Recipe Book Quotes

He'd noticed that sex bore some resemblance to cookery: it fascinated people, they sometimes bought books full of complicated recipes and interesting pictures, and sometimes when they were really hungry they created vast banquets in their imagination - but at the end of the day they'd settle quite happily for egg and chips. If it was well done and maybe had a slice of tomato.

It was hidden inside another book. One Valentine was unlikely to ever open." Magnus smiled crookedly. "Simple Recipes for Housewives. No one can say your mother didn't have a sense of humor.

She woke up and realized she had forgotten the definition of the word ‘impossible.’ She decided it must not have been that important.

It might have been brief, but so much of a kiss - a first kiss especially - is the moment before your lips touch, and before your eyes close, when you're filled with the sight of each other, and with the compulsion, the pull, and it's like...it's like...finding a book inside another book. A small treasure of a book hidden inside a big common one - like...spells printed on dragonfly wings, discovered tucked inside a cookery book, right between the recipes for cabbages and corn. That's what a kiss is like, he thought, no matter how brief: It's a tiny, magical story, and a miraculous interruption of the mundane.

But the not-very-highbrow truth of the matter was that the reading was how I got my ya-yas out. For the sake of my bookish reputation I upgraded to Tolstoy and Steinbeck before I understood them, but my dark secret was that really, I preferred the junk. The Dragonriders of Pern, Flowers in the Attic, The Clan of the Cave Bear. This stuff was like my stash of Playboys under the mattress.

No better way to avoid making a decision than burying yourself in a big fat book.” (p. 105).

How We Gain and Lose Weight To understand how we gain and lose weight, we need to start with insulin. Medical researchers and internal medicine doctors almost universally agree that the amount of insulin a person produces determines weight gain and weight loss. For example, Gary Taubes, a medical researcher and recipient of multiple awards from the National Association of Science Writers, refers to insulin as “the stop-and-go light of weight gain and loss.”    Produce more insulin—you will gain weight. Produce less insulin— you will lose weight.

What Foods Create Blood Glucose? Blood glucose is not created just by sweets—it’s created by all foods. Proteins create glucose, fats create glucose, vegetables create glucose, fruits create glucose, fruit juices create glucose, starchy foods create glucose, and of course, sweets create glucose. So the key to losing weight is to consume less of the foods (including drinks) that create large amounts of glucose and replace them with foods and beverages that create smaller amounts of glucose and go into the bloodstream more slowly.

Read a lot of books and try a lot of recipes," Jia said. "When you learn enough about the world, even a blade of grass can be a weapon.

The Bible is one long story of God meeting our rebellion with His rescue, our sin with His salvation, our guilt with His grace, our badness with His goodness. The overwhelming focus of the Bible is not the work of the redeemed but the work of the Redeemer. Which means that the Bible is not first a recipe for Christian living but a revelation book of Jesus who is the answer to our un-Christian living.

What do angels look like? I saw one today wering gaudy jewelry, spoke with a thick Spanish accent, quoted 'Chakespeare.' She said, 'All the world's a stage and sometimes you just gotta roll with los punches.

My cooking spoon, My magic wand, Of this dish, You will be fond.

This recipe book is for you, my sweet Noah, and inside, you will find me in memory. My heart is so full, as I hope that one day your wife and children’s bellies will be as you turn the page and create for them all the meals I created for you. And just like that, you’ll find I’m forever with you, alive in aromas that shall one day fill your home as they filled ours.

It is important to view a recipe book as one that you use daily and what we in our family call "a living book" — a book that you use all the time, not just read once and discard on the shelf. It is in a sense a spell book, a book of magical enchantments, to be consulted, used and altered as needed.

Todd, trust math. As in Matics, Math E. First-order predicate logic. Never fail you. Quantities and their relation. Rates of change. The vital statistics of God or equivalent. When all else fails. When the boulder's slid all the way back to the bottom. When the headless are blaming. When you do not know your way about. You can fall back and regroup around math. Whose truth is deductive truth. Independent of sense or emotionality. The syllogism. The identity. Modus Tollens. Transitivity. Heaven's theme song. The night light on life's dark wall, late at night. Heaven's recipe book. The hydrogen spiral. The methane, ammonia, H2O. Nucleic acids. A and G, T and C. The creeping inevibatility. Caius is mortal. Math is not mortal. What it is is: listen: it's true.

