Pan Special Quotes

Thunder boomed overhead. Lightning flashed, and the bars on the nearest window burst into sizzling, melted stubs of iron. Jason flew in like Peter Pan, electricity sparking around him and his gold sword steaming. Leo whistled appreciatively. “Man, you just wasted an awesome entrance.” Jason frowned. He noticed the hog-tied Kerkopes. “What the—” “All by myself,” Leo said. “I’m special that way.

Off we skip like the most heartless things in the world, which is what children are, but so attractive; and we have an entirely selfish time, and then when we have need of special attention we nobly return for it, confident that we shall be rewarded instead of smacked.

It was not really Saturday night, at least it may have been, for they had long lost count of the days; but always if they wanted to do anything special they said this was Saturday night, and then they did it.

They all thought they were special, but only I was. I was first and none of them could take that from me. I was first and best and last and always.

They have long lost count of the days, but always if they want to do anything special they say this is saturday night, and then they do it.

Every town you go to, they tell you what's special about their town. What they're number one at... This guy comes up and says, 'D'you know that we're the home of the world's largest frying pan?' '...Really! That is great 'cause I'm writin' a new book called Things I Don't Care About.

One fast more or I'm gone', I realize, gone the way of the last three years of drunken hopelessness which is a physical and spiritual and metaphysical hopelessness you can't learn in school no matter how many books on existentialism or pessimism you read, or how many jugs of vision-producing Ayahuasca you drink, or Mescaline you take, or Peyote goop up with-- That feeling when you wake up with the delirium tremens with the fear of eerie death dripping from your ears like those special heavy cobwebs spiders weave in the hot countries, the feeling of being a bent back mudman monster groaning underground in hot steaming mud pulling a long hot burden nowhere, the feeling of standing ankledeep in hot boiled pork blood, ugh, of being up to your waist in a giant pan of greasy brown dishwater not a trace of suds left in it--The face of yourself you see in the mirror with its expression of unbearable anguish so hagged and awful with sorrow you can't even cry for a thing so ugly, so lost, no connection whatever with early perfection and therefore nothing to connect with tears or anything: it's like William Seward Burroughs' 'Stranger' suddenly appearing in your place in the mirror- Enough! 'One fast move or I'm gone' so I jump up, do my headstand first to pump blood back into the hairy brain, take a shower in the hall, new T-shirt and socks and underwear, pack vigorously, hoist the rucksack and run out throwing the key on the desk and hit the cold street...I've got to escape or die...

I’m in search of something more than a new place, though. I’m in search of a feeling and a state of being: that magical time when you can’t possibly predict what’s going to happen next or whom you are going to meet or where they are going to take you. In this state, everything flows, every surprise is a delight, and new people guide you to special adventures.

The term “panic” derives from Pan, the god of the woods. People lost deep in the forest report a terror, as though trees might conspire against them. Nature has no special regard for humanity. Panic is our brain's way of reminding us we should be humble.

I also see courage in myself when I'm willing to risk being vulnerable and disappointed. For many years, if I really wanted something to happen-an invitation to speak at a special conference, a promotion, a radio interview-I pretended that it didn't matter that much. If a friend or colleague would ask, "Are you excited about that television interview?" I'd shrug it off and say, "I'm not sure. It's not that big of a deal." Of course, in reality, I was praying that it would happen. It's only in the last few years that I've learned that playing down the exciting stuff doesn't' take the pain away when it doesn't happen. It also creates a lot of isolation. Once you've diminished the importance of something, your friends are not likely to call and say, "I'm sorry that didn't work out. I know you were excited about it." Now when someone asks me about the potential opportunity that I'm excited about, I'm more likely to practice courage and say, "I'm so excited about the possibility. I'm trying to stay realistic, but I really hope it happens." When things haven't panned out, it's been comforting to be able to call a supportive friend and say, "Remember that event I told you about? It's not going to happen, and I'm so bummed.

I may know how to nudge a man toward proposing, or how to hearten a tired mother. I may know who needs the sugar of violet pan dulce. But I don't know how to fold my heart into dough or lace vanilla sugar with my secrets. I don't know how to sprinkle a little of what is in me, like the color of the nonpareils.

Our Peter Pan generation is unhappy. All our lives, we want to grow up—to be treated like adults, to have freedom to choose. Then we get here and it turns out being an adult sucks. We pay the bills and taxes, watching others succeed while we are forever waiting for our turn. We believe we are special, but nothing special has come our way.

Our Peter Pan generation is unhappy. All our lives, we want to grow up— to be treated like adults, to have freedom to choose. Then we get here and it turns out being an adult sucks. We pay the bills and taxes, watching others succeed while we are forever waiting for our turn. We believe we are special, but nothing special has come our way.

Frieda was very special,” O’Keeffe recalls. “I can remember very clearly the first time I ever saw her, standing in a doorway, with her hair all frizzed out, wearing a cheap red calico dress that looked as though she’d just wiped out the frying pan with it. She was not thin, and not young, but there was something radiant and wonderful about her.

In the window I smelled all the food of San Francisco. There were seafood places out there where the buns were hot, and the baskets were good enough to eat too; where the menus themselves were soft with foody esculence as though dipped in hot broths and roasted dry and good enough to eat too. Just show me the bluefish spangle on a seafood menu and I’d eat it; let me smell the drawn butter and lobster claws. There were places where they specialized in thick and red roast beef au jus, or roast chicken basted in wine. There were places where hamburgs sizzled on grills and the coffee was only a nickel. And oh, that pan-fried chow mein flavored air that blew into my room from Chinatown, vying with the spaghetti sauces of North Beach, the soft-shell crab of Fisherman’s Wharf — nay, the ribs of Fillmore turning on spits! Throw in the Market Street chili beans, redhot, and french-fried potatoes of the Embarcadero wino night, and steamed clams from Sausalito across the bay, and that’s my ah-dream of San Francisco…

was not really Saturday night, at least it may have been, for they had long lost count of the days; but always if they wanted to do anything special they said this was Saturday night, and then they did it.

When he'd smiled at me and told me we would have adventures, I thought we would be friends always, that it would just be Peter and me, like brothers. But now I saw - and it was so strange that after all this time I finally did see - that I wasn't enough for him, had never been enough. I didn't mean anything to him, and not even I was special if he could keep a secret like this. And it made me love him a little less, and the memory of that smile hurt deep down in the place where I kept all my secrets and sorrows.

It was not really Saturday night, at least it may have been, for they had long lost count of the days; but always if they wanted to do anything special they said this was Saturday night, and then they did it. "Of course it is Saturday night, Peter," Wendy said, relenting. "People of our figure, Wendy." "But it is only among our own progeny." "True, true.

All power has its derivation from God; the Russian Czar, however, was granted a special significance distinguishing him from the rest of the world's rulers…. He is a successor of the Caesars of the Eastern Empire,…the founders of the very creed of the Faith of Christ…. Herein lies the mystery of the deep distinction between Russia and all the nations of the world.

Her mom was standing at the stove, stirring eggs in a pan. “Look at you! You’re a knockout!” Mom looked her up and down, smiling. “Is it picture day or something?” “No,” Sarah said, sitting down at the table and pouring herself a glass of orange juice. “I just felt like making an effort today.” “Is there somebody special you’re making an effort for?” Mom asked in a teasing tone.

Layla poured the batter into the pan, drawing circles with the back of a tumbler to create a large crepe. "I've made coconut chutney, green chutney, and red chutney to go with it, as well as sambar." She pointed to the souplike side dish that was one of her favorite accompaniments to masala dosas. The journey through the dips with their hints of salt, heat, sour, and spice were what made masala dosas special.

The Romans also had beautifully made metal colanders and bronze chafing dishes, flattish metal patinae, vast cauldrons of brass and bronze, pastry molds in varying ornate shapes, fish kettles, frying pans with special pouring lips to dispense the sauce and handles that folded up. Much of what has remained looks disconcertingly modern. The range of Roman metal cookware was still impressing the chef Alexis Soyer in 1853. Soyer was particularly taken with a very high-tech sounding two-tiered vessel called the authepsa (the name means “self-boiling”). Like a modern steamer, it came in two layers, made of Corinthian brass. The top compartment, said Soyer, could be used for gently cooking “light delicacies destined for dessert.” It was a highly valued utensil. Cicero describes one authepsa being sold at auction for such a high price that bystanders assumed the thing being sold was an entire farm.

