Oyster Shell Quotes

As I ate the oysters with their strong taste of the sea and their faint metallic taste that the cold white wine washed away, leaving only the sea taste and the succulent texture, and as I drank their cold liquid from each shell and washed it down with the crisp taste of the wine, I lost the empty feeling and began to be happy and to make plans.

Everyone is so afraid of death, but the real sufis just laugh: nothing tyrannizes their hearts. What strikes the oyster shell does not damage the pearl

Let us go, through certain half-deserted streets, / The muttering retreats / Of restless nights in one-night cheap hotels / And sawdust restaurants with oyster-shells: / Streets that follow like a tedious argument / Of insidious intent / To lead you to an overwhelming question.../ Oh, do not ask, 'What is it?' / Let us go and make our visit"' 'I'm in love with you,' he said quietly.

...like a grain of sand that gets into an oyster's shell. What if the grain doesn't want to become a pearl? Is it ever asked to climb out quietly and take up its old position as a bit of ocean floor?

Let us go then, you and I, When the evening is spread out against the sky Like a patient etherised upon a table; Let us go, through certain half-deserted streets, The muttering retreats 5 Of restless nights in one-night cheap hotels And sawdust restaurants with oyster-shells: Streets that follow like a tedious argument Of insidious intent To lead you to an overwhelming question … 10 Oh, do not ask, “What is it?” Let us go and make our visit. In the room the women come and go Talking of Michelangelo.

We build a shell around it, like an oyster dealing with a painful particle of grit, coating it with smooth pearl layers in order to cope. This is how we walk and talk and function , day in, day out. Immune to others’ pain and loss.

There are stories that are true, in which each individual's tale is unique and tragic, and the worst of the tragedy is that we have heard it before, and we cannot allow ourselves to feel it to deeply. We build a shell around it like an oyster dealing with a painful particle of grit, coating it with smooth pearl layers in order to cope. This is how we walk and talk and function, day in, day out, immune to others' pain and loss. If it were to touch us it would cripple us or make saints of us; but, for the most part, it does not touch us. We cannot allow it to.

We fitted together like the two halves of an oyster-shell. I was Narcissus, embracing the pond in which I was about to drown. However much we had to hide our love, however guarded we had to be about our pleasure, I could not long be miserable about a thing so very sweet. Nor, in my gladness, could I quite believe that anybody would be anything but happy for me if only they knew.

I am very fond of the oyster shell. It is humble and awkward and ugly. It is slate-colored and unsymmetrical. Its form is not primarily beautiful but functional. I make fun of its knobbiness. Sometimes I resent its burdens and excrescences. But its tireless adaptability and tenacity draw my astonished admiration and sometimes even my tears. And it is comfortable in its familiarity, its homeliness, like old garden gloves when have molded themselves perfectly to the shape of the hand. I do not like to put it down. I will not want to leave it.

To be a pearl maker, your oyster needs a good strong shell to protect you from a hundred million irritants in your environment. Your shell helps you tell one grain of sand from the other. You know which one can become a pearl and which one isn't worth the irritation.

Listen! Clam up your mouth and be silent like an oyster shell, for that tongue of yours is the enemy of the soul, my friend. When the lips are silent, the heart has a hundred tongues.

His lyrical whistle beckoned me to adventure and forgetting. But I didn't want to forget. Hugging my grudge, ugly and prickly, a sad sea urchin, I trudged off on my own, in the opposite direction toward the forbidding prison. As from a star I saw, coldly and soberly, the separateness of everything. I felt the wall of my skin; I am I. That stone is a stone. My beautiful fusion with the things of this world was over. The Tide ebbed, sucked back into itself. There I was, a reject, with the dried black seaweed whose hard beads I liked to pop, hollowed orange and grapefruit halves and a garbage of shells. All at once, old and lonely, I eyed these-- razor clams, fairy boats, weedy mussels, the oyster's pocked gray lace (there was never a pearl) and tiny white "ice cream cones." You could always tell where the best shells were-- at the rim of the last wave, marked by a mascara of tar. I picked up, frigidly, a stiff pink starfish. It lay at the heart of my palm, a joke dummy of my own hand. Sometimes I nursed starfish alive in jam jars of seawater and watched them grow back lost arms. On this day, this awful birthday of otherness, my rival, somebody else, I flung the starfish against a stone. Let it perish.

Let us go then, you and I, When the evening is spread out against the sky Like a patient etherized upon a table. Let us go, through certain half-deserted streets, The muttering retreats Of restless nights in one-night cheap hotels And sawdust restaurants with oyster shells: Streets that follow like a tedious argument Of insidious intent To lead you to an overwhelming question... Oh, do not ask, "What is it?" Let us go and make our visit. We have lingered in the chambers of the sea By sea-girls wreathed with seaweed red and brown Till human voices wake us, and we drown.

You speculate on the luxury of wearing out a whole existence in bed, like an oyster in its shell, content with the sluggish ecstasy of inaction.

On writers' workshops: "It is the dab of grit that seeps into an oyster's shell that makes the pearl, not pearl-making seminars with other oysters.

Still perfect,” he said. “Read to me.” “This isn’t really a poem to read aloud when you are sitting next to your sleeping mother. It has, like, sodomy and angel dust in it,” I said. “You just named two of my favorite pastimes,” he said. “Okay, read me something else then?” “Um,” I said. “I don’t have anything else?” “That’s too bad. I am so in the mood for poetry. Do you have anything memorized?” “‘Let us go then, you and I,’” I started nervously, “‘When the evening is spread out against the sky / Like a patient etherized upon a table.’” “Slower,” he said. I felt bashful, like I had when I’d first told him of An Imperial Affliction. “Um, okay. Okay. ‘Let us go, through certain half-deserted streets, / The muttering retreats / Of restless nights in one-night cheap hotels / And sawdust restaurants with oyster-shells: / Streets that follow like a tedious argument / Of insidious intent / To lead you to an overwhelming question . . . / Oh, do not ask, “What is it?” / Let us go and make our visit.’” “I’m in love with you,” he said quietly. “Augustus,” I said. “I am,” he said. He was staring at me, and I could see the corners of his eyes crinkling. “I’m in love with you, and I’m not in the business of denying myself the simple pleasure of saying true things. I’m in love with you, and I know that love is just a shout into the void, and that oblivion is inevitable, and that we’re all doomed and that there will come a day when all our labor has been returned to dust, and I know the sun will swallow the only earth we’ll ever have, and I am in love with you.” “Augustus,” I said again, not knowing what else to say. It felt like everything was rising up in me, like I was drowning in this weirdly painful joy, but I couldn’t say it back. I

The sublime beauty was almost hidden withing the castle walls. She believed that the treasured things in life were often hard to find - a pearl in an oyster shell, a kind word in the heat of the moment.

Don't be satisfied with stories, how things have gone with others. Unfold your own myth.” Listen! Clam up your mouth and be silent like an oyster shell, for that tongue of yours is the enemy of the soul, my friend. When the lips are silent, the heart has a hundred tongues.

The most extraordinary thing about the oyster is this. Irritation gets into his shell. He does not like them. But when he cannot get rid of them he uses the irritation to do the lovelist thing an oyster ever has the chance to do. If there are irritations in our lives today, there is only one prescription: make a pearl. It may have to be a pearl of patience, but…make a pearl. -In the Treasure Chest, ed. Charles L. Wallis

Memory in these incomparable streets, in mosaics of pain and sweetness, was clear to me now, a unity at last. I remembered small and unimportant things from the past: the whispers of roommates during thunderstorms, the smell of brass polish on my fingertips, the first swim at Folly Beach in April, lightning over the Atlantic, shelling oysters at Bowen's Island during a rare Carolina snowstorm, pigeons strutting across the graveyard at St. Philip's, lawyers moving out of their offices to lunch on Broad Street, the darkness of reveille on cold winter mornings, regattas, the flash of bagpipers' tartans passing in review, blue herons on the marshes, the pressure of the chinstrap on my shako, brotherhood, shad roe at Henry's, camellias floating above water in a porcelain bowl, the scowl of Mark Santoro, and brotherhood again.