Last night at Bingo, Sylvia won the last prize. 'What am I going to do with a mermaid?" "Learn to swim in the murkiest water, reinvent yourself," the mermaid said #149

They talk of my drinking but never my thirst. - Scottish proverb

The emptiness of your pocket is not a recipe for you to discount the value of your passion!

Witchcraft is never cookie-cutter. Like recipes from a book, the recipes are often tailored to individual tastes as long as the general formula and steps are understood.

Not to worry,” said Giordino with humorous detachment. “If the inscriptions prove ancient, they’re probably nothing but a book of ancient recipes.” “Recipes for what?” inquired Helm. “Goat,” said Giordino moodily. “A thousand and one ways to serve goat.

Books can make a difference in dispelling prejudice and building community: not with role models and recipes, not with noble messages about the human family, but with enthralling stories that make us imagine the lives of others. A good story lets you know people as individuals in all their particularity and conflict; and once you see someone as a person—flawed, complex, striving—you’ve reached beyond stereotype.

I want to write the world’s worst cookbook, which I’ll title: “The World’s Worst Cookbook.” It’ll feature recipes from “Peanut Butter and Jelly Sandwich” (peanut butter, jelly, and bread), to “Roasted Roadkill and Hitchhiker’s Surprise” (this recipe is a secret concoction handed down from my great grandfather to my grandfather, who told it to my dad just before he ran him over).


Having read several prize-winning novels, Fancy was confident that she now knew the recipe: 1. Write a simple narrative. 2. Make a long list. 3. Scatter the contents of your list throughout your narrative.

Writing is for stories to be read, books to be published, poems to be recited, plays to be acted, songs to be sung, newspapers to be shared, letters to be mailed, jokes to be told, notes to be passed, recipes to be cooked, messages to be exchanged, memos to be circulated, announcements to be posted, bills to be collected, posters to be displayed and diaries to be concealed. Writing is for ideas, action, reflection, and experience. It is not for having your ignorance exposed, your sensitivity destroyed, or your ability assessed.

I didn't understand for a long time, but what attracted me to MtAoFC [Mastering the Art of French Cooking] was the deeply buried aroma of hope and discovery of fulfillment in it. I thought I was using the Book to learn to cook French food, but really I was learning to sniff out the secret doors of possibility.

Healing Magic I instill, Far Greater this, Than any pill!

This is what you learn to see, when you sit alone in a forbidden place, reading faster than you can turn the pages You learn how very strange and lovely the world is and can be. How there is always more to find out, how there is nothing new under the sun - and that you are not alone, not really, not ever, with a book.

My mashed potatoes come with a masturbation sound you pour on top, like gravy. I got the recipe from Pee Wee Herman.

Unfortunately, in many cases, the rule book goes way too far - it tries to tell people how to be instead of explaining what we're trying to do.. We need recipes, not rules.

To my faithful readers, because a book is like a pie—the only thing more satisfying than cooking up the story is knowing that somebody might be out there eating it up with a spoon.

All the funny faces I could possibly make I've already made, and I did them all while tasting her cooking. She made food fit for a contortionist, and I'm glad I never gave her my recipe for duck soup.

AFTER-SUN OIL      Lavender    10 drops      Chamomile         5 drops      Bergamot      1 drop      Geranium      2 drops      Diluted in        Almond oil      approx. 2 oz.      Sesame oil      2 tablespoons

The kitchen can be a sacred space. Where magic is created, whether it's mixing up a potion, or baking a cake for friends. The whole process is part of this spell - intention being just as important as the ingredients! The Kitchen Witch keeps a warm and happy home infused with magic.

I was a pretty good physicist in my time. Too good—good enough to realize that all our science is just a cookery book, with an orthodox theory of cooking that nobody’s allowed to question, and a list of recipes that mustn’t be added to except by special permission from the head cook.

At the age of fifteen he had bought off a twopenny stall in the market a duo-decimo book of recipes, gossip, and homilies, printed in 1605. His stepmother, able to read figures, had screamed at the sight of it when he had proudly brought it home. 1605 was 'the olden days', meaning Henry VIII, the executioner's axe, and the Great Plague. She thrust the book into the kitchen fire with the tongs, yelling that it must be seething with lethal germs. A limited, though live, sense of history. And history was the reason why she would never go to London. She saw it as dominated by the Bloody Tower, Fleet Street full of demon barbers, as well as dangerous escalators everywhere.

