Origin Brown Novel Quotes

His deep brown eyes added both confidence and compassion to his looks. He had creases—around his eyelids, his nose, his mouth—that may have originated in sunlight and outdoor work but seemed graven in a love of humanity … The creases were his statement to the world: This man loved life and just as deeply feared losing it or anyone he loved in it. He carried on his shoulders the uneasy fraternal twins of love and responsibility.

Despite a seemingly pervasive belief that only people of colour ‘play the race card’, it does not take anything as dramatic as a slave revolution or Japanese imperialism to evoke white racial anxieties, something as trivial as the casting of non-white people in films or plays in which a character was ‘supposed’ to be white will do the trick. For example, the casting of Olivier award-winning actress Noma Dumezweni to play the role of Hermione in the debut West End production of Harry Potter and the Cursed Child got bigots so riled up that J. K. Rowling felt the need to respond and give her blessing for a black actress to play the role. A similar but much larger controversy occurred when the character Rue in the film The Hunger Games was played by a black girl, Amandla Stenberg. Even though Rue is described as having brown skin in the original novel, ‘fans’ of the book were shocked and dismayed that the movie version cast a brown girl to play the role, and a Twitter storm of abuse about the ethnic casting of the role ensued. You have to read the responses to truly appreciate how angry and abusive they are.- As blogger Dodai Stewart pointed out at the time: All these . . . people . . . read The Hunger Games. Clearly, they all fell in love with and cared about Rue. Though what they really fell in love with was an image of Rue that they’d created in their minds. A girl that they knew they could love and adore and mourn at the thought of knowing that she’s been brutally killed. And then the casting is revealed (or they go see the movie) and they’re shocked to see that Rue is black. Now . . . this is so much more than, 'Oh, she’s bigger than I thought.’ The reactions are all based on feelings of disgust. These people are MAD that the girl that they cried over while reading the book was ‘some black girl’ all along. So now they’re angry. Wasted tears, wasted emotions. It’s sad to think that had they known that she was black all along, there would have been [no] sorrow or sadness over her death.

Fyodor Dostoevsky’s The Brothers Karamazov and Milan Kundera’s The Unbearable Lightness of Being might suit our moment. Sinclair Lewis’s novel It Can’t Happen Here is perhaps not a great work of art; Philip Roth’s The Plot Against America is better. One novel known by millions of young Americans that offers an account of tyranny and resistance is J. K. Rowling’s Harry Potter and the Deathly Hallows. If you or your friends or your children did not read it that way the first time, then it bears reading again. Some of the political and historical texts that inform the arguments made here are “Politics and the English Language” by George Orwell (1946); The Language of the Third Reich by Victor Klemperer (1947); The Origins of Totalitarianism by Hannah Arendt (1951); The Rebel by Albert Camus (1951); The Captive Mind by Czesław Miłosz (1953); “The Power of the Powerless” by Václav Havel (1978); “How to Be a Conservative-Liberal-Socialist” by Leszek Kołakowski (1978); The Uses of Adversity by Timothy Garton Ash (1989); The Burden of Responsibility by Tony Judt (1998); Ordinary Men by Christopher Browning (1992); and Nothing Is True and Everything Is Possible by Peter Pomerantsev (2014). Christians

