 egg white Pre-heat a deep fat fryer to 240oF (hot) –preferably filled with high oleic safflower oil Rinse green beans, trim, and pat dry on a towel Grind spices together in a mortar and pestle Whip egg white until foamy, then coat the green beans in egg, Put egg-coated beans in a 1-qt plastic bag and dust with ground spices, shake vigorously, and drop into hot oil. Fry for 2-3 minutes. Remove when the egg coating just starts to brown.

The women were also responsible for milling, dehusking, and winnowing the rice into an edible product. To achieve this, they combined West African technology with the resources available in South Carolina. They built the tools and engineered complex machinery. Instead of using palm leaves to separate rice from its hull, they used Carolina sweetgrass to weave baskets for tossing the rice into the air. They milled the rice with their handmade mortar and pestles and built the tools to turn the land.

She pushed the memory away as she shelled the small hill of pistachios. In the stone mortar and pestle, which had been in her family for two generations, she added the green and purplish kernels, along with a generous pinch of cardamom seeds, before pounding the mixture into a paste. Folding in a dollop of honey, she tasted the thick paste. The nutty flavor of the pistachios blended with the spiced perfume of cardamom and the sweetness of honey to create a mouthwatering blend that would serve as the perfect filling for the cake. By now, her syrup had cooled enough to start the dough. In a large clay bowl, she mixed cow's milk with soft butter and the syrup, adding an egg and finally the wheat flour. It was only second-grade wheat, but it was good enough for a cake.

Recipe for March Wassail Drinking wassail is an ancient tradition. Dating back to Saxon times, the word itself comes from the greeting “wæs hæl”, roughly translated as “be you healthy”. In the counties of southern England renowned for cider production, drinking wassail originated as a bit of sympathetic magic to protect and encourage the apple trees to bear fruit. While wassail and other punches were very popular during Regency times, by the later part of the 19th-century, they had been largely supplanted by wines and other spirits. The Marches, however, care much more for their own pleasure than for what is fashionable. They serve their wassail the old-fashioned way, out of an enormous wooden bowl mounted in silver with a roasted apple garnish. Their wassail is, as tradition dictates, served quite hot and is deceptively alcoholic. Proceed with caution. Preheat oven to 350 degrees. Core a dozen small apples. (You will only need ten for the wassail, but leftover roasted apples are delicious with cream, yogurt, or ice cream.) Loosely spoon brown sugar into each apple place in a casserole dish with a small amount of water. Bake until tender, approximately 45 minutes. Meanwhile, gently warm 2 pints hard cider. (This is not available in the juice aisle of the grocery store. It is wonderfully alcoholic and tastes deeply of apples. You can find bottled varieties at wine and liquor stores, but the very best is fermented by apple farmers for their own use. Find one and befriend him. The Marches get their cider at the source from the Home Farm at Bellmont Abbey.) To the warming cider, add four cinnamon sticks, crushed with a mortar and pestle, and four pinches ground cloves. (In a bind, ½ teaspoon ground cinnamon may be substituted for the sticks.) Grate in fresh ginger and fresh nutmeg to taste. Lord March’s secret ingredient is a cup of his very best port, added just in time to heat through. When the apples are plump and bursting from their skins, remove them from the oven. Put one into a heatproof punch glass and ladle the wassail over. The March family recipe calls for a garnish of a fresh cinnamon stick for each glass. This recipe will serve six Marches or ten ordinary folk.

The mortar went into my right hand, and the pestle was wrapped in my left fist. Dandry saw the movement, but the necromancer didn’t, and I thought about taking advantage of it for a second, but, I didn’t want tall, dark, and loathsome to be able to say I hit him when he wasn’t looking. I really wanted him to see this coming.

which turn into grains. After harvest time, these grains are removed from the stalks by threshing them. They are then hulled in a big wooden mortar and pestle, usually by the synchronized pounding

We follow him down the darkened hallway, and into the dimly lit kitchen. The walls are hung with plants and herbs, both growing and in the process of being dried, and the smell of them together is sweet and cloying. A table on one wall holds a massive mortar and pestle, and a collection of teapots rings the room on a shelf just below the ceiling.