But when the door shuts on us, all that vanishes. The shell–like covering which our souls have excreted to house themselves, to make for themselves a shape distinct from others, is broken, and there is left of all these wrinkles and roughnesses a central oyster of perceptiveness, an enormous eye. How beautiful a street is in winter!

The banquet proceeded. The first course, a mince of olives, shrimp and onions baked in oyster shells with cheese and parsley was followed by a soup of tunny, cockles and winkles simmered in white wine with leeks and dill. Then, in order, came a service of broiled quail stuffed with morels, served on slices of good white bread, with side dishes of green peas; artichokes cooked in wine and butter, with a salad of garden greens; then tripes and sausages with pickled cabbage; then a noble saddle of venison glazed with cherry sauce and served with barley first simmered in broth, then fried with garlic and sage; then honey-cakes, nuts and oranges; and all the while the goblets flowed full with noble Voluspa and San Sue from Watershade, along with the tart green muscat wine of Dascinet.

The romantic boy told her that her mother was like the oyster of the sea. Not because she carried the most beautiful shell, but because her daughter was a pearl.

It is, after all, the dab of grit that seeps into an oyster’s shell that makes the pearl, not pearl-making seminars with other oysters.

The first man gets the oyster, the second man gets the shell.

the dab of grit that seeps into an oyster’s shell that makes the pearl, not pearl-making seminars with other oysters.

I furl myself in the quilt like an oyster in its shell with no pearl to show for the grit that works through it.

During the rainstorms of April the oyster rises from the sea and opens its shell - rain enters it - when it sinks the raindrops become the pearl. So take a picnic, open your body, and give birth to pearls. ⠀

Let us go then, you and I, When the evening is spread out against the sky Like a patient etherized upon a table; Let us go, through certain half-deserted streets, The muttering retreats Of restless nights in one-night cheap hotels And sawdust restaurants with oyster-shells: Streets that follow like a tedious argument Of insidious intent To lead you to an overwhelming question ... Oh, do not ask, “What is it?” Let us go and make our visit.

In my chair by the hearth, I lifted my cup. “Sometimes,” I told him, “you must be content with ignorance.” He did not like that answer, yet that was the perversity of him: in a way he liked it best of all. I had seen how he could shuck truths from men like oyster shells, how he could pry into a breast with a glance and a well-timed word. So little of the world did not yield to his sounding. In the end, I think the fact that I did not was his favorite thing about me.

It is an oyster, with small shells clinging to its humped back. Sprawling and uneven, it has the irregularity of something growing. It looks rather like the house of a big family, pushing out one addition after another to hold its teeming life - here a sleeping porch for the children, and there a veranda for the play-pen; here a garage for the extra car and there a shed for the bicycles. It amuses me because it seems so much like my life at the moment, like most women's lives in the middle years of marriage. It is untidy, spread out in all directions, heavily encrusted with accumulations....

Describing Ostend oysters: "small and rich, looking like little ears enfolded in shells, and melting between the palate and the tongue like salted sweets.

Listen! Clam up your mouth and be silent like an oyster shell, for that tongue of yours is the enemy of the soul, my friend. When the lips are silent, the heart has a hundred tongues.

She sensed older presences as she walked. She knew by a cold stirring that here they had made their fires, and here their cattle had grazed, and here they ate periwinkles and oysters from the shell, and they had this burning salt on their lips, and felt this old rain, and made their cries of love and war, and roamed in hordes; their little kingdoms here were settled, and disassembled; by night, in our valley, the wolves had bayed.

Often on the menu, oysters will be listed as “oysters on the half shell.” As opposed to what? “In a Kleenex?” Even the way you are supposed to eat an oyster indicates something counterintuitive. “Squeeze some lemon on it, a dab of hot sauce, throw the oyster down the back of your throat, take a shot of vodka, and try to forget you just ate snot from a rock.” That is not how you eat something. That is how you overdose on sleeping pills.

The city was a real city, shifty and sexual. I was lightly jostled by small herds of flushed young sailors looking for action on Forty-Second Street, with it rows of x-rated movie houses, brassy women, glittering souvenir shops, and hot-dog vendors. I wandered through Kino parlors and peered through the windows of the magnificent sprawling Grant’s Raw Bar filled with men in black coats scooping up piles of fresh oysters. The skyscrapers were beautiful. They did not seem like mere corporate shells. They were monuments to the arrogant yet philanthropic spirit of America. The character of each quadrant was invigorating and one felt the flux of its history. The old world and the emerging one served up in the brick and mortar of the artisan and the architects. I walked for hours from park to park. In Washington Square, one could still feel the characters of Henry James and the presence of the author himself … This open atmosphere was something I had not experienced, simple freedom that did not seem oppressive to anyone.

Okay. ‘Let us go, through certain half-deserted streets, / The muttering retreats / Of restless nights in one-night cheap hotels / And sawdust restaurants with oyster-shells: / Streets that follow like a tedious argument / Of insidious intent / To lead you to an overwhelming question…/ Oh, do not ask, “What is it?” / Let us go and make our visit.

Both the steamboat service to Albany and the Erie Canal were destined to be swiftly fleeting marvels, eclipsed by the next idea. Only seven years after the Seneca Chief brought whitefish to New York Harbor, the city’s railroad age had begun. The

Presented incorrectly and out of context it will put you off for life, but a good poem shucks the oyster shell of one's mind to reveal the pearl within. It gives words to those feelings whose definitions are forever beyond the reach of verbal articulation.

The sky resembled shattered oyster shells ribboned with flame in the west, but at ground level, you could almost see (sometimes Mananne had stared out the window of her bedroom, observing) how shadows lifted from the snowy contours of the land, like living things.

And my arm, where Tessina had touched me... I raised it to my mouth, kissed the cloth of my sleeve. And there, jumping from the weave to my lips, a taste. Saffron- of course: what else would she be? A flavor that takes the lives of ten thousand lovely flowers. As it had done all those years ago, the taste rose again on my tongue as a ravishing, barbarian palace of domes and spires. Tessina. There she was, all of her: salt, the crystals that grow on oyster shells that have dried out in the sun; violets; lemon leaves; nutmeg; myrrh.

Little bright-topped waves rocked the boat gently on the way to pattering up against the seawalls. A salty wind blew from the land out over the water. The town of Crisfield lay in the sunlight before them, bleached white as the oyster shells scattered around the ground.

The night surrounded me, a photograph unglued from its frame. The lining of a coat ripped open like the two shells of an oyster. The day and the night unglued, and I falling in between not knowing on which layer I was resting, whether it was the cold grey upper leaf of dawn or the dark layer of night.