INTRODUCTION TO GENDER AND SOCIETY The Second Sex by Simone de Beauvoir A classic analysis of the Western conception of the woman. Feminism Is for Everybody by bell hooks A primer about the power and potential of feminist action. We Should All Be Feminists by Chimamanda Ngozi Adichie Feminism redefined for the twenty-first century. QUEER THEORY AND INTERSECTIONAL FEMINISM Gender Trouble by Judith Butler A classic, and groundbreaking, text about gender and the boundaries of identity. Gender Outlaw by Kate Bornstein A 1990s-era memoir of transition and nonbinary identity. This Bridge Called My Back ed. Cherríe Moraga and Gloria Anzaldúa A collection of essays about the intersections between gender, class, sexuality, and race. Sister Outsider by Audre Lorde A landmark collection of essays and speeches by a lauded black lesbian feminist. The Woman Warrior by Maxine Hong Kingston A memoir of growing up as a Chinese American woman. MODERN HISTORY How We Get Free: Black Feminism and the Combahee River Collective ed. Keeanga-Yamahtta Taylor A history of the Combahee River Collective, a group of radical black feminists operating in the 1960s and 1970s. And the Band Played On by Randy Shilts Investigative reportage about the beginning of the AIDS crisis. A Queer History of the United States by Michael Bronski An LGBT history of the United States, from 1492 to the present. CONTEMPORARY QUESTIONS Blurred Lines: Rethinking Sex, Power, and Consent on Campus by Vanessa Grigoriadis An exploration of the effects of the sexual revolution in American colleges. The End of Men: And the Rise of Women by Hanna Rosin A book about the shifting power dynamics between men and women. Bad Feminist by Roxane Gay Essays about the author’s experiences as a woman and our cultural understanding of womanhood. All the Single Ladies by Rebecca Traister An investigation into the lives of twenty-first-century unmarried women. GENDER AND SEXUALITY IN FICTION Rubyfruit Jungle by Rita Mae Brown A groundbreaking lesbian coming-of-age novel, originally published in 1973. Giovanni’s Room by James Baldwin A classic of morality and desire, set in 1950s Paris, about an American man and his relationship with an Italian bartender. Angels in America by Tony Kushner A Pulitzer Prize–winning play about the Reagan-era AIDS epidemic. Oranges Are Not the Only Fruit by Jeanette Winterson A coming-of-age and coming-out novel about a woman growing up in an evangelical household.

What to read? Any good novel enlivens our ability to think about ambiguous situations and judge the intentions of others. Fyodor Dostoevsky’s The Brothers Karamazov and Milan Kundera’s The Unbearable Lightness of Being might suit our moment. Sinclair Lewis’s novel It Can’t Happen Here is perhaps not a great work of art; Philip Roth’s The Plot Against America is better. One novel known by millions of young Americans that offers an account of tyranny and resistance is J. K. Rowling’s Harry Potter and the Deathly Hallows. If you or your friends or your children did not read it that way the first time, then it bears reading again. Some of the political and historical texts that inform the arguments made here are “Politics and the English Language” by George Orwell (1946); The Language of the Third Reich by Victor Klemperer (1947); The Origins of Totalitarianism by Hannah Arendt (1951); The Rebel by Albert Camus (1951); The Captive Mind by Czesław Miłosz (1953); “The Power of the Powerless” by Václav Havel (1978); “How to Be a Conservative-Liberal-Socialist” by Leszek Kołakowski (1978); The Uses of Adversity by Timothy Garton Ash (1989); The Burden of Responsibility by Tony Judt (1998); Ordinary Men by Christopher Browning (1992); and Nothing Is True and Everything Is Possible by Peter Pomerantsev (2014).