In that moment, I lost completely the illusion of time and space: the world unfurled its drama simultaneously along a meridian that had no axis. In this sort of hair-trigger eternity I felt that everything was justified, supremely justified; I felt the wars inside me that had left behind this pulp and wrack; I felt the crimes that were seething here to emerge tomorrow in blatant screamers; I felt the misery that was grinding itself out with pestle and mortar, the long dull misery that dribbles away in dirty handkerchiefs. On the meridian of time there is no injustice: there is only the poetry of motion creating the illusion of truth and drama.

rare moss found in northern China.” He sat down at his stool, set aside his mortar and pestle, began to tear the dried moss into small bits. “Believe it or not, everything you need is in here. The moss will counteract the inflammation that is draining your body of energy. At the same time, it will vastly heighten your mental acuity.

He lifted a shrug. “I am not yet certain what to think. Physicians alone are university-educated. Why, anyone with a mortar and pestle can hang a shingle and call himself an apothecary.

Medical chests of the era contained a brass mortar and pestle to grind compounds, and a selection of surgical

world-class perfumer can identify over a thousand different scents, mostly by associating smells with specific memories. I worked on that a little. Learned about the history of perfume. Watched one woman grind ambergris with a mortar and pestle too, just for kicks.” “What is ambergris?” she asked. “I’ve always wondered.” He smirked at her. “Hardened whale feces that washes onshore.

Proximity to livestock and animal feces, I have found in my travels, is not necessarily an indicator of a bad meal. More often than not, in recent experience, it's an early indicator of something good on the way. Why is that? It might have to do with the freshness question. Still living close to the source of your food, you often don't have a refrigerator or freezer. Equipment and conditions are primitive. You can't be lazy - because no option other than the old ways exists Where there are freezers and refrigerators, laziness follows, the compromises and slow encroachment of convenience. Why spend all day making mole when you can make a jumbo batch and freeze it? Why make salsa every day when it lasts OK in the fridge? Try a salsa or a sauce hand-ground with a stone mortar and pestle and you'll see what I mean.

An inventory of the items in the kitchen of Richard Toky, a member of the prosperous Grocers’ Company, in 1391 gives some idea of fourteenth-century kitchen equipment. It included: for food preparation – two mortars and two pestles, two meat-hooks, two pairs of tongs, two axes and two hatchets, four ‘tables’ [abacuses: calculators], a ‘dressing-knife’, a skimmer, two ladles, and a kneading tub for cooking – three brass pots, two little pans, two frying pans, one chafing pan [used over a charcoal fire for small, delicate dishes], two kettles, four copper pans, three iron spits and a rack, two grid-irons for grilling, two tripods, a grate, a bellows, and some wood and coal for laundry – a water-tankard [the kind of big hod used to deliver water to the household by the tankard-bearer], two washing tubs and a barrel.

Piper methysticum, the intoxicating pepper, is hammered into submission before it is mixed into the brew that's guzzled, seeps into the blood, and becomes part of the stories and songs at the tip of everyone's tongue. The bitter brown drink that bears holy truths and keeps honorable myths alive. The thud of the pestle in the kava mortar is the echo of the waves, Ingrid thinks. The rhythm of the dance underneath it all.

She recognized several glass and ceramic mortar and pestle units for grinding substances into a smooth powder. A shiny brass balance scale stood in the center of the shelf, its weights arranged in an orderly row in an open walnut case beside it. At the end of the shelf she spied another small wooden case, open to display a group of metal dies and pegs. She had no idea what that was, but the display was impressive.

We thank God the pestle doesn’t kill the mortar. If it did, how would we be able to enjoy wonderful pounded yam?

the Natufian culture flourished from 12,500 BC to 9500 BC. The Natufians were hunter-gatherers who subsisted on dozens of wild species, but they lived in permanent villages and devoted much of their time to the intensive gathering and processing of wild cereals. They built stone houses and granaries. They stored grain for times of need. They invented new tools such as stone scythes for harvesting wild wheat, and stone pestles and mortars to grind it.