... I began to ponder; this life we had for ourselves, Eric and I, it felt like the opposite of Potage Parmentier. It was easy enough to keep on with the soul-sucking jobs; at least it saved having to make a choice. But how much longer could I take such an easy life? Quicksand was easy. Hell, death was easy. Maybe that's why my synapses had started snapping at the sight of potatoes and leeks in the Korean deli. Maybe that was what was plucking deep down in my belly whenever I thought of Julia Child's book. Maybe I needed to make like a potato, winnow myself down, be a part of something that was not easy, just simple.

You will only notice the tick by its swollen body attached to your skin. Do not pull it out. A cigarette placed on its body will make the tick drop off, or 1 drop of thyme will also do the trick. Then apply 1 drop of neat lavender every five minutes, to a total of ten,

I spend 95% of my time persuading people to take action and just 5% of the time on the recipes.

I’ve finished with the zucchini, and according to Levi’s fancy book, there are still approximately one hundred more vegetables to chop. Following recipes is terrible.

Mind control is pretty easy. All the ingredients are always there, it’s just that people don’t have the recipe.

Right now I am thinking of writing another cookbook. All cookbooks have a gimmick, and mine will be that it contains recipes that I have invented and named after famous people. Some of them are: Brisket of Brynner (very lean meat) Carson Casserole (it's got everything on it) Barbecued Walters Marinated Maude Roasted Rhoda King King Curry (it will feed about eight thousand people) Fricassee of Fonzi Pickled Rickles Raquel Relish Leftovers à la Gabors

So how does the massively complicated brain, with its eighty-six billion neurons, get built from such a small recipe book? The answer pivots on a clever strategy implemented by the genome: build incompletely and let world experience refine. Thus, for humans at birth, the brain is remarkably unfinished, and interaction with the world is necessary to complete it.

I’m so busy doing what I must do that I don’t have time for what I ought to do . . . and I never get a chance to do what I want to do!” “Son, that’s universal. The way to keep that recipe from killing you is occasionally to do what you want to do anyhow. Which is right now.

I learned to cook by helping my mother in the kitchen. I assisted her with the canning, and she began assigning me some other tasks like making salad dressing or kneading dough for bread. My first attempt at preparing an entire dinner¾the menu included pork chops Hawaiian, which called for the pork to be marinated in papaya nectar, ginger, cumin, and other spices before being grilled with onions and pineapple cubes¾required an extensive array of exotic ingredients. When he saw my grocery list, my father commented, “I hope she marries a rich man.

it’s like . . . finding a book inside another book. A small treasure of a book hidden inside a big common one—like . . . spells printed on dragonfly wings, discovered tucked inside a cookery book, right between the recipes for cabbages and corn. That’s what a kiss is like, he thought, no matter how brief: It’s a tiny, magical story, and a miraculous interruption of the mundane.

Although her book did include compelling recipes for scrapple, ox cheek, and baked calf’s head and tips for the preparation of raccoon, possum, snipe, plovers, and blackbirds (for blackbird pie) and “how to broil, fricassee, stew or fry a squirrel,” it was much more than just a cookbook.

he’d abandoned the novel on page 146 because he didn’t like one minor character. Ridiculous, to get so far and then ditch it. Kate finds it impossible to abandon books, even bad ones. It feels disloyal; maybe the book will improve, maybe the time invested will ultimately not prove wasted.

Eli was entranced. Her servant. Spellbound. He considered begging her to let him touch her. To let him go down on her in the hallway. He would go grocery shopping and make her dinner off a YouTube recipe of her choice. He'd wash her car, read her a book, sit here outside her door and just make sure she was safe and protected. They could hold hands all night. They could play Scrabble.

No one needs yet another recipe book on how to reheat Hollywood leftovers. We need a rediscovery of the underlying tenets of our art, the guiding principles that liberate talent. No matter where a film is made—Hollywood, Paris, Hong Kong—if it’s of archetypal quality, it triggers a global and perpetual chain reaction of pleasure that carries it from cinema to cinema, generation to generation.

I have come to see this fear, this sense of my own imperilment by my creations, as not only an inevitable, necessary part of writing fiction but as virtual guarantor, insofar as such a thing is possible, of the power of my work: as a sign that I am on the right track, that I am following the recipe correctly, speaking the proper spells. Literature, like magic, has always been about the handling of secrets, about the pain, the destruction and the marvelous liberation that can result when they are revealed. Telling the truth, when the truth matters most, is almost always a frightening prospect. If a writer doesn’t give away secrets, his own or those of the people he loves; if she doesn’t court disapproval, reproach and general wrath, whether of friends, family, or party apparatchiks; if the writer submits his work to an internal censor long before anyone else can get their hands on it, the result is pallid, inanimate, a lump of earth. The adept handles the rich material, the rank river clay, and diligently intones his alphabetical spells, knowing full well the history of golems: how they break free of their creators, grow to unmanageable size and power, refuse to be controlled. In the same way, the writer shapes his story, flecked like river clay with the grit of experience and rank with the smell of human life, heedless of the danger to himself, eager to show his powers, to celebrate his mastery, to bring into being a little world that, like God’s, is at once terribly imperfect and filled with astonishing life. Originally published in The Washington Post Book World