There was a girl, and her uncle sold her, wrote Mr. Ibis in his perfect copperplate handwriting. That is the tale; the rest is detail. There are stories that are true, in which each individual’s tale is unique and tragic, and the worst of the tragedy is that we have heard it before, and we cannot allow ourselves to feel it too deeply. We build a shell around it like an oyster dealing with a painful particle of grit, coating it with smooth pearl layers in order to cope. This is how we walk and talk and function, day in, day out, immune to others’ pain and loss. If it were to touch us it would cripple us or make saints of us; but, for the most part, it does not touch us. We cannot allow it to. Tonight, as you eat, reflect if you can: there are children starving in the world, starving in numbers larger than the mind can easily hold, up in the big numbers where an error of a million here, a million there, can be forgiven. It may be uncomfortable for you to reflect upon this or it may not, but still, you will eat. There are accounts which, if we open our hearts to them, will cut us too deeply. Look—here is a good man, good by his own lights and the lights of his friends: he is faithful and true to his wife, he adores and lavishes attention on his little children, he cares about his country, he does his job punctiliously, as best he can. So, efficiently and good-naturedly, he exterminates Jews: he appreciates the music that plays in the background to pacify them; he advises the Jews not to forget their identification numbers as they go into the showers—many people, he tells them, forget their numbers, and take the wrong clothes, when they come out of the showers. This calms the Jews: there will be life, they assure themselves, after the showers. And they are wrong. Our man supervises the detail taking the bodies to the ovens; and if there is anything he feels bad about, it is that he still allows the gassing of vermin to affect him. Were he a truly good man, he knows, he would feel nothing but joy, as the earth is cleansed of its pests. Leave him; he cuts too deep. He is too close to us and it hurts.

Breaketh Thy oyster shell of silence, as Love shalt rise in its effulgence limpid pure tenderness to quench the spirit of Thy mind, as the fervent sublime oyster of Thy Beloved soul shalt submerge in the depth of Attainment in the Ocean of Divine Love to rescue pure Hearts to form a Blissed Pearl Of Divine Unity.

It was as if I were an oyster and somebody forced a grain of sand into my shell -- a grain of sand that I didn't know was there and didn't particularly welcome. Then a pearl started forming around the grain and it irritated me, made me angry, tortured me sometimes. But the oyster can't help becoming obsessed with the pearl.

I felt bashful, like I had when I'd first told him of An Imperial Affliction. "Um, okay. Okay. 'Let us go, trough certain half-deserted streets,/ The muttering retreats/ Of restless nights in one-night cheap hotels/ and sawdust restaurants with oyster shells:/ Streets that follow like a tedious argument/ Of insidious intent/ To lead you to an overwhelming question../Oh, do not ask, "What is it?"/ Let us go and make our visit" "I'm in love with you," he said quietly. "Augustus," I said. "I am, " he said. He was staring at me, and I could see the corners of his eyes crinkling. "I'm in love with you, and I'm not in the business of denying myself the simple pleasure of saying true things. I'm in love with you, and I know that love is just a shout into the void, and that oblivion is inevitable, and that we're all doomed and that there will come a day when all our labor has been returned to dust, and I know the sun will swallow the only earth we'll ever have, and I am in love with you." "Augustus," I said again, not knowing what else to say. It felt like everything was rising up in me, like I was drowning in this wierdly painful joy, but I couldn't say it back. I couldn't say it back. I just looked at him and let him look at me until he nodded, lips pursed, and turned away, placing the side of his head against the window.

January? The month is dumb. It is fraudulent. It does not cleanse itself. The hens lay blood-stained eggs. Do not lend your bread to anyone lest it nevermore rise. Do not eat lentils or your hair will fall out. Do not rely on February except when your cat has kittens, throbbing into the snow. Do not use knives and forks unless there is a thaw, like the yawn of a baby. The sun in this month begets a headache like an angel slapping you in the face. Earthquakes mean March. The dragon will move, and the earth will open like a wound. There will be great rain or snow so save some coal for your uncle. The sun of this month cures all. Therefore, old women say: Let the sun of March shine on my daughter, but let the sun of February shine on my daughter-in-law. However, if you go to a party dressed as the anti-Christ you will be frozen to death by morning. During the rainstorms of April the oyster rises from the sea and opens its shell — rain enters it — when it sinks the raindrops become the pearl. So take a picnic, open your body, and give birth to pearls. June and July? These are the months we call Boiling Water. There is sweat on the cat but the grape marries herself to the sun. Hesitate in August. Be shy. Let your toes tremble in their sandals. However, pick the grape and eat with confidence. The grape is the blood of God. Watch out when holding a knife or you will behead St. John the Baptist. Touch the Cross in September, knock on it three times and say aloud the name of the Lord. Put seven bowls of salt on the roof overnight and the next morning the damp one will foretell the month of rain. Do not faint in September or you will wake up in a dead city. If someone dies in October do not sweep the house for three days or the rest of you will go. Also do not step on a boy's head for the devil will enter your ears like music. November? Shave, whether you have hair or not. Hair is not good, nothing is allowed to grow, all is allowed to die. Because nothing grows you may be tempted to count the stars but beware, in November counting the stars gives you boils. Beware of tall people, they will go mad. Don't harm the turtle dove because he is a great shoe that has swallowed Christ's blood. December? On December fourth water spurts out of the mouse. Put herbs in its eyes and boil corn and put the corn away for the night so that the Lord may trample on it and bring you luck. For many days the Lord has been shut up in the oven. After that He is boiled, but He never dies, never dies.

Actors are like oysters, she explained when anyone wanted justification for this emotional brutality. You had to crack their shells and break them open to find the precious pearls inside.

There are stories that are true, in which each individual’s tale is unique and tragic, and the worst of the tragedy is that we have heard it before, and we cannot allow ourselves to feel it too deeply. We build a shell around it like an oyster dealing with a painful particle of grit, coating it with smooth pearl layers in order to cope. This is how we walk and talk and function, day in, day out, immune to others’ pain and loss. If it were to touch us it would cripple us or make saints of us; but, for the most part, it does not touch us. We cannot allow it to.

There is necessary beauty in the world, I understand this. Beauty to attract mates, to attract prey, to attract pollinators. But so much of beauty seems to be bycatch, “unnecessary beauty,” waste products of essential processes. The opalescence of the inside of an oyster shell, a rainbow around the moon, a baby’s dreaming smile. Profligate beauty is a mystery to me. Sing praises.

This is New York: skyscraper champion of the world where slickers and know-it-alls peddle gold bricks to each other and where the truth, crushed to earth, rises again more phony than a glass eye. —BEN HECHT, Nothing Sacred, 1937

The room hushed as Alim introduced the first course, and everyone cooed over their plates---fresh oysters in a pool of black squid ink bouillon, served on stark-white china with a sliver of pickled onion and a bright strip of shaved Scotch bonnet on top. There was a dash of black bouillon inside the oyster shell and a rocket flower on the side, delicate and white. Feyi sipped at the accompanying drink, an expensive champagne with pomegranate seeds in it.

I intended to concentrate throughout the summer on matters of extreme urgency: ocean waves breaking in the sunlight and swirls inside oyster shells and the mystery of the sound of ice hitting the sides of a glass. In the afternoon, the ice makes only this gentle, clicking, almost tinkling sound. Yet at night it sounds like gravel being poured into a barrel. Why is ice louder at night than it is in the daytime? Let me put on my shoes and we'll go out and investigate.

In truth, the wind, though it was low, had a solemn sound, and crept around the deserted house with a whispered wailing that was very mournful. Everything was gone, down to the little mirror with the oyster-shell frame. I thought of myself, lying here, when that first great change was being wrought at home. I thought of the blue-eyed child who had enchanted me. I thought of Steerforth, and a foolish, fearful fancy came upon me of his being near at hand, and liable to be met at any turn.