It's nothing special to be real...The world is full of people...They're all real, but in a hundred years, how many do you think will be remembered? Barely any. But if I say the names Peter Pan, Matilda, Pippi Longstocking, Alice, Oliver Twist, Eeyore or Paddington Bear, you know exactly who I mean, don't you? Some them more than a hundred years old. None of them real, but each of them remembered. Cherished. Loved. So loved. That's real. That's more real than anything - to exist in people's hearts is to live forever.

We of the Sabotage Bureau remain legalists of a special category. We know that too much law injures a society; it is the same with too little law. One seeks a balance. We are like the balancing force among the Gowachin: without hope of achieving heaven in the society of mortals, we seek the unattainable. Each agent knows his own conscience and why he serves such a master. That is the key to us. We serve a mortal conscience for immortal reasons. We do it without hope of praise or the sureness of success. — The early writings of Bildoon, PanSpechi Chief of BuSab

In the window I smelled all the food of San Francisco. There were seafood places out there where the buns were hot, and the baskets were good enough to eat too; where the menus themselves were soft with foody esculence as though dipped in hot broths and roasted dry and good enough to eat too. Just show me the bluefish spangle on a seafood menu and I’d eat it; let me smell the drawn butter and lobster claws. There were places where they specialized in thick red roast beef au jus, or roast chicken basted in wine. There were places where hamburgs sizzled on grills and the coffee was only a nickel. And oh, that pan-fried chow mein flavored air that blew into my room from Chinatown, vying with the spaghetti sauces of North Beach, the soft-shell crab of Fisherman’s Wharf—nay, the ribs of Fillmore turning on spits! Throw in the Market Street chili beans, redhot, and french-fried potatoes of the Embarcadero wino night, and steamed clams from Sausalito across the bay, and that’s my ah-dream of San Francisco. Add fog, hunger-making raw fog, and the throb of neons in the soft night, the clack of high-heeled beauties, white doves in a Chinese grocery window . . .

Eggs appear at breakfast in a variety of forms, often as tamagoyaki. You've met this sweetened omelet at your local sushi place, where it's considered beginner sushi. In Tokyo, good tamagoyaki is an object of lust. Cut into thick blocks and served at room temperature, a creamy monolith of tamagoyaki is somehow the antithesis of American breakfast eggs. It can be made at home in a special square or rectangular frying pan, but it's also for sale in supermarkets, at depachika, and at Tsukiji fish market. Most people who aren't sushi chefs buy it. My tamagoyaki-making skills are nonexistent, but I sometimes flavor beaten eggs with soy sauce, dashi, and mirin and make an omelet to eat with rice and nori.

I knew how to bake. The first thing I was sure of was that this was all about cake. Pies, tarts and tartlets, a dozen different kinds of gorgeous cookies, soufflés- they all spun through my head and I dismissed them all. I was going to specialize. It also seemed to me that there was no single cake that could really represent what I could do. I got on my hands and knees and emptied out a low cupboard until I found a set of six-inch cake pans. With these it would be reasonable to take every restaurant three different kinds of cakes, one chocolate, one fruit, and one wild card, like the sweet potato cake or the scarlet empress. I had a Bundt pan that held about three cups of batter, and I thought of an almond cake surrounded by little marzipan birds, tiny yellow buntings asleep at the base. I was a fool for marzipan.

Once there was a new bride who wanted to prepare a special roast for her husband. Before putting the roast in the oven, she cut half an inch of meat off each of the two ends, just as she had always seen her mother do. When her husband asked why on earth she would cut off the best part of the roast, the only thing she knew to say was ‘because my mother always made it that way.’ So the next day, the bride went to her mother’s house to ask why she cut the ends off the roast. Just like her daughter, the mother shrugged her shoulders and said, ‘Because my mother always made it that way.’ Now they were both curious. So the two found the bride’s grandmother and together asked, ‘Why do we cut off the ends of a roast before putting it in the oven?’ Shocked, the grandmother cried, ‘You’ve been doing that all these years? I only cut off the ends of my roasts because they never fit into my tiny pan!’

Painting the numbers on a watch face was not easy. The 2, 3, 6, and 8 were particularly difficult. You had to have paint mixed to the right viscosity, a steady hand capable of precise movement, and good eyesight. One woman did about 250 dials per day, sitting at a specially built desk with a lamp over the work surface, wearing a blue smock with a Peter Pan collar. The brush was very fine and stiff, having only three or four hairs, but it would quickly foul up and have to be re-formed. All sorts of methods were tried for putting a point on the brush. Just rubbing it on a sponge didn’t really work. You needed the fine feedback from twirling the thing on your lips. Some factory supervisors insisted on it, showing new hires how it is done, and some factories officially discouraged it while looking the other way. Everybody did it, sticking the brush in the mouth twice during the completion of one watch dial. The radium-infused paint was thinned with glycerin and sugar or with amyl-acetate (pear oil), so it didn’t even taste bad.

I guess everyone likes praise for what they do, but that night I enjoyed cooking for the Olekseis more than I ever had before. Everything about the ingredients, the smells, the textures, everything delighted me. Maybe I should specialize in Russian food. I sliced the garlic and dropped it into the pan. It started to sizzle, and I turned the heat down and began slicing the onion. It was very fresh, very pungent. My eyes watered, and I got sniffly. Then I smelled a hint of burn on the garlic and hurried back to the stove and shook the pan. Just in time. The slices were brown but not too brown. I was getting good at this. I could detect the smell of burning just before it happened. That had to be some sort of superpower. As I put the rest of the dish together- dicing deep, ruby beets; slicing carrots and Yukon gold potatoes, sizzling spicy sausage in the pan; spicing and tasting, and mixing, and finally pureeing the whole thing into a savory maroon liquid- I continued to marvel at the perfect ripeness and freshness of every ingredient I'd picked out.

After a lineup of stellar secondi- braised tripe, fried lamb chops, veal braciola simmered in tomato sauce- Andrea and I wander into the kitchen to talk with Leonardo Vignoli, the man behind the near-perfect meal. Cesare al Casaletto had been a neighborhood anchor since the 1950's, but when Leonardo and his wife, Maria Pia Cicconi, bought it in 2009, they began implementing small changes to modernize the food. Eleven years working in Michelin-starred restaurants in France gave Leonardo a perspective and a set of skills to bring back to Rome. "I wanted to bring my technical base to the flavors and aromas I grew up on." From the look of the menu, Cesare could be any other trattoria in Rome; it's not until you twirl that otherworldly cacio e pepe (which Leonardo makes using ice in the pan to form a thicker, more stable emulsion) and attack his antipasti- polpette di bollito, crunchy croquettes made from luscious strands of long-simmered veal; a paper cone filled with fried squid, sweet and supple, light and greaseless- that you understand what makes this place special.

The story of European imperialism is dramatic and traumatic, etched deep into the psyches of both victors and victims, and it has tended to dominate discussion of European expansion. Yet, in much of Asia and Africa substantive European empire arrived very late and did not last very long. The British did not comprehensively dominate India until the suppression of the 'Mutiny' in 1859, and they were gone ninety years later. Outside Java, the Dutch East Indies was largely a myth on a map until about 1900 - an understanding that, if any power was to have a real empire in this region, it would be the Dutch. European empire in most of Africa was not even a myth on a map until the 'Scramble' of the 1880s, and often not substantive before 1900. 'Before 1890 the Portuguese controlled less than ten per cent of the area of Angola and scarcely one per cent of Mozambique.' 'Even in South Africa . . . a real white supremacy was delayed until the 1880s.' For many Asians and Africans, real European empire lasted about fifty years. A recent study notes that 125 of the world's 188 present states were once European colonies. But empire lasted less than a century in over half of these. With all due respect to the rich scholarship on European imperialism, in the very long view most of these European empires in Asia and Africa were a flash in the pan. Settlement, the third form of European expansion, emphasized the creation of new societies, not the control of old ones. It had no moral superiority over empire. Indeed, it tended to displace, marginalize, and occasionally even exterminate indigenous peoples rather than simply exploit them. But it did reach further and last longer than empire. It left Asia largely untouched, with the substantial exception of Siberia, and affected only the northern and southern ends of Africa. It specialized, instead, in the Americas and Australasia. European empire dominated one and a half continents for a century or so. European settlement came to dominate three-and-a-third continents, including Siberia. It still does. It was settlement, not empire, that had the spread and staying power in the history of European expansion, and it is time that historians of that expansion turned their attention to it.