2 teaspoons dried rosemary 1 teaspoon celery seeds 2 teaspoons chicken bouillon granules or 1 chicken bouillon cube, crushed ¾ cup sugar 1 tablespoon dry mustard 2 teaspoons onion powder 2 teaspoons garlic powder 1½ teaspoons kosher salt 1 teaspoon freshly ground black pepper 2 cups yellow ballpark-style mustard ⅔ cup apple cider vinegar 3 tablespoons tomato paste or ketchup ½ teaspoon Tabasco Chipotle Sauce or your favorite hot sauce 1. Prep. Crush the rosemary and celery seeds in a mortar and pestle or in a blender or coffee grinder. Transfer to a bowl, add the remaining ingredients, and mix thoroughly. 2. Cook. Pour the mixture into a saucepan and bring to a simmer. Cook for 5 minutes. Taste and adjust the seasoning as you wish. Storing it overnight in the fridge helps meld the flavors.

On Saint Anthony's day, cut long branches of rue, collect the freshest flowers, and mix with the petals of the reddest rose in the garden. Dry in a secret place where they will be safe from the breath of others. When they are dry, grind them with a mortar and pestle to a fine powder, then pour it into a bag. Take the powder to the river on the Feast of Our Lady, think of your heart's desire, and toss the herbs into the water and ask the Lady's blessing on your love. If he is meant for you, he will come by the turn of the season. If he is not, your true love will appear.

Bell Protection Spell Bells protect against evil. Their ringing causes many malicious spirits to flee and they are thus a primary component of exorcism rites. It’s not only their ringing tones that repel evil; bells, like broomsticks and mortars and pestles, are a discreet metaphor for the reproductive act. Creative acts of life counteract forces of destruction. For this protective ritual, four silver or iron bells are required. Consecrate the bells with Fiery Wall of Protection Incense. (Pass the bells through the smoke.) Charge the bells. Hold them and tell them their mission of protection, aloud if possible. Hang one in each corner of the area to be protected. Allegedly the bells will warn when danger appears from that direction by spontaneously ringing. Recharge bells that ring. After an emergency or perhaps as annual maintenance, repeat the entire ritual.

If they are to be turned into bread, grains have to be ground. When I was a little girl, my father decided to make some flour from the wheat we had grown on the farm. He tried pounding it with a pestle and mortar but all he got was broken grains, not flour. He put it through the hand mincer screwed to the edge of the table with the same result. Finally, he attacked it with a hammer on the flagstone floor. After he gave up, defeated, my mother cleared up the mess. It was sobering to realize that if the commercial millers had vanished, we could have starved even with barns full of sacks of wheat. To turn wheat into flour, you have to shear, not pound, the hard grains, which requires a grindstone, as the people of Lake Kinneret had discovered. A friend in Mexico, where hand grinding still goes on, showed me how it works. She knelt at the upper end of a grindstone, called a metate—a saddle-shaped platform on three inverted pyramidal legs, hewn from a single piece of volcanic rock (fig. 1.7). She mounded a handful of barley, took the mano, a stone shaped like a squared-off rolling pin, in both hands with her thumbs facing back to nudge the grain into place, and, using the whole weight of her upper body, sheared the mano over the grain. After half a dozen motions, she had broken the grains, which now clustered at the bottom end of the metate. Carefully scraping them up with her fingertips, she moved them back to the top, and started shearing again, this time producing white streaks of flour. By the time she had sheared the grain from top to bottom five or six times, she had produced a handful of flour.

And what would you do if you could?” Jamie asked. “If being a witch were a job, what would it look like?” Mika gave him a doubtful look. “Do you actually want to know?” “I wouldn’t ask if I didn’t, Mika. I’m not nice, remember?” That made her smile. As she considered her answer, her forehead creased in a way that was, frankly, adorable. “I’m not sure. I think about it all the time, but I suppose I’ve never really let myself get too attached to any one idea.” Her face softened. “Except for this one: I used to dream about having my very own enchanted tea and potion shop. A small, storybook kind of place, with potions and jars of tea leaves on the shelves, and a mortar and pestle on the counter, and a cauldron bubbling away.