Now in the earthly likenesses of justice and temperance and all other prized possessions of the soul there dwells no luster; nay, so dull are the organs wherewith men approach their images that hardly can a few behold that which is imaged, but with beauty it is otherwise. Beauty it was ours to see in all its brightness in those days when, amidst that happy company, we beheld with our eyes that blessed vision, ourselves in the train of Zeus, others following some other god; then were we all initiated into that mystery which is rightly accounted blessed beyond all others; whole and unblemished were we that did celebrate it, untouched by the evils that awaited us in days to come; whole and unblemished likewise, free from all alloy, steadfast and blissful were the spectacles on which we gazed in the moment of final revelation; pure was the light that shone around us, and pure were we, without taint of that prison house which now we are encompassed withal, and call a body, fast bound therein as an oyster in its shell

THE PEARL STARTS ITS LIFE AS A SPLINTER—something unwanted like a piece of shell or shard of dirt that accidentally lodges itself in an oyster's body. To ease the splinter, the oyster takes defensive action, secreting a smooth, hard, lucid substance around the irritant to protect itself. That substance is called "nacre.” So long as the splinter remains within its body, the oyster will continue to coat it in nacre, layer upon beautiful layer. I always thought it was remarkable that the oyster coats its enemy not only in something beautiful, but a part of itself. And while diamonds are embraced with warm excitement, regarded to be of highest, deepest value, the pearl is somewhat overlooked. Its humble beginnings are that of a parasite, growing in something that is alive, draining its host of beauty. It’s clever—the plight of the splinter. A sort of rags to riches story.

Gaia giveth even as she taketh away. The warming of the global climate over the past century had melted permafrost and glaciers, shifted rainfall patterns, altered animal migratory routes, disrupted agriculture, drowned cities, and similarly necessitated a thousand thousand adjustments, recalibrations and hasty retreats. But humanity's unintentional experiment with the biosphere had also brought some benefits. Now we could grow oysters in New England. Six hundred years ago, oysters flourished as far north as the Hudson. Native Americans had accumulated vast middens of shells on the shores of what would become Manhattan. Then, prior to the industrial age, there was a small climate shift, and oysters vanished from those waters. Now, however, the tasty bivalves were back, their range extending almost to Maine. The commercial beds of the Cape Cod Archipelago produced shellfish as good as any from the heyday of Chesapeake Bay. Several large wikis maintained, regulated and harvested these beds, constituting a large share of the local economy. But as anyone might have predicted, wherever a natural resource existed, sprawling and hard of defense, poachers would be found.

Who are you? She asked silently, as she laid away the collector's quotations, his drawings, his scraps of famous poetry: "Come live with me and be my love..." interleaved with menus: 'oysters, fish stew, tortoise in its shell, bread from the oven, honey from the honeycomb.' The books were unsplattered but much fingered, their pages soft with turning and re-turning, like collections of old fairy tales. Often Jess thought of Rapunzel and golden apples and enchanted gardens. She thought of Ovid, and Dante, and Cervantes, and the Pre-Raphaelites, for sometimes McClintock pictured his beloved eating, and sometimes sleeping in fields of poppies, and once throned like Persephone, with strawberry vines entwined in her long hair.

But as yet, the neighbourhood was shy to own the Railroad. One or two bold speculators had projected streets; and one had built a little, but had stopped among the mud and ashes to consider farther of it. A bran-new Tavern, redolent of fresh mortar and size, and fronting nothing at all, had taken for its sign The Railway Arms; but that might be rash enterprise—and then it hoped to sell drink to the workmen. So, the Excavators’ House of Call had sprung up from a beer shop; and the old-established Ham and Beef Shop had become the Railway Eating House, with a roast leg of pork daily, through interested motives of a similar immediate and popular description. Lodging-house keepers were favourable in like manner; and for the like reasons were not to be trusted. The general belief was very slow. There were frowzy fields, and cow-houses, and dunghills, and dustheaps, and ditches, and gardens, and summer-houses, and carpet-beating grounds, at the very door of the Railway. Little tumuli of oyster shells in the oyster season, and of lobster shells in the lobster season, and of broken crockery and faded cabbage leaves in all seasons, encroached upon its high places. Posts, and rails, and old cautions to trespassers, and backs of mean houses, and patches of wretched vegetation stared it out of countenance. Nothing was the better for it, or thought of being so. If the miserable waste ground lying near it could have laughed, it would have laughed it to scorn, like many of the miserable neighbours.

There are stories that are true, in which each individual's tale is unique and tragic, and the worst of the tragedy is that we have heard it before, and we cannot allow ourselves to feel it too deeply. We build a shell around it, like an oyster dealing with a painful particle of grit, coating it with smooth pearl layers in order to cope. - American Gods, Coming to America

Some lives, ending as Miss Fielding's would, leave a grain of memory, like a grain of sand, in the depths of another mind, a grain of sand which is like the constant irritation under an oyster's shell, eventually to grow with coating after coating of disguising beauty into a pearl. Sometime this memory would be pried loose, in its rounded beauty, to stand by itself as an object of delight.

Let us go then, you and I, when the evening is spread against the sky/ like a patient etherized upon a table. Let us go, through certain half-deserted streets./ the muttering retreats/ of restless nights in one-night cheap hotels/ and sawdust restaurants with oyster-shells/ streets that follow like a tedious argument/ of insidious intent/ to lead you to an overwhelming question.../ Oh, do you not ask, "what is it?"/ let us go and make our visit.

When I heard about the path, I had to come down and see it for myself. I had heard about it before but didn’t really think it existed.” Zach was quick with his questions. “What do you think it is, and who made it?” he asked. Jeff looked at the boy, then back at Rock. “It’s my theory that Native Americans made the path using a giant shell for a mold. It’s the shape of a Noble Pen Shell, which is odd, because this shell is only found in the Mediterranean Sea. It could have been brought here from across the sea by early traders though - something to trade to the Indians in exchange for rich minerals such as gold or silver. They would have been fascinated by a shell this large and odd shaped. “The mold would have been filled with a crushed base layer, probably ground oyster shell, sand, rock and maybe even non-porous clay - then mixed with a binding agent, I have no idea what until I analyze it.

Georgia closed her eyes and concentrated on the sensations of the island--- the bracing, spicy scent of evergreen needles, the briny creaminess of an oyster still in its shell, the chewy, viscous luxury of Star's honey on the comb, the light acidity of a local cider. And then she cooked what she felt, that sense of wonder, the lightness and clean sea salt air. A sprinkle of salt, the crispness of fresh vegetables, the unctuous luxury of good olive oil.

It has now been many months, at the present writing, since I have had a nourishing meal, but I shall soon have one—a modest, private affair, all to myself. I have selected a few dishes, and made out a little bill of fare, which will go home in the steamer that precedes me, and be hot when I arrive—as follows: Radishes. Baked apples, with cream Fried oysters; stewed oysters. Frogs. American coffee, with real cream. American butter. Fried chicken, Southern style. Porter-house steak. Saratoga potatoes. Broiled chicken, American style. Hot biscuits, Southern style. Hot wheat-bread, Southern style. Hot buckwheat cakes. American toast. Clear maple syrup. Virginia bacon, broiled. Blue points, on the half shell. Cherry-stone clams. San Francisco mussels, steamed. Oyster soup. Clam Soup. Philadelphia Terapin soup. Oysters roasted in shell-Northern style. Soft-shell crabs. Connecticut shad. Baltimore perch. Brook trout, from Sierra Nevadas. Lake trout, from Tahoe. Sheep-head and croakers, from New Orleans. Black bass from the Mississippi. American roast beef. Roast turkey, Thanksgiving style. Cranberry sauce. Celery. Roast wild turkey. Woodcock. Canvas-back-duck, from Baltimore. Prairie liens, from Illinois. Missouri partridges, broiled. 'Possum. Coon. Boston bacon and beans. Bacon and greens, Southern style. Hominy. Boiled onions. Turnips. Pumpkin. Squash. Asparagus. Butter beans. Sweet potatoes. Lettuce. Succotash. String beans. Mashed potatoes. Catsup. Boiled potatoes, in their skins. New potatoes, minus the skins. Early rose potatoes, roasted in the ashes, Southern style, served hot. Sliced tomatoes, with sugar or vinegar. Stewed tomatoes. Green corn, cut from the ear and served with butter and pepper. Green corn, on the ear. Hot corn-pone, with chitlings, Southern style. Hot hoe-cake, Southern style. Hot egg-bread, Southern style. Hot light-bread, Southern style. Buttermilk. Iced sweet milk. Apple dumplings, with real cream. Apple pie. Apple fritters. Apple puffs, Southern style. Peach cobbler, Southern style Peach pie. American mince pie. Pumpkin pie. Squash pie. All sorts of American pastry. Fresh American fruits of all sorts, including strawberries which are not to be doled out as if they were jewelry, but in a more liberal way. Ice-water—not prepared in the ineffectual goblet, but in the sincere and capable refrigerator.