I cooked with so many of the greats: Tom Colicchio, Eric Ripert, Wylie Dufresne, Grant Achatz. Rick Bayless taught me not one but two amazing mole sauces, the whole time bemoaning that he never seemed to know what to cook for his teenage daughter. Jose Andres made me a classic Spanish tortilla, shocking me with the sheer volume of viridian olive oil he put into that simple dish of potatoes, onions, and eggs. Graham Elliot Bowles and I made gourmet Jell-O shots together, and ate leftover cheddar risotto with Cheez-Its crumbled on top right out of the pan. Lucky for me, Maria still includes me in special evenings like this, usually giving me the option of joining the guests at table, or helping in the kitchen. I always choose the kitchen, because passing up the opportunity to see these chefs in action is something only an idiot would do. Susan Spicer flew up from New Orleans shortly after the BP oil spill to do an extraordinary menu of all Gulf seafood for a ten-thousand-dollar-a-plate fund-raising dinner Maria hosted to help the families of Gulf fishermen. Local geniuses Gil Langlois and Top Chef winner Stephanie Izard joined forces with Gale Gand for a seven-course dinner none of us will ever forget, due in no small part to Gil's hoisin oxtail with smoked Gouda mac 'n' cheese, Stephanie's roasted cauliflower with pine nuts and light-as-air chickpea fritters, and Gale's honey panna cotta with rhubarb compote and insane little chocolate cookies. Stephanie and I bonded over hair products, since we have the same thick brown curls with a tendency to frizz, and the general dumbness of boys, and ended up giggling over glasses of bourbon till nearly two in the morning. She is even more awesome, funny, sweet, and genuine in person than she was on her rock-star winning season on Bravo. Plus, her food is spectacular all day. I sort of wish she would go into food television and steal me from Patrick. Allen Sternweiler did a game menu with all local proteins he had hunted himself, including a pheasant breast over caramelized brussels sprouts and mushrooms that melted in your mouth (despite the occasional bit of buckshot). Michelle Bernstein came up from Miami and taught me her white gazpacho, which I have since made a gajillion times, as it is probably one of the world's perfect foods.

Avocado Brownies   Vegetables have always been used in desserts, but this avocado brownie is truly special because the avocado gives it a lot of moisture and a smooth, creamy consistency. Just a square of this and your taste buds will be in heaven.   Yields: 10 servings   Ingredients: 2 ripe avocados, mashed 1 cup dark chocolate (72% cocoa), melted 1/4 cup coconut oil 1/2 cup agave syrup 2 brown eggs 1 cup almond flour 1/4 cup organic unsweetened cocoa powder 1 pinch salt 1 teaspoon baking soda   Directions: 1. In a bowl, mix the avocados with the melted chocolate, then stir in the eggs, agave syrup and coconut oil. 2. Fold in the almond flour, cocoa powder, salt and baking soda. 3. Spoon the batter into a baking pan lined with parchment paper and bake in a preheated oven at 350F for 30-40 minutes or until a toothpick inserted in the center of the cake comes out clean. If it comes out with traces of batter, the cake needs a few more minutes in the oven. 4. When done, remove from the oven and let it cool completely before cutting in smaller portions.   Nutritional information per serving   Calories: 280 Fat: 20.6g Protein: 5g Carbohydrates: 24.7g

✓My music had roots which I'd dug up from my own childhood, musical roots buried in the darkest soil. ✓What makes my approach special is that I do different things. I do jazz, blues, country music and so forth. I do them all, like a good utility man ✓What is a soul? It's like electricity - we don't really know what it is, but it's a force that can light a room ✓There are many spokes on the wheel of life. First, we're here to explore new possibilities. ✓I did it to myself. It wasn't society... it wasn't a pusher, it wasn't being blind or being black or being poor. It was all my doing. ✓What makes my approach special is that I do different things. I do jazz, blues, country music and so forth. I do them all, like a good utility man. ✓There's nothing written in the Bible, Old or New testament, that says, 'If you believe in Me, you ain't going to have no troubles.' ✓Music to me is like breathing. I don't get tired of breathing, I don't get tired of music. ✓Just because you can't see anything , doesn't mean you should shut your eyes. ✓Don't go backwards - you've already been there. ✓Affluence separates people. Poverty knits 'em together. You got some sugar and I don't; I borrow some of yours. Next month you might not have any flour; well, I'll give you some of mine. ✓Sometimes my dreams are so deep that I dream that I'm dreaming. ✓I don't think any of us really knows why we're here. But I think we're supposed to believe we're here for a purpose. ✓I'd like to think that when I sing a song, I can let you know all about the heartbreak, struggle, lies and kicks in the ass I've gotten over the years for being black and everything else, without actually saying a word about it. ✓.There's nothing written in the Bible, Old or New testament, that says, 'If you believe in Me, you ain't going to have no troubles.' ✓Other arms reach out to me, Other eyes smile tenderly, Still in peaceful dreams I see, The road leads back to you. ✓I can't help what I sound like. What I sound like is what i am. You know? I cannot be anything other that what I am. ✓Music is about the only thing left that people don't fight over. ✓My version of 'Georgia' became the state song of Georgia. That was a big thing for me, man. It really touched me. Here is a state that used to lynch people like me suddenly declaring my version of a song as its state song. That is touching. ✓Absence makes the heart grow fonder and tears are only rain to make love grow. ✓If you can play the blues, you can do anything. ✓I never considered myself part of rock 'n' roll. My stuff was more adult. It was more difficult for teenagers to relate to; my stuff was filled with more despair than anything you'd associate with rock 'n' roll. Since I couldn't see people dancing, I didn't write jitterbugs or twists. I wrote rhythms that moved me. My style requires pure heart singing. ✓It's like Duke Ellington said, there are only two kinds of music - good and bad. And you can tell when something is good. ✓Rhythm and blues used to be called race music. ... This music was going on for years, but nobody paid any attention to it. ✓Crying's always been a way for me to get things out which are buried deep, deep down. When I sing, I often cry. Crying is feeling, and feeling is being human. ✓I cant retire from music any more than I can retire from my liver. Youd have to remove the music from me surgically—like you were taking out my appendix. ✓The words to country songs are very earthy like the blues. They're not as dressed up and the people are very honest and say, 'Look, I miss you darlin', so I went out and got drunk in this bar.' That's the way you say it. Where in Tin Pan Alley they would say, 'Oh I missed you darling, so I went to this restaurant and I sat down and had a dinn

English Gingerbread Cake Serves: 12 to 16 Baking Time: 50 to 60 minutes Kyle Cathie, editor for the British version of The Cake Bible (and now a publisher), informed me in no uncertain terms that a book could not be called a cake "bible" in England if it did not contain the beloved gingerbread cake. When I went to England to retest all the cakes using British flour and ingredients, I developed this gingerbread recipe. Now that I have tasted it, I quite agree with Kyle. It is a moist spicy cake with an intriguing blend of buttery, lemony, wheaty, and treacly flavors. Cut into squares and decorated with pumpkin faces, it makes a delightful "treat" for Halloween. Batter Volume Ounce Gram unsalted butter (65° to 75°F/19° to 23°C) 8 tablespoons (1 stick) 4 113 golden syrup or light corn syrup 1¼ cups (10 fluid ounces) 15 425 dark brown sugar, preferably Muscovado ¼ cup, firmly packed 2 60 orange marmalade 1 heaping tablespoon 1.5 40 2 large eggs, at room temperature ¼ cup plus 2 tablespoons (3 fluid ounces) 3.5 100 milk 2/3 cup (5.3 fluid ounces) 5.6 160 cake flour (or bleached all-purpose flour) 1 cup plus 2 tablespoons (or 1 cup), sifted into the cup and leveled off 4 115 whole wheat flour 1 cup minus 1 tablespoon (lightly spooned into the cup) 4 115 baking powder 1½ teaspoons . . cinnamon 1 teaspoon . . ground ginger 1 teaspoon . . baking soda ½ teaspoon . . salt pinch . . Special Equipment One 8 by 2-inch square cake pan or 9 by 2-inch round pan (see Note), wrapped with a cake strip, bottom coated with shortening, topped with a parchment square (or round), then coated with baking spray with flour Preheat the Oven Twenty minutes or more before baking, set an oven rack in the lower third of the oven and preheat the oven to 325°F/160°C. Mix the Liquid Ingredients In a small heavy saucepan, stir together the butter, golden syrup, sugar, and marmalade over medium-low heat until melted and uniform in color. Set aside uncovered until just barely warm, about 10 minutes. Whisk in the eggs and milk. Make the Batter In a large bowl, whisk together the cake flour, whole wheat flour, baking powder, cinnamon, ginger, baking soda, and salt. Add the butter mixture, stirring with a large silicone spatula or spoon just until smooth and the consistency of thick soup. Using the silicone spatula, scrape the batter into the prepared pan. Bake the Cake Bake for 50 to 60 minutes, or until a wire cake tester inserted in the center comes out clean and the cake springs back when pressed lightly in the center. The cake should start to shrink from the sides of the pan only after removal from the oven. Cool the Cake Let the cake cool in the pan on a wire rack for 10 minutes. While the cake is cooling, make the syrup.