Describe them in the order in which they appear, granny." "This is a phallus, my child." "Linga, you mean? Siva stone?" "A phallus is just a phallus. No Siva or any one else. This would not have been there all by itself. There should have been something besides. I can see a dark cave before me and behind it stands a smaller cave. In that small cave this stone was kept on a hollowed out slab." "A panipitha or pedestal, you mean?" "Not necessarily. Probably you are carried away by their resemblance to a pestle and mortar. This, you see, is a symbol of the male principle. In fact, a penis. What was left in the smaller cave would be its counterpart, a vagina-like piece. People used to worship these two objects together." "As Siva?" "Nothing of the sort. As phallus and vagina, pure and simple. I feel like laughing. But no- on second thoughts it seems to me there is nothing to laugh at. Creation became possible with male and female principles. Human beings thought God created all things in the same fashion. Birds and animals are all born in the same way. Whenever I went to any Siva temple, at the sight of the linga and its pedestal surprise used to seize me, and l never felt inclined to salute those symbols. When I visit temples what i feel is not devotion but utter wonder. I have never felt like begging God to give me this and that. Begging seems to me the most foolish thing to do. Extending your palms for some thing before one who created water, air, fire, the earth and the sky, in fact one who gave us life itself, betrays total lack of intelligence. Suppose the creator Brahma hits back saying, 'What did you do with the things I have already given?' what would you say?" Her philosophy was beyond me and so I said "Granny... How did they worship this? Did they bathe it? Did they offer flowers and fruits as we do now...?" "That I didn't think of. Probably I would have got at it, had I intensely thought of it" She thought for a while and burst out laughing. "Why the laughter?" "My guess was right. What I saw earlier was right." "What was it?" "I told you it was a phallus, and left behind in the cave is its counterpart. Quite a number of people are gathered around it. In a way, the whole scene is obscene. Of course, there are no children around. Young men and women are copulating there. For a while it looked obscene. That is because of a false sense of values. These people are playing the game, which God had desired them to play here. In a sense, I can read a sort of reverence for the thing they are doing. These people are not begging God to give them anything, unlike the priest I came across the other day...But when I hold this object, I feel no hesitation or shyness. Others may feel so. But why should I? To be born is no ugly thing; to live is not ugly; death too, is not ugly. Should creation alone be deemed ugly? "How can the spirit that unites man and woman for good or bad, sorrow or joy, seem dirty?

She straightened her shoulders. "Sisy, are the ducks ready?" "All plucked and cleaned." Roxannah sautéed more onions and garlic with turmeric, adding roughly chopped walnuts to the sizzling butter before transferring them into a large mortar. Halpa gently removed the pestle from her hand. "I'll do this. You see to the duck." She cut the ducks into large pieces, trying to plan her next steps as she worked. The usual recipe required the duck to cook in water. Boiling made the meat tender. But it also meant that most of its flavor leached into the sauce, leaving the flesh of the fowl tasteless and stringy. She could roast the duck. But that would leave the sauce bland. Besides, roasted meat was never as fall-off-the-bone soft as boiled. It seemed stupid to try something new tonight of all nights. God, give me wisdom! Give me counsel so I know how to proceed. She waited for a moment, head bent low, trying to discern what to do. She felt a release, a sense of rightness about going forward with her risky plan. Nodding to herself, she added a dollop more butter to the same pan where she had fried the garlic and onions, which still held their lingering aroma. Sprinkling the duck with salt, she set it carefully into the sizzling pan. Halpa held the mortar under her nose. "Is this the consistency you want?" "Perfect." She fetched the jar of pomegranate molasses she had brought from home and added a heaping tablespoon to Halpa's paste, seasoning it with salt and a dash of turmeric, cinnamon, and cardamom. In the pan, she flipped the pieces of duck. Their skin had turned the color of bright copper, gleaming with melted butter. By now, the whole kitchen staff had gathered around to watch her. Even the Immortal craned his neck for a better view. She ignored them, keeping her attention on the duck. When both sides had fried evenly, she removed some of the excess fat, remembering Amestris's crack about the king's sleepless night. Pomegranate juice and a rich, gelatinous broth made from chicken bones would enrich the duck's flavor. She hoped the fried skin would seal in enough of the juices that simmering the fowl in liquid would not rob its flavor. Finally, she spooned in the paste from Halpa's mortar. Covering the pan, she lifted it over the fire to reduce the heat. It would simmer gently and, hopefully, be ready just in time for dinner.