There are stories that are true, in which each individual’s tale is unique and tragic, and the worst of the tragedy is that we have heard it before, and we cannot allow ourselves to feel it too deeply. We build a shell around it like an oyster dealing with a painful particle of grit, coating it with smooth pearl layers in order to cope. This is how we walk and talk and function, day in, day out, immune to others’ pain and loss. If it were to touch us it would cripple us or make saints of us; but, for the most part, it does not touch us. We cannot allow it to. Tonight, as you eat, reflect if you can: there are children starving in the world, starving in numbers larger than the mind can easily hold, up in the big numbers where an error of a million here, a million there, can be forgiven. It may be uncomfortable for you to reflect upon this or it may not, but still, you will eat. There are accounts which, if we open our hearts to them, will cut us too deeply.

Two Lovers And A Beachcomber By The Real Sea" Cold and final, the imagination Shuts down its fabled summer house; Blue views are boarded up; our sweet vacation Dwindles in the hour-glass. Thoughts that found a maze of mermaid hair Tangling in the tide's green fall Now fold their wings like bats and disappear Into the attic of the skull. We are not what we might be; what we are Outlaws all extrapolation Beyond the interval of now and here: White whales are gone with the white ocean. A lone beachcomber squats among the wrack Of kaleidoscope shells Probing fractured Venus with a stick Under a tent of taunting gulls. No sea-change decks the sunken shank of bone That chucks in backtrack of the wave; Though the mind like an oyster labors on and on, A grain of sand is all we have. Water will run by; the actual sun Will scrupulously rise and set; No little man lives in the exacting moon And that is that, is that, is that. Sylvia Plath, Mademoiselle, August 1955.

There are stories that are true, in which each individual’s tale is unique and tragic, and the worst of the tragedy is that we have heard it before, and we cannot allow ourselves to feel it too deeply. We build a shell around it like an oyster dealing with a painful particle of grit, coating it with smooth pearl layers in order to cope. This is how we walk and talk and function, day in, day out, immune to others’ pain and loss. If it were to touch us it would cripple us or make saints of us; but, for the most part, it does not touch us. We cannot allow it to. Tonight, as you eat, reflect if you can: there are children starving in the world, starving in numbers larger than the mind can easily hold, up in the big numbers where an error of a million here, a million there, can be forgiven. It may be uncomfortable for you to reflect upon this or it may not, but still, you will eat. There are accounts which, if we open our hearts to them, will cut us too deeply. Look—here is a good man, good by his own lights and the lights of his friends: he is faithful and true to his wife, he adores and lavishes attention on his little children, he cares about his country, he does his job punctiliously, as best he can. So, efficiently and good-naturedly, he exterminates Jews: he appreciates the music that plays in the background to pacify them; he advises the Jews not to forget their identification numbers as they go into the showers—many people, he tells them, forget their numbers, and take the wrong clothes, when they come out of the showers. This calms the Jews: there will be life, they assure themselves, after the showers. And they are wrong. Our man supervises the detail taking the bodies to the ovens; and if there is anything he feels bad about, it is that he still allows the gassing of vermin to affect him. Were he a truly good man, he knows, he would feel nothing but joy, as the earth is cleansed of its pests. Leave him; he cuts too deep. He is too close to us and it hurts.

There are stories that are true, in which each individual’s tale is unique and tragic, and the worst of the tragedy is that we have heard it before, and we cannot allow ourselves to feel it too deeply. We build a shell around it like an oyster dealing with a painful particle of grit, coating it with smooth pearl layers in order to cope. This is how we walk and talk and function, day in, day out, immune to others’ pain and loss. If it were to touch us it would cripple us or make saints of us; but, for the most part, it does not touch us. We cannot allow it to. Tonight, as you eat, reflect if you can: there are children starving in the world, starving in numbers larger than the mind can easily hold, up in the big numbers where an error of a million here, a million there, can be forgiven. It may be uncomfortable for you to reflect upon this or it may not, but still, you will eat. There are accounts which, if we open our hearts to them will cut us too deeply. Look – here is a good man, good by his own lights and the lights of his friends: he is faithful and true to his wife, he adores and lavishes attention on his little children, he cares about his country, he does his job punctiliously, as best he can. So, efficiently and good-naturedly, he exterminates Jews: he appreciates the music that plays in the background to pacify them; he advises the Jews not to forget their identification numbers as they go into the showers – many people, he tells them, forget their numbers, and take the wrong clothes, when they come out of the showers. This calms the Jews: there will be life, they assure themselves, after the showers. And they are wrong. Our man supervises the detail taking the bodies to the ovens; and if there is anything he feels bad about, it is that he still allows the gassing of vermin to affect him. Were he a truly good man, he knows, he would feel nothing but joy, as the earth is cleansed of its pests. Leave him; he cuts too deep. He is too close to us and it hurts.

There are stories that are true, in which each individual’s tale is unique and tragic, and the worst of the tragedy is that we have heard it before, and we cannot allow ourselves to feel it too deeply. We build a shell around it like an oyster dealing with a painful particle of grit, coating it with smooth pearl layers in order to cope. This is how we walk and talk and function, day in, day out, immune to others’ pain and loss. If it were to touch us it would cripple us or make saints of us; but, for the

Since seeing such things in the water-colours of Elstir, I enjoyed noticing them in reality, glimpses of poetry as they seemed: knives lying askew in halted gestures; the bell-tent of a used napkin, within which the sun has secreted its yellow velvet; the half-emptied glass showing better the noble widening of its lines, the undrunk wine darkening it, but glinting with lights, inside the translucent glaze seemingly made from condensed daylight; volumes displaced, and liquids transmuted, by angles of illumination; the deterioration of the plums, green to blue, blue to gold, in the fruit dish already half plundered; the wandering of the old-fashioned chairs, which twice a day take their places again about the cloth draping the table as though it is an altar for the celebration of the sanctity of appetite, with a few drops of lustral water left in oyster-shells like little stone fonts; I tried to find beauty where I had never thought it might be found, in the most ordinary things, in the profound life of ‘still life’.

Though thou pour the ocean into thy pitcher, It can hold no more than one day's store. The pitcher of the desire of the covetous never fills, The oyster-shell fills not with pearls till it is content; Only he whose garment is rent by the violence of love Is wholly pure from covetousness and sin. Hail to thee, then, O LOVE, sweet madness! Thou who healest all our infirmities! Who art the physician of our pride and self-conceit! Who art our Plato and our Galen! Love exalts our earthly bodies to heaven, And makes the very hills to dance with joy!

At the entrance to the restaurant, laid out on a bed of ice, there were oysters that were making me hungry. Their shells sparkled, like little lights stuck on a cliff. Mother-of-pearl encourages sparkling. It is said that an oyster secretes a pearl from where it was hurt. And so the wound is desirable, it greets the zest of the lemon that, while I am writing these lines, is making my mouth water. I am going to drink at those lacy edges, I am going to suck down the pearl. Yes, a watering mouth, everything comes from that, the world exists only to create desire.