Cendrillon specialized in seafood, so we had four fish stations: one for poaching, one for roasting, one for sautéing, and one for sauce. I was the chef de partie for the latter two, which also included making our restaurant's signature soups. O'Shea planned his menu seasonally- depending on what was available at the market. It was fall, my favorite time of the year, bursting with all the savory ingredients I craved like a culinary hedonist, the ingredients that turned my light on. All those varieties of beautiful squashes and root vegetables- the explosion of colors, the ochre yellows, lush greens, vivid reds, and a kaleidoscope of oranges- were just a few of the ingredients that fueled my cooking fantasies. In the summer, on those hot cooking days and nights in New York with rivulets of thick sweat coating my forehead, I'd fantasize about what we'd create in the fall, closing my eyes and cooking in my head. Soon, the waitstaff would arrive to taste tonight's specials, which would be followed by our family meal. I eyed the board on the wall and licked my lips. The amuse-bouche consisted of a pan-seared foie gras served with caramelized pears; the entrée, a boar carpaccio with eggplant caviar, apples, and ginger; the two plats principaux, a cognac-flambéed seared sea scallop and shrimp plate served with deep-fried goat cheese and garnished with licorice-perfumed fennel leaves, which fell under my responsibility, and the chief's version of a beef Wellington served with a celeriac mash, baby carrots, and thin French green beans.

As far as he was concerned, Testaccio, not the Via del Corso or the Piazza del Campidoglio, was the real heart of Rome. For centuries animals had been brought here to be butchered, with the good cuts going to the noblemen in their palazzos and the cardinals in the Vatican. The ordinary people had to make do with what little was left---the so-called quinto quarto, the "fifth quarter" of the animal: the organs, head, feet, and tail. Little osterie had sprung up that specialized in cooking these rejects, and such was the culinary inventiveness of the Romans that soon even cardinals and noblemen were clamoring for dishes like coda all vaccinara, oxtail braised in tomato sauce, or caratella d' abbachio, a newborn lamb's heart, lungs, and spleen skewered on a stick of rosemary and simmered with onions in white wine. Every part of the body had its traditional method of preparation. Zampetti all' aggro were calf's feet, served with a green sauce made from anchovies, capers, sweet onions, pickled gherkins, and garlic, finely chopped, then bound with potato and thinned with oil and vinegar. Brains were cooked with butter and lemon---cervello al limone---or poached with vegetables, allowed to cool, then thinly sliced and fried in an egg batter. Liver was wrapped in a caul, the soft membrane that envelops a pig's intestines, which naturally bastes the meat as it melts slowly in the frying pan. There was one recipe for the thymus, another for the ear, another for the intestines, and another for the tongue---each dish refined over centuries and enjoyed by everyone, from the infant in his high chair to the nonnina, the little grandmother who would have been served exactly the same meal, prepared in the same way, when she herself was a child.

Working with chocolate always helps me find the calm centre of my life. It has been with me for so long; nothing here can surprise me. This afternoon I am making pralines, and the little pan of chocolate is almost ready on the burner. I like to make these pralines by hand. I use a ceramic container over a shallow copper pan: an unwieldy, old-fashioned method, perhaps, but the beans demand special treatment. They have traveled far, and deserve the whole of my attention. Today I am using couverture made from the Criollo bean: its taste is subtle, deceptive; more complex than the stronger flavors of the Forastero; less unpredictable than the hybrid Trinitario. Most of my customers will not know that I am using this rarest of cacao beans; but I prefer it, even though it may be more expensive. The tree is susceptible to disease: the yield is disappointingly low; but the species dates back to the time of the Aztecs, the Olmecs, the Maya. The hybrid Trinitario has all but wiped it out, and yet there are still some suppliers who deal in the ancient currency. Nowadays I can usually tell where a bean was grown, as well as its species. These come from South America, from a small, organic farm. But for all my skill, I have never seen a flower from the Theobroma cacao tree, which only blooms for a single day, like something in a fairytale. I have seen photographs, of course. In them, the cacao blossom looks something like a passionflower: five-petaled and waxy, but small, like a tomato plant, and without that green and urgent scent. Cacao blossoms are scentless; keeping their spirit inside a pod roughly the shape of a human heart. Today I can feel that heart beating: a quickening inside the copper pan that will soon release a secret. Half a degree more of heat, and the chocolate will be ready. A filter of steam rises palely from the glossy surface. Half a degree, and the chocolate will be at its most tender and pliant.

Every once in a while at a restaurant, the dish you order looks so good, you don't even know where to begin tackling it. Such are HOME/MADE's scrambles. There are four simple options- my favorite is the smoked salmon, goat cheese, and dill- along with the occasional special or seasonal flavor, and they're served with soft, savory home fries and slabs of grilled walnut bread. Let's break it down: The scramble: Monica, who doesn't even like eggs, created these sublime scrambles with a specific and studied technique. "We whisk the hell out of them," she says, ticking off her methodology on her fingers. "We use cream, not milk. And we keep turning them and turning them until they're fluffy and in one piece, not broken into bits of egg." The toast: While the rave-worthiness of toast usually boils down to the quality of the bread, HOME/MADE takes it a step further. "The flame char is my happiness," the chef explains of her preference for grilling bread instead of toasting it, as 99 percent of restaurants do. That it's walnut bread from Balthazar, one of the city's best French bakeries, doesn't hurt. The home fries, or roasted potatoes as Monica insists on calling them, abiding by chefs' definitions of home fries (small fried chunks of potatoes) versus hash browns (shredded potatoes fried greasy on the griddle) versus roasted potatoes (roasted in the oven instead of fried on the stove top): "My potatoes I've been making for a hundred years," she says with a smile (really, it's been about twenty). The recipe came when she was roasting potatoes early on in her career and thought they were too bland. She didn't want to just keep adding salt so instead she reached for the mustard, which her mom always used on fries. "It just was everything," she says of the tangy, vinegary flavor the French condiment lent to her spuds. Along with the new potatoes, mustard, and herbs de Provence, she uses whole jacket garlic cloves in the roasting pan. It's a simple recipe that's also "a Zen exercise," as the potatoes have to be continuously turned every fifteen minutes to get them hard and crispy on the outside and soft and billowy on the inside.

Now I myself, I cheerfully admit, feel that enormity in Kensington Gardens as something quite natural. I feel it so because I have been brought up, so to speak, under its shadow; and stared at the graven images of Raphael and Shakespeare almost before I knew their names; and long before I saw anything funny in their figures being carved, on a smaller scale, under the feet of Prince Albert. I even took a certain childish pleasure in the gilding of the canopy and spire, as if in the golden palace of what was, to Peter Pan and all children, something of a fairy garden. So do the Christians of Jerusalem take pleasure, and possibly a childish pleasure, in the gilding of a better palace, besides a nobler garden, ornamented with a somewhat worthier aim. But the point is that the people of Kensington, whatever they might think about the Holy Sepulchre, do not think anything at all about the Albert Memorial. They are quite unconscious of how strange a thing it is; and that simply because they are used to it. The religious groups in Jerusalem are also accustomed to their coloured background; and they are surely none the worse if they still feel rather more of the meaning of the colours. It may be said that they retain their childish illusion about their Albert Memorial. I confess I cannot manage to regard Palestine as a place where a special curse was laid on those who can become like little children. And I never could understand why such critics who agree that the kingdom of heaven is for children, should forbid it to be the only sort of kingdom that children would really like; a kingdom with real crowns of gold or even of tinsel. But that is another question, which I shall discuss in another place; the point is for the moment that such people would be quite as much surprised at the place of tinsel in our lives as we are at its place in theirs. If we are critical of the petty things they do to glorify great things, they would find quite as much to criticise (as in Kensington Gardens) in the great things we do to glorify petty things. And if we wonder at the way in which they seem to gild the lily, they would wonder quite as much at the way we gild the weed.