Recipe for a Perfect Wife, the Novel INGREDIENTS 3 cups editors extraordinaire: Maya Ziv, Lara Hinchberger, Helen Smith 2 cups agent-I-couldn’t-do-this-without: Carolyn Forde (and the Transatlantic Literary Agency) 1½ cup highly skilled publishing teams: Dutton US, Penguin Random House Canada (Viking) 1 cup PR and marketing wizards: Kathleen Carter (Kathleen Carter Communications), Ruta Liormonas, Elina Vaysbeyn, Maria Whelan, Claire Zaya 1 cup women of writing coven: Marissa Stapley, Jennifer Robson, Kate Hilton, Chantel Guertin, Kerry Clare, Liz Renzetti ½ cup author-friends-who-keep-me-sane: Mary Kubica, Taylor Jenkins Reid, Amy E. Reichert, Colleen Oakley, Rachel Goodman, Hannah Mary McKinnon, Rosey Lim ½ cup friends-with-talents-I-do-not-have: Dr. Kendra Newell, Claire Tansey ¼ cup original creators of the Karma Brown Fan Club: my family and friends, including my late grandmother Miriam Christie, who inspired Miriam Claussen; my mom, who is a spectacular cook and mother; and my dad, for being the wonderful feminist he is 1 tablespoon of the inner circle: Adam and Addison, the loves of my life ½ tablespoon book bloggers, bookstagrammers, authors, and readers: including Andrea Katz, Jenny O’Regan, Pamela Klinger-Horn, Melissa Amster, Susan Peterson, Kristy Barrett, Lisa Steinke, Liz Fenton 1 teaspoon vintage cookbooks: particularly the Purity Cookbook, for the spark of inspiration 1 teaspoon loyal Labradoodle: Fred Licorice Brown, furry writing companion Dash of Google: so I could visit the 1950s without a time machine METHOD: Combine all ingredients into a Scrivener file, making sure to hit Save after each addition.

Spaghetti alla puttanesca is typically made with tomatoes, olives, anchovies, capers, and garlic. It means, literally, "spaghetti in the style of a prostitute." It is a sloppy dish, the tomatoes and oil making the spaghetti lubricated and slippery. It is the sort of sauce that demands you slurp the noodles Goodfellas style, staining your cheeks with flecks of orange and red. It is very salty and very tangy and altogether very strong; after a small plate, you feel like you've had a visceral and significant experience. There are varying accounts as to when and how the dish originated- but the most likely explanation is that it became popular in the mid-twentieth century. The first documented mention of it is in Raffaele La Capria's 1961 novel, Ferito a Morte. According to the Italian Pasta Makers Union, spaghetti alla puttanesca was a very popular dish throughout the sixties, but its exact genesis is not quite known. Sandro Petti, a famous Napoli chef and co-owner of Ischian restaurant Rangio Fellone, claims to be its creator. Near closing time one evening, a group of customers sat at one of his tables and demanded to be served a meal. Running low on ingredients, Petti told them he didn't have enough to make anything, but they insisted. They were tired, and they were hungry, and they wanted pasta. "Facci una puttanata qualsiasi!" they cried. "Make any kind of garbage!" The late-night eater is not usually the most discerning. Petti raided the kitchen, finding four tomatoes, two olives, and a jar of capers, the base of the now-famous spaghetti dish; he included it on his menu the next day under the name spaghetti alla puttanesca. Others have their own origin myths. But the most common theory is that it was a quick, satisfying dish that the working girls of Naples could knock up with just a few key ingredients found at the back of the fridge- after a long and unforgiving night. As with all dishes containing tomatoes, there are lots of variations in technique. Some use a combination of tinned and fresh tomatoes, while others opt for a squirt of puree. Some require specifically cherry or plum tomatoes, while others go for a smooth, premade pasta. Many suggest that a teaspoon of sugar will "open up the flavor," though that has never really worked for me. I prefer fresh, chopped, and very ripe, cooked for a really long time. Tomatoes always take longer to cook than you think they will- I rarely go for anything less than an hour. This will make the sauce stronger, thicker, and less watery. Most recipes include onions, but I prefer to infuse the oil with onions, frying them until brown, then chucking them out. I like a little kick in most things, but especially in pasta, so I usually go for a generous dousing of chili flakes. I crush three or four cloves of garlic into the oil, then add any extras. The classic is olives, anchovies, and capers, though sometimes I add a handful of fresh spinach, which nicely soaks up any excess water- and the strange, metallic taste of cooked spinach adds an interesting extra dimension. The sauce is naturally quite salty, but I like to add a pinch of sea or Himalayan salt, too, which gives it a slightly more buttery taste, as opposed to the sharp, acrid salt of olives and anchovies. I once made this for a vegetarian friend, substituting braised tofu for anchovies. Usually a solid fish replacement, braised tofu is more like tuna than anchovy, so it was a mistake for puttanesca. It gave the dish an unpleasant solidity and heft. You want a fish that slips and melts into the pasta, not one that dominates it. In terms of garnishing, I go for dried oregano or fresh basil (never fresh oregano or dried basil) and a modest sprinkle of cheese. Oh, and I always use spaghetti. Not fettuccine. Not penne. Not farfalle. Not rigatoni. Not even linguine. Always spaghetti.