There are stories that are true, in which each individual’s tale is unique and tragic, and the worst of the tragedy is that we have heard it before, and we cannot allow ourselves to feel it too deeply. We build a shell around it like an oyster dealing with a painful particle of grit, coating it with smooth pearl layers in order to cope. This is how we walk and talk and function, day in, day out, immune to others’ pain and loss. If it were to touch us it would cripple us or make saints of us; but, for the most part, it does not touch us. We cannot allow it to. Tonight,

Miriam admired the statue of a beautiful youth, a pearlfisher; who had got entangled in the weeds at the bottom of the sea, and lay dead among the pearl-oysters, the rich shells, and the seaweeds, all of like value to him now. “The poor young man has perished among the prizes that he sought,” remarked she. “But what a strange efficacy there is in death! If we cannot all win pearls, it causes an empty shell to satisfy us just as well. I like this statue, though it is too cold and stern in its moral lesson; and, physically, the form has not settled itself into sufficient repose.

enough to try the patience of an oyster!” “I wish I had our Dinah here, I know I do!” said Alice aloud, addressing nobody in particular. “She’d soon fetch it back!” “And who is Dinah, if I might venture to ask the question?” said the Lory. Alice replied eagerly, for she was always ready to talk about her pet: “Dinah’s our cat. And she’s such a capital one for catching mice, you can’t think! And oh, I wish you could see her after the birds! Why, she’ll eat a little bird as soon as look at it!” This speech caused a remarkable sensation among the party. Some of the birds hurried off at once; one old Magpie began

FOODS RICH IN ZINC Oysters, farmed, eastern, cooked, 3 medium—13 mg Alaska king crab, cooked, 1 leg—10.2 mg Beef, top sirloin, 4 oz—5.6 mg Raw, unhulled sesame seeds, 2 oz—4.4 mg Raw or roasted pumpkin seeds, 2 oz—4.2 mg Adzuki beans, cooked, 1 cup—4.1 mg Raw pine nuts, 2 oz—3.6 mg Raw cashews, 2 oz—3.2 mg Sunflower seeds, raw, 2 oz—2.8 mg Wild rice, cooked, 1 cup—2.2 mg Edamame, cooked, shelled, 1 cup—2.1 mg Black beans, kidney beans, cooked, 1 cup—1.9 mg Shiitake mushrooms, cooked, 1 cup—1.9 mg Fava beans, cooked, 1 cup—1.7 mg Broccoli, cooked, 2 cups—1.6 mg Tahini, raw, 2 tbsp—1.4 mg Kale, cooked, 2 cups—1.2 mg

To describe our growing up in the lowcountry of South Carolina, I would have to take you to the marsh on a spring day, flush the great blue heron from its silent occupation, scatter marsh hens as we sink to our knees in mud, open you an oyster with a pocketknife and feed it to you from the shell and say, "There. That taste. That's the taste of my childhood." I would say, "Breathe deeply," and you would breathe and remember that smell for the rest of your life, the bold, fecund aroma of the tidal marsh, exquisite and sensual, the smell of the South in heat, a smell like new milk, semen, and spilled wine, all perfumed with seawater. My soul grazes like a lamb on the beauty of indrawn tides.

When I first said, “the world is your oyster,” it sounded pretty good, right? Like all these gorgeous pearls would just be coming your way and you’d be living on so-called easy street. But the saga of the oyster and the pearl is more complicated than it first appears. The pearl only happens when sand gets inside an oyster and irritates it. The world is my oyster? Full of irritation? What kind of blessing is that? It’s not my fault, Princess. I know. You’d like to just la-di-da through life, easy does it, instead of being stuck with a sandy oyster [laughs]. If I give you Billy’s prescription for making pearls, would you like that? Yes, I know, the irritation doesn’t feel good, but without it there would be no pearl. Don’t focus too much on the irritation. Try to relax about the sand. If you deal with the sand creatively, you’ll have a gorgeous treasure. To be a pearl maker, your oyster needs a good strong shell to protect you from a hundred million irritants in your environment. Your shell helps you tell one grain of sand from the other. You know which one can become a pearl and which one isn’t worth the irritation. If you become a really smart oyster, with a good shell, you can live life with more abandon because you don’t have to worry so much about the sand. “Oh, there’s that sand again. This always happens when I take a big bite out of the ocean. I’ll spit most of it out and won’t be too concerned about the rest.” And

The Indian lamb curry centered the meal as the main entree, surrounded with fragrant flat breads. Partridge compote steamed next to a fried savory forcemeat pastry made of garlic, parsley, tarragon, chives and beef suet enclosed in a buttery crust. The appetizer included oysters cut from their shell, sautéed, and then returned to be arranged in a bath of butter and dill. The footman reappeared, and while he set a second place, Farah counted the admittedly obscene amount of desserts. Perhaps they should have left out the cocoa sponge cake, or the little cream-and-fruit stuffed cornucopias with chocolate sauce. She absolutely couldn't have chosen between the almond cakes with the sherry reduction or the coriander Shrewsbury puffs or... the treacle and the vanilla creme brûlée.

The oyster’s radar and defensive mechanisms are critical for its survival, for mouths other than human mouths hunger for oyster flesh. Oysters have several principal predators: the starfish wraps its arms around the oyster, forces its shell apart and ingests it; the boring sponge bores tiny holes in its shell, honeycombing it with tunnels; the slipper-limpet and the mussel smother the oysters or starve them by attaching themselves to an oyster’s shell and eating all their food; the dog-whelk and the whelk-tingle also bore into the shell and suck out the flesh. The oyster, beset by such enemies, writes M.F.K. Fisher, ‘lives motionless, soundless, her own cold ugly shape her only dissipation, and if she escapes the menace of duck-slipper-mussel Black-Drum-leech-sponge-borer-starfish, it is for man to eat because of man’s own hunger’.

There are stories that are true, in which each individual’s tale is unique and tragic, and the worst of the tragedy is that we have heard it before, and we cannot allow ourselves to feel it too deeply. We build a shell around it like an oyster dealing with a painful particle of grit, coating it with smooth pearl layers in order to cope. This is how we walk and talk and function, day in, day out, immune to others’ pain and loss. If it were to touch us it would cripple us or make saints of us; but, for the most part, it does not touch us. We cannot allow it to. Tonight, as you eat, reflect if you can: there are children starving in the world, starving in numbers larger than the mind can easily hold, up in the big numbers where an error of a million here, a million there, can be forgiven. It may be uncomfortable for you to reflect upon this or it may not, but still, you will eat.

There is a pretty Indian fable to the effect that if it rains when the star Svati is in the ascendant, and a drop of rain falls into an oyster, that drop will become a pearl. The oysters know this, so they come to the surface when that star shines, and wait to catch the precious rain-drop. When one falls into the shell, quickly the oyster closes it and dives down to the bottom of the sea, there to patiently develop the drop into the pearl. We should be like that. First hear, then understand, and then, leaving all distractions, shut our minds to outside influences, and devote ourselves to developing the truth within us. There is the danger of frittering away our energies by taking up an idea only for its novelty, and then giving it up for another that is newer. Take one thing up and do it, and see the end of it, and before ou have seen the end, do not give it up. He who can become mad upon an idea, he alone will see light.

When the crab arrives, I realize I've barely given any thought to Ann and her ministrations. To my surprise she has added a few finishing touches of her own. The crab sits snugly in its pink shell, beside a neat mound of delicately green mayonnaise. How has she colored it green? "This could be made into a curry," pronounces Mr. Arnott. "In Madras, curried sea oysters are considered the pinnacle of fine food. Anything can be curried... fish, fowl, even eggs." "Eggs?" Again, he has intrigued me. "Indeed eggs," he says. "Hard-boiled and placed in a hot curried gravy, they are quite delicious." I taste the mayonnaise, trying to fathom how Ann has greened it. Simultaneously I try to commit Mr. Arnott's recipe for curried eggs to memory, while also checking the seasoning in the crab. "Do you think the crab would benefit from a little more lemon juice?" I ask. "Or perhaps chili vinegar should have been used." "It is certainly fresh." He slowly savors the crab upon his tongue. "It tastes of the sea.