You’re my death, en’t you?” she said. “Yes, my dear,” he said. “You en’t going to take me yet, are you?” “You wanted me. I am always here.” “Yes, but… I did, yes, but… I want to go to the land of the dead, that’s true. But not to die. I don’t want to die. I love being alive, and I love my dæmon, and… Dæmons don’t go down there, do they? I seen ’em vanish and just go out like candles when people die. Do they have dæmons in the land of the dead?” “No,” he said. “Your dæmon vanishes into the air, and you vanish under the ground.” “Then I want to take my dæmon with me when I go to the land of the dead,” she said firmly. “And I want to come back again. Has it ever been known, for people to do that?” “Not for many, many ages. Eventually, child, you will come to the land of the dead with no effort, no risk, a safe, calm journey, in the company of your own death, your special, devoted friend, who’s been beside you every moment of your life, who knows you better than yourself—” “But Pantalaimon is my special and devoted friend! I don’t know you, Death, I know Pan and I love Pan and if he ever—if we ever—” The death was nodding. He seemed interested and kindly, but she couldn’t for a moment forget what he was: her very own death, and so close. “I know it’ll be an effort to go on now,” she said more steadily, “and dangerous, but I want to, Death, I do truly. And so does Will. We both had people taken away too soon, and we need to make amends, at least I do.” “Everyone wishes they could speak again to those who’ve gone to the land of the dead. Why should there be an exception for you?” “Because,” she began, lying, “because there’s something I’ve got to do there, not just seeing my friend Roger, something else. It was a task put on me by an angel, and no one else can do it, only me. It’s too important to wait till I die in the natural way, it’s got to be done now. See, the angel commanded me. That’s why we came here, me and Will. We got to.” Behind her, Tialys put away his instrument and sat watching the child plead with her own death to be taken where no one should go. The death scratched his head and held up his hands, but nothing could stop Lyra’s words, nothing could deflect her desire, not even fear: she’d seen worse than death, she claimed, and she had, too.

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.

Takoyaki are octopus balls- not, thankfully, in the anatomical sense. They're a spherical cake with a chunk of boiled octopus in the center, cooked on a special griddle with hemispherical indentations. If you're familiar with the Danish pancakes called aebleskivers, you know what a takoyaki looks like; the pan is also similar. Takoyaki are not unknown in the U.S., but I've only ever seen them made fresh at cultural festivals. Iris is a big fan, but I've always been more into the takoyaki aesthetic than the actual food. Takoyaki are always served in a paper or wooden boat and usually topped with mayonnaise, bonito flakes, shredded nori, and takoyaki sauce.

Peter’s expression “the Son of the living God,” had special significance in the area of Caesarea Philippi, which was host to worship of Baal, Pan, and Caesar. Jesus is the Son of the God who is living, unlike mythical gods etched in stone. The expression also references the relationship that has characterized Jesus and God throughout Matthew’s narrative.

Orange-Blueberry Muffin Tops There are two kinds of muffin tops in this world. One is caused by low-rise jeans, and we won’t talk about them in this cookbook for obvious reasons. The other kind of muffin top, which I will gladly talk about in this cookbook, is just what it sounds like: the delicious, perfect top from a muffin without all that annoying base. I have seen special muffin top pans in kitchen stores, but it isn’t necessary to have one of those. All you need is a scoop and a sheet pan! (I want that to go on my tombstone, by the way: “All she needed was a scoop and a sheet pan…”) (Right along with “Every bra she ever loved was discontinued…”)

I studied with fresh interest the origination of the boiling bubbles in the Revere pan as I waited to pour in the Ronzoni shells: at the very beginning of boiling, grains of mercury broke free and rose upward only from special points on the floor of the pan, requiring a little scratch or irregularity in the metal to harbor their change of phase; later several beaded curtains of midsized spheres streamed where the parallel curves of the electric coil were most completely in contact with the pan's underside; later still, as glutinous, toad-like globes of hard boiling took over, my glasses misted—and I was reminded of being awakened by my parents years earlier from dreams in which I been trying to drink very thick shakes through impossibly slender straws.

I studied with fresh interest the origination of the boiling bubbles in the Revere pan as I waited to pour in the Ronzoni shells: at the very beginning of boiling, grains of mercury broke free and rose upward only from special points on the floor of the pan, requiring a little scratch or irregularity in the metal to harbor their change of phase; later several beaded curtains of midsized spheres streamed where the parallel curves of the electric coil were most completely in contact with the pan's underside; later still, as glutinous, toad-like globes of hard boiling took over, my glasses misted—and I was reminded of being awakened by my parents years earlier from dreams in which I had been trying to drink very thick shakes through impossibly slender straws.

But Sanders did have one bit of intellectual property, an asset that would carry him forward yet again: a fried chicken recipe that he had perfected over the years in his restaurant. Initially, fried chicken had been an ancillary item on the menu, a means of using leftover chicken. However, customers on long drives didn’t want to wait the time it took to pan-fry the chicken. Another cooking method, immersing chicken through a wire basket in oil, was fast but didn’t meet Sanders’s exacting standards. It took an accidental experimentation with a pressure cooker to give Sanders his old restaurant’s special item: Kentucky Fried Chicken.

Peter Pan had a mother once,” she says, “and his mother abandoned him to the lagoon because he was an insolent little boy who didn’t fit in with his family. And his mother worried that if she let him stay, he would take and take and take…” She steps closer. “…and take…until there was nothing left.” My heart stops. My ears ring. “And if a baby has a mother who simply abandoned him,” Tink goes on, “surely he cannot be—" A myth. A god. Special. She doesn’t have to say it. I know what she’s implying. Tink frowns at me. “I’m sorry to be the one to tell you.” She sips from her drink and then sets it down. “We can talk more later. We have much to discuss. Enjoy the party, Peter Pan!

Managing the Neutral Zone: A Checklist Yes No   ___ ___ Have I done my best to normalize the neutral zone by explaining it as an uncomfortable time that (with careful attention) can be turned to everyone’s advantage? ___ ___ Have I redefined the neutral zone by choosing a new and more affirmative metaphor with which to describe it? ___ ___ Have I reinforced that metaphor with training programs, policy changes, and financial rewards for people to keep doing their jobs during the neutral zone? ___ ___ Am I protecting people adequately from inessential further changes? ___ ___ If I can’t protect them, am I clustering those changes meaningfully? ___ ___ Have I created the temporary policies and procedures that we need to get us through the neutral zone? ___ ___ Have I created the temporary roles, reporting relationships, and organizational groupings that we need to get us through the neutral zone? ___ ___ Have I set short-range goals and checkpoints? ___ ___ Have I set realistic output objectives? ___ ___ Have I found the special training programs we need to deal successfully with the neutral zone? ___ ___ Have I found ways to keep people feeling that they still belong to the organization and are valued by our part of it? And have I taken care that perks and other forms of “privilege” are not undermining the solidarity of the group? ___ ___ Have I set up one or more Transition Monitoring Teams to keep realistic feedback flowing upward during the time in the neutral zone? ___ ___ Are my people willing to experiment and take risks in intelligently conceived ventures—or are we punishing all failures? ___ ___ Have I stepped back and taken stock of how things are being done in my part of the organization? (This is worth doing both for its own sake and as a visible model for others’ similar efforts.) ___ ___ Have I provided others with opportunities to do the same thing? Have I provided them with the resources—facilitators, survey instruments, and so on—that will help them do that? ___ ___ Have I seen to it that people build their skills in creative thinking and innovation? ___ ___ Have I encouraged experimentation and seen to it that people are not punished for failing in intelligent efforts that do not pan out? ___ ___ Have I worked to transform the losses of our organization into opportunities to try doing things a new way? ___ ___ Have I set an example by brainstorming many answers to old problems—the ones that people say we just have to live with? Am I encouraging others to do the same? ___ ___ Am I regularly checking to see that I am not pushing for certainty and closure when it would be more conducive to creativity to live a little longer with uncertainty and questions? ___ ___ Am I using my time in the neutral zone as an opportunity to replace bucket brigades with integrated systems throughout the organization?