In the spring of 1935, an editor at the New York publishing house Macmillan, while on a scouting trip through the South, was introduced to Mitchell and signed her to a deal for her untitled book. Upon its release in the summer of 1936, the New York Times Book Review declared it “one of the most remarkable first novels produced by an American writer.” Priced at $3, Gone with the Wind was a blockbuster. By the end of the summer, Macmillan had sold over 500,000 copies. A few days prior to the gushing review in the Times, an almost desperate telegram originated from New York reading, “I beg, urge, coax, and plead with you to read this at once. I know that after you read the book you will drop everything and buy it.” The sender, Kay Brown, in this missive to her boss, the movie producer David Selznick, asked to purchase the book’s movie rights before its release. But Selznick waited. On July 15, seeing its reception, Selznick bought the film rights to Gone with the Wind for $50,000. Within a year, sales of the book had exceeded one million copies. Almost immediately Selznick looked to assemble the pieces needed to turn the book into a movie. At the time, he was one of a handful of major independent producers (including Frank Capra, Alfred Hitchcock, and Walt Disney) who had access to the resources to make films. Few others could break into a system controlled by the major studios. After producing films as an employee of major studios, including Paramount and MGM, the thirty-seven-year-old Selznick had branched out to helm his own productions. He had been a highly paid salaried employee throughout the thirties. His career included producer credits on dozens of films, but nothing as big as what he had now taken on. As the producer, Selznick needed to figure out how to take a lengthy book and translate it onto the screen. To do this, Selznick International Pictures needed to hire writers and a director, cast the characters, get the sets and the costumes designed, set a budget, put together the financing by giving investors profit-participation interests, arrange the distribution plan for theaters, and oversee the marketing to bring audiences to see the film. Selznick’s bigger problem was the projected cost.

Mrs. O’Brien’s Shepherd’s Pie Recipe Ingredients: 5 cups mashed, boiled potatoes (could be reduced to 4 cups)* 1/2 cup sour cream 2 ounces cream cheese 2 tablespoons butter, softened, divided 1 egg yolk 1/2 teaspoon kosher salt 1/2 teaspoon freshly ground black pepper 1-1/2 teaspoon olive oil 1 pound ground lamb (We substituted ground chicken. You could also use ground beef or turkey.) 1 pinch salt and ground black pepper to taste 1 (16 ounce) can stewed tomatoes with juice, chopped 1 small yellow onion, chopped 1 small carrot, peeled and chopped 1/2 cup peas (frozen or fresh) 1 cup Irish stout beer (such as Guinness(R)) 1 cube beef bouillon (we used chicken bouillon) 1 tablespoon all-purpose flour 1 tablespoon Worcestershire sauce 1 cup shredded sharp cheddar cheese 2 teaspoons smoked paprika (optional) * 1 tsp. liquid smoke (optional) * Directions: -Stir cooked potatoes, sour cream, cream cheese, 1 tablespoon butter, egg yolk, 1/2 teaspoon salt, and 1/2 teaspoon black pepper together in a bowl until smooth. -Heat olive oil in a cast iron skillet or nonstick pan over medium-high heat. Add ground lamb (or meat). Reduce heat to medium, and cook, stirring frequently, until browned, 4 to 5 minutes. Pour off excess grease and season meat with salt and black pepper to taste. -Add stewed tomatoes with juice, onion, and carrot into meat mixture; Stir and simmer until vegetables are tender, 5 to 10 minutes. Add peas; reduce heat to low and continue cooking, stirring frequently, 2 to 3 minutes. -Add one teaspoon of liquid smoke to meat mixture. Mix thoroughly. -Heat beer in a saucepan over medium heat; add (beef) bouillon cube. Cook and stir beer mixture until bouillon dissolves, about 5 minutes. - Melt 1 tablespoon butter in a separate pan over medium-low heat. Whisk flour into butter until it thickens, about 1 minute. -Stir beer mixture and Worcestershire sauce into flour mixture until gravy is smooth and thickened, 2 to 3 minutes. Stir gravy into meat mixture and simmer until mixture thickens, at least 5 minutes. -Set top oven rack roughly 6 inches from the oven broiler and preheat the broiler. Grease a 9x12-inch baking dish. - Pour (meat) mixture into the prepared baking dish. -Spoon mashed potatoes over (meat) mixture, covering like a crust. Sprinkle cheddar cheese and paprika evenly over mashed potatoes. -Broil in the preheated oven until the crust browns and the cheese is melted, 4 to 5 minutes. -Cool for about 5 minutes before serving. NOTES: We thought the smoked paprika added little flavor to the original recipe.  We added liquid smoke to the meat and it gave it a nice smoky flavor. Next time, we’ll reduce the amount of mashed potatoes to four cups.  We thought the layer of potatoes was a little too thick. (But if you love mashed potatoes, five cups would work ☺  )