A misty vision of Francesca gazed down at me from a corner of the window. She gave me her wicked-sweet smile and the stars sparked in her pale hair. I wanted to call to her, but I had no voice. I smelled the mixed scents of her, and I imagined the lush, tropical feast I'd prepare for her on our wedding night. I'd slip raw oysters between her lips. We'd share ripe figs and plump, dewy cherries. I'd offer her sweetmeats and honeyed milk, blood oranges peeled and ready, salty artichokes stripped down to the heart. I'd pry open a lobster shell and feed her tender morsels of meat, slowly, slowly. The flavors would mingle and mount and burst inside us like soft explosions. I wanted to believe it would all be possible. I imagined her staring into my eyes while she dragged a buttered artichoke leaf between her teeth and sucked on the flesh. It was good. I rode through the long, lovely night on wave upon wave of pleasure, smelling her, tasting her, touching her... I heard myself moan, and in that fierce embrace, I believed.

The variety of wares was staggering: stacks of brown haddock fried in batter, pea soup crowded with chunks of salt pork, smoking-hot potatoes split and doused with butter, oysters roasted in the shell, pickled whelks, and egg-sized suet dumplings heaped in wide shallow bowls. Meat pasties had been made in half-circle shapes convenient for hand carrying. Dried red saveloy and polony sausages, cured tongue, and cuts of ham seared with white fat were made into sandwiches called trotters. Farther along the rows, there was an abundance of sweets: puddings, pastries, buns crossed with fat white lines of sugar, citron cakes, chewy gingerbread nuts dabbed with crackled icing, and tarts made with currants, gooseberries, rhubarbs, or cherries. Ransom guided Garrett from one stand to the next, buying whatever caught her interest: a paper cone filled with hot green peas and bacon, and a nugget of plum dough. He coaxed her to taste a spicy Italian veal stew called stuffata, which was so delicious that she ate an entire cup of it.

In the half darkness, piles of fish rose on either side of him, and the pungent stink of fish guts assaulted his nostrils. On his left hung a whole tuna, its side notched to the spine to show the quality of the flesh. On his right a pile of huge pesce spada, swordfish, lay tumbled together in a crate, their swords protruding lethally to catch the legs of unwary passersby. And on a long marble slab in front of him, on a heap of crushed ice dotted here and there with bright yellow lemons, where the shellfish and smaller fry. There were ricco di mare---sea urchins---in abundance, and oysters, too, but there were also more exotic delicacies---polpi, octopus; aragosti, clawless crayfish; datteri di mare, sea dates; and grancevole, soft-shelled spider crabs, still alive and kept in a bucket to prevent them from making their escape. Bruno also recognized tartufo di mare, the so-called sea truffle, and, right at the back, an even greater prize: a heap of gleaming cicale. Cicale are a cross between a large prawn and a small lobster, with long, slender front claws. Traditionally, they are eaten on the harbor front, fresh from the boat. First their backs are split open. Then they are marinated for an hour or so in olive oil, bread crumbs, salt, and plenty of black pepper, before being grilled over very hot embers. When you have pulled them from the embers with your fingers, you spread the charred, butterfly-shaped shell open and guzzle the meat col bacio----"with a kiss," leaving you with a glistening mustache of smoky olive oil, greasy fingers, and a tingling tongue from licking the last peppery crevices of the shell. Bruno asked politely if he could handle some of the produce. The old man in charge of the display waved him on. He would have expected nothing less. Bruno raised a cicala to his nose and sniffed. It smelled of ozone, seaweed, saltwater, and that indefinable reek of ocean coldness that flavors all the freshest seafood. He nodded. It was perfect.

These associations—Cavafy, my mother polishing the silver, a missionary aunt who fled the familiar turf of Tennessee for the otherness of Korea (presumably with the intent of teaching them something, hopefully with the result of being taught), my Mamaw’s fragrant old bureau with its smell of wax and polish—all of them would be brought to bear upon my painting of peppermints, but none of them would be visible; there’s no reason the viewer would know any of this. I could render only what can be seen—color and form, though the painter’s splendid artifice reveals to us texture, too, and rich associations of scent and flavor, all arriving through the gates of the eyes. And yet there is something more here, and that something is what nags at me to write this book, what tugs at my sleeve and my sleep. Why, if all that is personal has fallen away, should these pictures matter so? Why should they be alight with a feeling of intimacy? Interiority makes itself visible. In my imaginary still life, the “context and commentary” of my experience would be gone, but something would remain, something distilled and vibrant in the quality of attention itself. Is that what soul or spirit is, then, the outward-flying attention, the gaze that binds us to the world? Coorte’s asparagus, his gooseberries and shells, distill this quality down to its quietest, most startling essence: the eye suffuses what it sees with I. Not “I” in the sense of my story, the particulars of my life, the way my father tended his old asparagus beds each spring, the way my beloved loved the forms and colors of shells. But “I” as the quickest, subtlest thing we are: a moment of attention, an intimate engagement. Is that the lesson, then, that ultimately I becomes an eye? What is left of Adriaen Coorte but this? Isn’t that enough? […] That, I think, is the deepest secret of these paintings, finally, although it seems just barely in the realm of the sayable, this feeling that beneath the attachments and appurtenances, the furnishings of selfhood, what we are is attention, a quick physical presence in the world, a bright point of consciousness in a wide field from which we are not really separate. That, in a field of light, we are intensifications of that light.

SCENE 24 “Tiens, Ti Jean, donne ce plat la a Shammy,” my father is saying to me, turning from the open storage room door with a white tin pan. “Here, Ti Jean, give this pan to Shammy.” My father is standing with a peculiar French Canadian bowleggedness half up from a crouch with the pan outheld, waiting for me to take it, anxious till I do so, almost saying with his big frowning amazed face “Well my little son what are we doing in the penigillar, this strange abode, this house of life without roof be-hung on a Friday evening with a tin pan in my hand in the gloom and you in your raincoats—” “II commence a tombez de la neige” someone is shouting in the background, coming in from the door (“Snow’s startin to fall”)—my father and I stand in that immobile instant communicating telepathic thought-paralysis, suspended in the void together, understanding something that’s always already happened, wondering where we were now, joint reveries in a dumb stun in the cellar of men and smoke … as profound as Hell … as red as Hell.—I take the pan; behind him, the clutter and tragedy of old cellars and storage with its dank message of despair–mops, dolorous mops, clattering tear-stricken pails, fancy sprawfs to suck soap suds from a glass, garden drip cans–rakes leaning on meaty rock–and piles of paper and official Club equipments– It now occurs to me my father spent most of his time when I was 13 the winter of 1936, thinking about a hundred details to be done in the Club alone not to mention home and business shop–the energy of our fathers, they raised us to sit on nails– While I sat around all the time with my little diary, my Turf, my hockey games, Sunday afternoon tragic football games on the toy pooltable white chalkmarked … father and son on separate toys, the toys get less friendly when you grow up–my football games occupied me with the same seriousness of the angels–we had little time to talk to each other. In the fall of 1934 we took a grim voyage south in the rain to Rhode Island to see Time Supply win the Narragansett Special–with Old Daslin we was … a grim voyage, through exciting cities of great neons, Providence, the mist at the dim walls of great hotels, no Turkeys in the raw fog, no Roger Williams, just a trolley track gleaming in the gray rain– We drove, auguring solemnly over past performance charts, past deserted shell-like Ice Cream Dutchland Farms stands in the dank of rainy Nov.—bloop, it was the time on the road, black tar glisten-road of thirties, over foggy trees and distances, suddenly a crossroads, or just a side-in road, a house, or bam, a vista gray tearful mists over some half-in cornfield with distances of Rhode Island in the marshy ways across and the secret scent of oysters from the sea–but something dark and rog-like.— J had seen it before … Ah weary flesh, burdened with a light … that gray dark Inn on the Narragansett Road … this is the vision in my brain as I take the pan from my father and take it to Shammy, moving out of the way for LeNoire and Leo Martin to pass on the way to the office to see the book my father had (a health book with syphilitic backs)— SCENE 25 Someone ripped the pooltable cloth that night, tore it with a cue, I ran back and got my mother and she lay on it half-on-floor like a great poolshark about to take a shot under a hundred eyes only she’s got a thread in her mouth and’s sewing with the same sweet grave face you first saw in the window over my shoulder in that rain of a late Lowell afternoon. God bless the children of this picture, this bookmovie. I’m going on into the Shade.