CUSTOMER USE DATA WORKSHEET FULL TIME: ___ WKS: ____ MOS: _____ PER YEAR PRIMARY SLEEPING (Yours) QUEEN: ____ TWINS: ___      NO PREFERENCE: ______ OTHER SLEEPING AREAS NEEDED (Specify # adults or children) __________________________________ EATING ACCOMMODATIONS – BOOTH OR DINETTE: ___ TABLE & CHAIRS: _____ BATH PREFERENCE – WALK THROUGH: ____ SIDE BATH: _____ PRIVATE COMMODE: ______ FULL HOOK-UP CAMPING: _______% TIME   OR SELF CONTAINED _______% TIME (This helps to determine holding tank, fresh water, and generator needs.) STORAGE NEEDS (both inside and out - i.e. golf clubs, fishing poles, clothes, pots & pans etc.): _________________________________ _________________________________   EQUIPMENT REQUIREMENTS (air conditioner, generator, satellite dish, TVs, TV antenna, CD, DVD, Washer/Dryer, Leveling Jacks, etc.) _________________________________ _________________________________ _________________________________ _________________________________ _________________________________ SPECIAL NEEDS (Handicap requirements etc.) __________________________________ __________________________________ __________________________________ DISLIKES (be honest, this is very important, i.e. center kitchen, split bath, corner bed, fabric colors, wood trim): _______________________________ _______________________________ _______________________________ PRICE RANGE DESIRED: FROM $_________    TO $___________ TRADE IN INFORMATION (Brand/Model/Year): _________________________________ MILES: _______ENG. ______ LENGTH: _____ OPTIONS ON UNIT: ____________________________________ ____________________________________ ____________________________________ ____________________________________ BALANCE OWED: _________ LENDER: ___________ ACCT #: ___________________________________

If you are having conversations with people about fried chicken, watch out. Their stories are steeped in lore and myth. Regular people fry their bird with a rabbit foot in their pockets, with their uncle's secret cooking hat perched on their heads. Not only do they have special pans - cast-iron skillets top the list - but they have the special pot. You know, the one their great, great, great grandmother forged from volcanic rock.

Lee, his pigtailed Chinese cook, had made a special trip to Pajaro to buy the pots and kettles and pans, kegs, jars, copper, and glass for his kitchen.

Velutha wasn’t supposed to be a carpenter. He was called Velutha—which means White in Malayalam—because he was so black. His father, Vellya Paapen, was a Paravan. A toddy tapper. He had a glass eye. He had been shaping a block of granite with a hammer when a chip flew into his left eye and sliced right through it. As a young boy, Velutha would come with Vellya Paapen to the back entrance of the Ayemenem House to deliver the coconuts they had plucked from the trees in the compound. Pappachi would not allow Paravans into the house. Nobody would. They were not allowed to touch anything that Touchables touched. Caste Hindus and Caste Christians. Mammachi told Estha and Rahel that she could remember a time, in her girlhood, when Paravans were expected to crawl backwards with a broom, sweeping away their footprints so that Brahmins or Syrian Christians would not defile themselves by accidentally stepping into a Paravan’s footprint. In Mammachi’s time, Paravans, like other Untouchables, were not allowed to walk on public roads, not allowed to cover their upper bodies, not allowed to carry umbrellas. They had to put their hands over their mouths when they spoke, to divert their polluted breath away from those whom they addressed. When the British came to Malabar, a number of Paravans, Pelayas and Pulayas (among them Velutha’s grandfather, Kelan) converted to Christianity and joined the Anglican Church to escape the scourge of Untouchability. As added incentive they were given a little food and money. They were known as the Rice-Christians. It didn’t take them long to realize that they had jumped from the frying pan into the fire. They were made to have separate churches, with separate services, and separate priests. As a special favour

(1) Butterbeer and Ice Cream Floats Treat yourself with the ultimate mug of happiness. It has practically everything we all die for; cream, ice cream, and butterbeer. It serves as an excellent beverage for the table when there are special celebrations around. It's warming and soothing to the core. It does take a little extra time and is made with many ingredients, but it will be all worth it. Makes: 4 Cooking Time: 10 minutes Duration: 20 minutes Ingredient Checklist: For the Dark Butterscotch Caramel Sauce: 1 cup whole milk 1 3/4 cups dark brown sugar ¼ cup butter ½ cup heavy whipping cream 2 teaspoons vanilla extract 1 teaspoon sea salt 2 tablespoons Scotch whiskey 2 tablespoons molasses For the No-Churn Caramel Coconut Ice Cream: 4 cups whole milk 1 ½ cups sugar 2 cups full-fat coconut milk ¼ cup cornstarch 8 egg yolks 4 tablespoons butter ½ teaspoons salt 2 teaspoons vanilla ¼ cup prepared caramel For the Butterbeer: 1 ½ cups carbonated water 1 teaspoon strong black coffee ¼ teaspoon vanilla extract 3 ½ tablespoons prepared caramel 1 tablespoon whipping cream ½ teaspoons cocoa powder 3 - 4 drops cider vinegar 1 dash salt 1 dash nutmeg 1 dash cinnamon 1 dash ginger HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH How to Cook: For the Caramel: Mix brown sugar with milk, butter, cream, salt and molasses in a saucepan on medium heat. Boil the mixture and stir cook for 10 minutes until it darkens. Stir in bourbon then reduce the heat. Cook for 5 minutes. Add vanilla and mix well. Allow it cool and store in a sealed container. For the No-Churn Coconut Caramel Ice Cream: Beat egg yolks with sugar in a large bowl. Stir in salt, cornstarch, and milk. Transfer the mixture to a cooking pan. Stir cook for 8 minutes on low heat then turns off the heat. Add vanilla, caramel, and butter and mix well. Strain the mixture through the mesh strainer into a container. Refrigerate for 30 minutes. Meanwhile, beat coconut milk until fluffy. Pour the cream into ice cream mixture and mix well. Freeze overnight. For the Butterbeer Floats: Mix all the ingredients for butterbeer except carbonated water at the bottom of a mug. Add a cup of carbonated water and place 2 scoops of coconut ice cream. Serve immediately.

Rosa di Parma, the Rose of Parma, is reserved for special occasions like Christmas or important guests, but it is so easy that you might make it more often. Mama Rosa’s version serves 8 to 10. 2 garlic cloves, finely minced ½ cup extra-virgin olive oil 1 beef tenderloin (3 to 4 pounds), well trimmed 1 pound Prosciutto di Parma, thinly sliced 8 ounces Parmigiano-Reggiano cheese, shaved into thin slices with a vegetable peeler 2 tablespoons butter, preferably from Parma 1 tablespoon coarse sea salt 1 teaspoon chopped fresh rosemary 6 sprigs fresh rosemary ½ cup brandy ¼ to ½ cup beef broth Directions – In a small bowl, whisk together the garlic and oil. – With a sharp knife, butterfly the tenderloin by cutting lengthwise almost all the way through, leaving just ¼ to ½ inch of meat before unfolding like a book. Cover with parchment paper and pound with a heavy frying pan until the beef is about ½ inch thick. Brush the beef with the garlic oil. – Cover entire surface of the beef with half the prosciutto, slightly overlapping the slices. Top the prosciutto with the shaved Parmigiano-Reggiano. Top with the remaining prosciutto, again overlapping slices slightly. – Starting at one edge, carefully roll the meat up into a log shape. Mama Rosa sews the edge of the seam closed with a needle and sewing thread. Alternatively, you can tie the roll at close intervals with kitchen twine, but you will not get as good a seal. – Place 1 tablespoon of the butter in a large saucepan over high heat. In a small bowl, mix the salt and chopped rosemary, then rub the herbed salt over the meat log. Add the beef to the pan and sauté, turning occasionally, until all sides are browned, about 10 minutes. – Dot the meat log with the remaining 1 tablespoon butter and scatter the rosemary sprigs in the pan. Pour the brandy over the top. Reduce the heat to low and cook for 30 minutes, adding broth as needed to keep the pan from drying out, until the beef is medium rare and reaches an internal temperature between 130°F and 135°F. – Remove the beef to a cutting board and let rest for 5 to 10 minutes. Slice into spirals and serve. Mangia!