They reached the back of the room. Two life-sized dolls with white whiskers and fedoras, sewn of cloth stuffed with straw, sat here at a chessboard. The two original players had died long ago, halfway through their year-long game, and Old Bat Brown had sewn the dolls himself as a tribute. Behind

Chestnuts have always been an ingredient that goes well with gamy meats. And in French cuisine, chestnuts are often seen in combination with venison. But the mildly sweet flavor and tender texture of these sweet chestnuts makes them melt in the mouth! That flavor combined with the smoky aroma of the charcoal grilling, makes the juicy meatiness of the venison stand out in stark contrast! This flavor isn't something that could be created with regular chestnuts. It's a deliciousness made possible precisely because he chose to use sweet chestnuts! "He minced some of them and added them to the sauce as well! Doing that spread their mild sweetness throughout the whole dish!" Soma's Chestnut Sauce Starting with a base of Fond de Veau (a brown stock usually made with veal), he added a cinnamon stick, orange zest and minced sweet chestnuts and then set the sauce to simmer. "Wait a minute. How odd! Charcoal grilling usually adds a unique and very distinctly bitter taste to ingredients. A taste that is decidedly outside the canon of French flavors! Yet this dish has taken that bitter taste and somehow made it fit seamlessly! Is there some secret to it?!" "That would be the coffee." "What?!" "Coffee?" "Yep! You guessed it! That's the Divine Tongue for you. One of the things I learned at Master Shinomiya's restaurant is that cacao goes really well with game meats. I've never used cacao much, though, to be honest... So instead I grabbed some instant coffee! The bitterness of coffee is similar enough to pure cacao that it paired up nicely with both the charcoal grilling and the gamy venison... ... resulting in a deeply rich and astringent flavor that's perfect for a truly French sauce. I added both coffee and chestnuts as secret ingredients to my sauce! This is a Yukihira Original and a brand-new French dish. I call it... ... Charcoal-Grilled Venison Thigh with Chestnut Sauce." In formal Japanese cooking bowl dishes, such as soups and rice bowls, are constructed from four elements: the main ingredient, the supporting ingredients, the stock and the accents. Similarly, the French dishes are constructed from three different parts balanced in harmony: the main ingredient, the sauce and the garnishes. But this dish... this is eccentric and novel and entirely unconventional while still remaining undeniably French! It's almost as if it's a nugget of flavor found only by cracking and peeling away the shell of common sense...