SCENE 24 “Tiens, Ti Jean, donne ce plat la a Shammy,” my father is saying to me, turning from the open storage room door with a white tin pan. “Here, Ti Jean, give this pan to Shammy.” My father is standing with a peculiar French Canadian bowleggedness half up from a crouch with the pan outheld, waiting for me to take it, anxious till I do so, almost saying with his big frowning amazed face “Well my little son what are we doing in the penigillar, this strange abode, this house of life without roof be-hung on a Friday evening with a tin pan in my hand in the gloom and you in your raincoats—” “II commence a tombez de la neige” someone is shouting in the background, coming in from the door (“Snow’s startin to fall”)—my father and I stand in that immobile instant communicating telepathic thought-paralysis, suspended in the void together, understanding something that’s always already happened, wondering where we were now, joint reveries in a dumb stun in the cellar of men and smoke … as profound as Hell … as red as Hell.—I take the pan; behind him, the clutter and tragedy of old cellars and storage with its dank message of despair–mops, dolorous mops, clattering tear-stricken pails, fancy sprawfs to suck soap suds from a glass, garden drip cans–rakes leaning on meaty rock–and piles of paper and official Club equipments– It now occurs to me my father spent most of his time when I was 13 the winter of 1936, thinking about a hundred details to be done in the Club alone not to mention home and business shop–the energy of our fathers, they raised us to sit on nails– While I sat around all the time with my little diary, my Turf, my hockey games, Sunday afternoon tragic football games on the toy pooltable white chalkmarked … father and son on separate toys, the toys get less friendly when you grow up–my football games occupied me with the same seriousness of the angels–we had little time to talk to each other. In the fall of 1934 we took a grim voyage south in the rain to Rhode Island to see Time Supply win the Narragansett Special–with Old Daslin we was … a grim voyage, through exciting cities of great neons, Providence, the mist at the dim walls of great hotels, no Turkeys in the raw fog, no Roger Williams, just a trolley track gleaming in the gray rain– We drove, auguring solemnly over past performance charts, past deserted shell-like Ice Cream Dutchland Farms stands in the dank of rainy Nov.—bloop, it was the time on the road, black tar glisten-road of thirties, over foggy trees and distances, suddenly a crossroads, or just a side-in road, a house, or bam, a vista gray tearful mists over some half-in cornfield with distances of Rhode Island in the marshy ways across and the secret scent of oysters from the sea–but something dark and rog-like.— J had seen it before … Ah weary flesh, burdened with a light … that gray dark Inn on the Narragansett Road … this is the vision in my brain as I take the pan from my father and take it to Shammy, moving out of the way for LeNoire and Leo Martin to pass on the way to the office to see the book my father had (a health book with syphilitic backs)— SCENE 25 Someone ripped the pooltable cloth that night, tore it with a cue, I ran back and got my mother and she lay on it half-on-floor like a great poolshark about to take a shot under a hundred eyes only she’s got a thread in her mouth and’s sewing with the same sweet grave face you first saw in the window over my shoulder in that rain of a late Lowell afternoon. God bless the children of this picture, this bookmovie. I’m going on into the Shade.

It was like we were two halves of an oyster shell, and when you put us together, it hid the gray gunk inside.

Here, open wide and let it slide,” he said, tilting a half-shell into Ben’s mouth. The oyster hit Ben’s mouth. It felt warm, salty, and had the consistency of loose phlegm. For a moment, Ben thought he was going to vomit. Somehow, he got the animal down his throat.

It is eight o'clock when Juliette plates up Paol's catch. It fills three large platters piled with ice chips- small bright red crustaceans, new-shell spider crabs called moussettes, thin black bigorneaux- everything with claws and barnacles like little prehistoric monsters. A bounty. Fruits de mer- "fruits of the sea"; trésors ("treasures"), more like. From sweet fresh oysters to fat crab claws and everything in between- vermilion, black, and gray.

Too late, she saw the figure at the bottom of the stairs--the figure starting up as she was running down. Caught by the momentum, she didn’t even have time to shout a warning before the two of them collided full force. “Whoa! You trying to kill me or just yourself?” Miranda reeled from the blow. As a pair of arms steadied her, she staggered back and gazed up at the young man blocking her way. He was easily six feet tall--long and lean in his muddy workboots, worn T-shirt, and jeans low on his hips. The curved hollows of his cheeks were accentuated by strong, high cheekbones, and she could see taut ridges of sinewy muscle along the length of both arms. His skin looked naturally tan. He had thick waves of jet-black hair tousled almost to his shoulders, and his sensuous lips were pressed hard into a frown. He reminded her of some wild gypsy. Once her initial shock had passed, Miranda was furiously annoyed. “What’s wrong with you? It’s not like you didn’t see me coming. Why didn’t you get out of my way?” “And let you fall?” His eyes reflected mock horror. They were the blackest eyes she’d ever seen. “But I’m so much more comfortable to land on than the driveway, yeah?” The driveway, like so many back roads around town, was a narrow, rutted path of crushed oyster shells. Miranda’s anger turned down a notch. “You could’ve warned me,” she muttered. Her heart had stopped pounding, though she still felt seriously shaken. “How long have you been out here?” He wasn’t frowning at her now. His face was calm and expressionless, which was almost more unnerving. “I’m not stalking you, if that’s what you mean.

The fragment was pure white, the edges blunt and worn. "That's what makes the raven. Like they use for roads down in the tidewater area. Oyster shells on bare rock...

A Facebook mashup of images that showed the pearls but not the oyster shells. That

On a fatal day, in the holy season of Lent, Hypatia was torn from her chariot, stripped naked, dragged to the church, and inhumanely butchered by the hands of Peter the Reader and a troop of savage and merciless fanatics; her flesh was scraped from her bones with sharp oyster-shells, and her quivering limbs were delivered to the flames.

He was a very small man, not more than five feet three and would hardly weigh as much as a butcher’s thumb. He had tight brilliant eyes that wanted to look hard, and looked as hard as oysters on the half shell.

First I shell the oysters, then coat them with flour... ... and I deep-fry that. I make a sauce with soy sauce, ground sesame, sesame oil, chili pepper and some mirin. And I dip the oysters in the sauce. Here you are. Give it a try. Deep fried oysters and kimchi over rice!" "Ah, this smells great! " "Let's eat!" "Ooh! The oysters have been fried perfectly! They're soft and when you bite into them, the juice comes spurting out... ... and the flavor of the oyster combined with the sourness and spiciness of the kimchi creates a wonderfully complex taste!" "Yeah! The deep-fried oysters go great with the kimchi!" "It would have been a bit heavy with just the fried oysters... ... but the hot and sour flavor of the kimchi makes this very tasty!