We often think that to be spiritual or enlightened we need to have some special experiences, just as we think that in order to make a great meal or become a master chef we need special ingredients and a fancy kitchen. But all we have to do to make a meal is put all the pots and pans and ingredients in their proper places. And all we have to do to be in touch with our spirituality is to let the mind settle itself, like a cloudy glass of city tap water.

A man named Lucky walked into my pawnshop carrying a skull and a pie tin. The skull was not in the pie tin, to be fair, but it was not the kind of thing I took in for pawn, either. It was human. "Please tell me that's fake," I said, torn between competing impulses to clutch my head or call the sheriff. Lucky, who had a super cute, blue-eyed, blond-haired, boy-next-door thing going on, but with muscles that showed he just happened to be ex-Special Forces, squinted at me. "No, it's not fake, it's the pan from the pecan pie you baked for Molly last week. She asked me to drop it by." I took a long, deep, breath. "No. The skull. Please tell me the skull is fake. Halloween decoration you want to pawn, maybe?" He laughed. "Oh. Sorry. No, it's real. I'm on my way to find the sheriff and thought I'd drop off your pan. I didn't want to leave the skull in the car because what if someone broke into my car and stole it?" I stared at him for a moment, because what were the odds that someone would: 1) break into his car, and 2) break into his car at the exact time there happened to be a skull in it, and 3) break into his car at the exact time there happened to be a skull in it and decide to steal the skull.

He feels like a delicious secret that is just for me. Like the little treat chefs hide in the kitchen for themselves for after the party is over... the oysters of the chicken, the ends of the brisket, the last piece of bacon, the corner brownie. Kissing Shawn feels like licking the bowl of frosting once the cake is finished, or eating the last spoonfuls of still-warm risotto in the pan while you are cleaning up. Extra special, private, the littlest bit naughty.

Cannelés," Rosie said. Little cakes with a dark, caramelized exterior. They had the shininess of a perfectly glazed donut, and even though Rosie had never had one- you had to have a special pan to make them, a cannelé mold- she knew the inside was supposed to be like custard. "Exactement!" Chef Petit said proudly. "You have had before?" "No," Rosie said, at exactly the same time Bodie said, "Yeah, of course. With Dominique Ansel." Good gravy. Of course Bodie was running around eating cannelés with the man who invented the Cronut. His real life was her Instagram feed. "Please, try." He shook the basket at them. Rosie grabbed one eagerly- it was warm, but not hot. "Cannelés are from Bordeaux, not Paris, but I thought, why not try?" Rosie bit into hers and felt the slight crispness from the caramelized sugar on the exterior give way to a soft interior that was, yes, almost exactly like custard. She could taste vanilla- real vanilla, she had no doubt she'd seen flecks of vanilla beans- and the richness of eggs and milk, and oh, it was just so much better than she'd expected it to be. The contrast between inside and outside was unreal, like a magic trick- a pastry with a secret.

Speaking of fundraisers, another special educator had a suggestion. She wore a black leather belt with metal studs that was at odds with her slender frame and long brown hair. She was the chair of the special education department at Peachtree Alternative School. “At my son's school in Tucker,” the chair said, “the principal stood on the roof and did hula dances in a grass skirt. She also let students throw pie pans of shaving cream at her." The idea did not appeal to Ms. Henderson. “You've got to remember our population,” she said. “If our students threw pans of shaving cream at me, it would hurt. I've had to suspend eight kids, today, and did it alone because I don't have an assistant principal. I'm not very popular.

The discovery that he was a keen amateur actor – one, moreover, who specialized in romantic roles – had led Xue Pan to jump to the wrong conclusion and assume that he must share the same ‘wind and moonlight’ proclivities as himself.

Seed Educational Consulting is a pan-African study abroad agency. We specialize in helping young African students to Study in USA, Study in Canada, Study in UK; as well as in Germany, Ireland, Turkey, and Dubai. With our help, students find and apply to affordable universities abroad to improve their future career prospects. Seed works with students from every country in Africa and has local representatives around the continent. Our team is native, and bilingual, in French, English, and Spanish.

Embury was the first true cocktailian of the modern age, and he took time to analyze the components of a cocktail, breaking them down into a base (usually a spirit, it must be at least 50 percent of the drink); a modifying, smoothing, or aromatizing agent, such as vermouth, bitters, fruit juice, sugar, cream, or eggs; and “additional special flavoring and coloring ingredients,” which he defined as liqueurs and nonalcoholic fruit syrups. Embury taught us that the Ramos Gin Fizz must be shaken for at least five minutes in order to achieve the proper silky consistency, suggested that Peychaud’s bitters be used in the Rob Roy, and noted that “for cocktails, such as the Side Car, a three-star cognac is entirely adequate, although a ten-year-old cognac will produce a better drink.” In the second edition of his book, Embury mentioned that he had been criticized for omitting two drinks from his original work: the Bloody Mary, which he described as “strictly vile,” and the Moscow Mule, as “merely mediocre.” On the subject of Martinis, he explained that although most cocktail books call for the drink to be made with one-third to one-half vermouth, “quite recently, in violent protest of this wishy-washy type of cocktail, there has sprung up the vermouth-rinse method of making Martinis.” He describes a drink made from chilled gin in a cocktail glass coated in vermouth. Embury didn’t approve of either version, and went on to say that a ratio of seven parts gin to one part vermouth was his personal favorite. While Embury was taking his drinking seriously, many Americans were quaffing Martinis by the pitcher, and Playboy magazine commissioned cocktail maven Thomas Mario and, later, Emanuel Greenberg to deliver cocktail news to a nation of people who drank for fun, and did it on a regular basis. Esquire magazine issued its Handbook for Hosts as early as 1949, detailing drinks such as the Sloe Gin Fizz, the Pan American, the “I Died Game, Boys” Mixture, and the Ginsicle—gin with fruit juice or simple syrup poured over chipped ice in a champagne glass. A cartoon in the book depicts a frustrated bartender mopping his fevered brow and exclaiming, “She ordered it because it had a cute name.” The world of cocktails was tilting slightly on its axis, and liquor companies lobbied long and hard to get into the act. In the fifties, Southern Comfort convinced us to make Comfort Manhattans and Comfort Old-Fashioneds by issuing a booklet: How to Make the 32 Most Popular Drinks. By the seventies, when the Comfort Manhattan had become the Improved Manhattan, they were bringing us Happy Hour Mixology Plus a Primer of Happy Hour Astrology, presumably so we would have something to talk about at bars: “Oh, you’re a Virgo—discriminating, keenly analytical, exacting, and often a perfectionist. Wanna drink?

Everyone loves bands. We could pretend we’re a rock group and lip synch all the music.” “That’s not different enough. Everyone expects us to plan something really special,” Ariel complained. “After all, most of us are old-timers. We know the ropes around camp. Even first-timers like Becky could plan that kind of party.” Even a bunch of first-timers like me, huh? What a slam! I punched my fist into the wad of clothes in my suitcase and Triple Tropical Bubble Gum popped up all over. More than anything, I wanted to show these girls that I was special, too. “Too bad you can’t have live music,” I said slyly. Carefully, I pulled my posters of Eric and Outta Site out of my bag. I took a wad of Triple Tropical out of my mouth, broke it into pieces, and stuck it on the corners of my posters. Then, I hung the posters next to my bed. Triple Tropical is great for hanging things on walls. According to my mom it never lets go. “Where would we get live music?” Suzanne asked with a sneer. “I suppose we could have the kitchen staff play on their pots and pans with spoons.” “And the counselors could blow their whistles!” Ariel giggled. “We could clap our hands and hum,” Meg suggested. Denni chuckled. “Great idea, Becky!

He is great and he is just, He is ever good, and must Be honored. Daffodillies, Roses, pinks, and loved lilies, Let us fling, while we sing, Ever Holy! Ever Holy! Ever honored! Ever young! The great Pan is ever sung!” Beaumont and Fletcher.