Doesn't it make you a little sad," [Nathan] mused to Callahan. "A bear's a beautiful creature, and here we are out for blood." "Beautiful creature, my ass," Callahan replied. "A bear may be a beautiful creature, but a problem bear is, well, another bear altogether. Do you know, Nathan, where the word 'bear' comes from, etymologically speaking?" Nathan shrugged. "Do I look like a fuckin' etymologist?" "'Bear' comes from the proto-germanic language, the ancestor to basically all western European languages, including English," explained Callahan. "It comes from 'beorn', which means 'brown one'. The original word for 'bear' in proto-germanic has been lost to time, but probably more closely resembled the latin word 'ursus'. The pagans of prehistoric Europe treated bears as monsters, akin to dragons and trolls. They saw their raw strength and attributed magickal powers to them. The theory is that, by calling the animal by its proper name 'ursus', you would summon one, so they used the euphemism 'the brown one' instead, and it stuck around longer than the animal's original name." "They're not all monsters, though," said Nathan, suddenly very concerned with defending the unproblematic bears. "That's what makes the bad ones 'problem bears' and not just 'bears'." "No, of course not. And now we use the Latin and Greek names for them, scientifically speaking. Now that we treat them like animals and not monsters, we call them Ursus arctos in scientific literature, literally 'bear bear'. It's their old names, demystified. But out here in the woods?" Callahan gestured behind them, and Nathan realized that they'd now followed Dingo far enough into the woods that they could no longer see the cabin, the relative safety of their truck, or any immediate hope for backup behind them. "Out here in the woods, a bear is a bear.

Fyodor Dostoevsky’s The Brothers Karamazov and Milan Kundera’s The Unbearable Lightness of Being might suit our moment. Sinclair Lewis’s novel It Can’t Happen Here is perhaps not a great work of art; Philip Roth’s The Plot Against America is better. One novel known by millions of young Americans that offers an account of tyranny and resistance is J. K. Rowling’s Harry Potter and the Deathly Hallows. If you or your friends or your children did not read it that way the first time, then it bears reading again. Some of the political and historical texts that inform the arguments made here are “Politics and the English Language” by George Orwell (1946); The Language of the Third Reich by Victor Klemperer (1947); The Origins of Totalitarianism by Hannah Arendt (1951); The Rebel by Albert Camus (1951); The Captive Mind by Czesław Miłosz (1953); “The Power of the Powerless” by Václav Havel (1978); “How to Be a Conservative-Liberal-Socialist” by Leszek Kołakowski (1978); The Uses of Adversity by Timothy Garton Ash (1989); The Burden of Responsibility by Tony Judt (1998); Ordinary Men by Christopher Browning (1992); and Nothing Is True and Everything Is Possible by Peter Pomerantsev (2014).

The planetary crisis we find ourselves in is a result of this system. The natural human instinct for survival, enabled by our technological gifts, has caused the greatest mass extinction of other species since the Cretaceous period and brought our own endangerment into the realm of the plausible. To really alter our path, we need to confront the design flaws of the Neolithic Revolution, evidenced by our addiction to growth and the accumulation of more surplus than we need. That’s not to suggest some twenty-first-century nomadology. Even the most imaginative science fiction writers would find it challenging to envision a human society that had developed without agriculture, without the bureaucratic systems it engendered to count the accumulated wealth—the original reason we developed mathematics and written language. But we know that the tiny bands of humans who managed to survive into the nineteenth and twentieth centuries outside that system were—and in a few cases, are—happier than us, even if they do not get to read novels, hear symphonies, or binge-watch a season of a television series after dinner. Walking in the edgelands of the twenty-first-century city, finding the wild nature they harbor, you can get glimpses of your own true nature as a creature that lives in and from the world, and maybe even a way to be a nomad without leaving your house. Finding such places is easier than you think. Finding your personal connection is harder.