As Ross entered the kitchen, he saw Ernest sitting at the scrubbed wooden table. The boy wolfed down a plate of breakfast as if it were the first decent meal he'd had in months. Sophia stood at the range with the scrawny cook-maid, apparently showing her how to prepare the morning's fare. "Turn them like this," Sophia was saying, expertly flipping a row of little cakes on a griddle pan. The kitchen atmosphere was especially fragrant today, spiced with frying bacon, coffee, and sizzling batter. Sophia looked fresh and wholesome, the trim curves of her figure outlined by a white apron that covered her charcoal-gray dress. Her gleaming hair was pinned in a coil at the top of her head and tied with a blue ribbon. As she saw him standing in the doorway, a smile lit her sapphire eyes, and she was so dazzlingly pretty that Ross felt a painful jab low in his stomach. "Good morning, Sir Ross," she said. "Will you have some breakfast?" "No, thank you," he replied automatically. "Only a jug of coffee. I never..." He paused as the cook set a platter on the table. It was piled with steaming batter cakes sitting in a pool of blackberry sauce. He had a special fondness for blackberries. "Just one or two?" Sophia coaxed. Abruptly it became less important that he adhere to his usual habits. Perhaps he could make time for a little breakfast, Ross reasoned. A five-minute delay would make no difference in his schedule. He found himself seated at the table facing a plate heaped with cakes, crisp bacon, and coddled eggs. Sophia filled a mug with steaming black coffee, and smiled at him once more before resuming her place at the range with Eliza. Ross picked up his fork and stared at it as if he didn't quite know what to do with it. "They're good, sir," Ernest ventured, stuffing his mouth so greedily that it seemed likely he would choke. Ross took a bite of the fruit-soaked cake and washed it down with a swallow of hot coffee. As he continued to eat, he felt an unfamiliar sense of well-being. Good God, it had been a long time since he'd had anything other than Eliza's wretched concoctions. For the next few minutes Ross ate until the platter of cakes was demolished. Sophia came now and then to refill his cup or offer more bacon. The cozy warmth of the kitchen and the sight of Sophia as she moved about the room caused a tide of unwilling pleasure inside him.

I just made the mistake of thinking that our connection was special, when in fact, everyone feels connected to Maxwell.

Neither his mother nor a child psychiatrist who is called in can comfort him, and they finally send for his father (the father was Bing Crosby and the little boy his son Lindsay in the Burns tale, because Crosby was also a Kraft entertainer at the time). The father tells his son that he will place the small turtle in a silver cigarette case, and bury it in a special private grave, complete with tiny headstone, just under the boy’s bedroom window, and arrange to have it light up when the child flicks a switch beside his bed at night. And so the father and his son went out into the kitchen to get the turtle, but they found it swimming about in its pan, not dead at all, but healthy as life itself. And the little boy looked up at his father and said, “Let’s kill him.” America’s one immortal written fable, I think, is Mark Twain’s episode of the two boys and the fence that has to be whitewashed. This situation pops up here and there in the literature of ye olde apologues, but Samuel Clemens did it better than any of the old professional fable writer. There have been other American fabulists, of course, and everybody of my advance years knows about George Ade’s experiments in putting fables into slang. The best of recent native fabulists was the late, neglected William March,

He painted trees as by some special divining instinct of their essential qualities. He understood them. He knew why in an oak forest, for instance, each individual was utterly distinct from its fellows, and why no two beeches in the whole world were alike. People asked him down to paint a favorite lime or silver birch, for he caught the individuality of a tree as some catch the individuality of a horse. How he managed it was something of a puzzle, for he never had painting lessons, his drawing was often wildly inaccurate, and, while his perception of a Tree Personality was true and vivid, his rendering of it might almost approach the ludicrous. Yet the character and personality of that particular tree stood there alive beneath his brush—shining, frowning, dreaming, as the case might be, friendly or hostile, good or evil. It emerged.

I feel like a kite being jerked around by gusts and occasional hurricane-speed winds. Maureen, my occupational therapist, says that’s part of having Sensory Processing Disorder. It’s hard to explain Sensory Processing Disorder—I guess it means that it’s harder for me to be a person in the world than it is for most people. Like how I hate slimy textures and the taste of eggs makes me gag and I can never wear shirts with tight collars or jeans that squeeze my knees. I hate bright overhead lights, and having my toenails trimmed makes me howl in pain. And don’t even talk to me about perfume. Total chemical overload. But, at the same time, I love being squeezed by a body sock and I can’t get enough of certain tastes, like passion fruit. I could taste passion fruit forever. Beyond touch and taste and smell issues, it’s also hard for me to control my energy level, and I’m kind of clumsy and I’m always losing things. Water bottles are the worst. I lose my water bottle every few weeks. My mom says she first noticed something was different about me when I was a toddler and she took me to a Music Together class. While the other kids danced in a circle and shook their plastic gourds, I hid in a corner of the gym and beat a drum until long after the song was over. And then there were other things. I kept falling onto the sidewalk and chipping my baby teeth. And I couldn’t climb out of the sandbox like all the other kids. And even though I hated my music class, I loved pounding pots and pans and making my own noise. That’s why Sensory Processing Disorder is hard to explain. It’s different in every person. For me, I hate some textures and love others. Like I love nachos and popcorn because they’re awesome to crunch. But I can’t stand the crunch of a baby carrot. I can chew a baby carrot for ten minutes and still have a mouthful of orange gunk. Sometimes I hate crowds and other times I love being surrounded by people. And my shins? Covered in bruises. I’m not chipping teeth anymore but I’m still clumsy. When I was four, I started going to occupational therapy. For a few years, I also saw a physical therapist who taught me how to jump and climb, and I had appointments with a speech therapist who gave me bumpy plastic toys to chew. I even had a special teacher following me around in preschool, telling me not to hug other children so hard they’d topple over. I doubt I ever hugged Avery Tanaka back in preschool, but my mom told me that once at pickup I tried to bite her sweatshirt. Yeah, I was a weird kid.

Buy Verified Paytm Accounts 100% Safe & Documents … In today’s fast-paced digital world, having a reliable payment solution is essential for both personal and business transactions. Paytm has emerged as one of the leading platforms in India, offering seamless money transfers, bill payments, and shopping experiences. But what if you could elevate your experience with Paytm by investing in verified accounts? Buying verified Paytm accounts can unlock doors to enhanced security and convenience that regular accounts might not provide. Thousands of accounts at Paytm Payments Bank set up improperly ...If you’re looking to streamline your financial dealings or take your business to new heights, this guide will help you understand everything you need to know about acquiring these valuable assets safely and effectively. Dive in to discover how a simple decision can transform the way you use Paytm! Buy Verified Paytm Accounts Buying verified Paytm accounts is a strategic move for anyone looking to enhance their financial transactions. These accounts come with added layers of security and trust, ensuring that your money is safe while making digital payments. When you opt for verified accounts, you gain access to features that regular users may not enjoy. This includes higher transaction limits and quicker withdrawals, which can be crucial for business operations. Moreover, verified Paytm accounts help build credibility with vendors and clients alike. Having a trusted account reflects professionalism in your dealings. Investing in such an account also means fewer hassles when it comes to verification processes down the line. You can focus on what matters—growing your business or managing personal finances without unnecessary interruptions. What Is Verified Paytm Accounts? Verified Paytm accounts are user profiles that have undergone a rigorous verification process by the platform. This ensures that the account is legitimate and owned by a real person or business entity. Verification typically involves submitting identification documents such as an Aadhaar card, PAN card, or other government-issued ID. Once verified, users gain access to enhanced features and services within the Paytm ecosystem. These accounts provide greater transaction limits, enabling seamless payments for both personal and commercial purposes. Users can send money, receive funds, pay bills, recharge mobile phones, and shop online with added security. In today’s digital age, having a verified account adds credibility while minimizing risks associated with fraudulent activities. Trust in transactions becomes paramount when dealing with financial platforms like Paytm. Benefits Of Verified Paytm Accounts Verified Paytm accounts offer numerous advantages that enhance both personal and business transactions. First and foremost, they ensure a higher level of security. Users can engage in financial activities with peace of mind, knowing their information is safeguarded. Additionally, verified accounts often come with increased transaction limits. This feature is particularly beneficial for businesses that require larger payment processing capabilities. Another significant benefit is access to exclusive offers and promotions from Paytm. Verified users frequently receive special discounts or cashback rewards on various purchases. Moreover, having a verified account improves credibility among customers and partners alike. It demonstrates authenticity, which can foster trust when conducting online business transactions. Customer support tends to be more responsive for verified users. Quick resolution of issues ensures smoother operations without unnecessary delays. How to verify Paytm accounts? Verifying a Paytm account is essential for accessing its full features. Start by downloading the Paytm app if you haven’t already.