I have started to see poetry in the strangest of things: from the roughest nub of nutmeg to the pale parsnip seamed with soil. And this has made me wonder if I can write a cookery book that includes the truth and beauty of poetry. Why should the culinary arts not include poetry? Why should a recipe book not be a thing of beauty? My thoughts come quickly and smoothly in the solitude of the kitchen, and as I beat the eggs I find myself comparing the process of following a recipe to that of writing a poem. Fruit, herbs, spices, eggs, cream: these are my words and I must combine them in such a way they produce something to delight the palate. Exactly as a poem should fall upon the ears of its readers, charming or moving them. I must coax the flavors from my ingredients, as a poet coaxes mood and meaning from his words.

The recipe for becoming a good novelist, for example is easy to give but to carry it out presupposes qualities one is accustomed to overlook when one says 'I do not have enough talent'. One has only to make a hundred or so sketches for novels, none longer than two pages but of such distinctness that every word in them is necessary; one should write down anecdotes each day until one has learned how to give them the most pregnant and effective form; one should be tireless in collecting and describing human types and characters; one should above all relate things to others and listen to others relate, keeping one's eyes and ears open for the effect produced on those present, one should travel like a landscape painter or costume designer; one should excerpt for oneself out of the individual sciences everything that will produce an artistic effect when it is well described, one should, finally, reflect on the motives of human actions, disdain no signpost to instruction about them and be a collector of these things by day and night. One should continue in this many-sided exercise some ten years: what is then created in the work­shop, however, will be fit to go out into the world. - What, however, do most people do? They begin, not with the parts, but with the whole. Per­haps they chance to strike a right note, excite attention and from then on strike worse and worse notes, for good, natural reasons.

Feeling inspired, I grabbed one of Jay’s cookbooks from the kitchen shelf and flicked through until I found a recipe for something I recognised. Lasagna. That was just pasta, and pasta was easy, right? Trying not to be put off by the list of ingredients longer than my small intestine, I scanned the instructions. Chop onions… I could do that. Brown mince…trickier but manageable. Probably. Make a roux in the usual way… I sighed, shut the book with a snap and went off to make dinner in my usual way: pierce film; bung in microwave; wait for bell.

KEYS TO WARFARE The world is full of people looking for a secret formula for success and power. They do not want to think on their own; they just want a recipe to follow. They are attracted to the idea of strategy for that very reason. In their minds strategy is a series of steps to be followed toward a goal. They want these steps spelled out for them by an expert or a guru. Believing in the power of imitation, they want to know exactly what some great person has done before. Their maneuvers in life are as mechanical as their thinking. To separate yourself from such a crowd, you need to get rid of a common misconception: the essence of strategy is not to carry out a brilliant plan that proceeds in steps; it is to put yourself in situations where you have more options than the enemy does. Instead of grasping at Option A as the single right answer, true strategy is positioning yourself to be able to do A, B, or C depending on the circumstances. That is strategic depth of thinking, as opposed to formulaic thinking.

We can read every book and stare at every piece of art about the pain of love, but we never know how much it hurts to be exposed until it's real to us. It's a feeling so foreign to our base state that it is impossible to imagine.

And the great lesson embedded in the book is that no one is born a great cook, one learns by doing. This is my invariable advice to people: Learn how to cook - try new recipes, learn from your mistakes, be fearless, and above all have fun!

See, the institutions and specialist, experts, you see. Yes, yes, experts, indeed. See, they would have us believe that there is an order to art. An explanation. Humans are odd creatures in that way. Always searching for a formula. Yes, a formula to create an expected norm for unexplainable greatness. A cook book you might say. Yes, a recipe book for life, love, and art. However, my dear, let me tell you. Yes, there is no such thing. Every individual is unique in their own design, as intended by God himself. We classify, yes, always must we classify, for if not, then we would be lost, yes lost now wouldn't we? Classification, order, expectations, but alas, we forget. For what is art, if not the out word expression of an artist. It is the soul of the artisan and if his expectations are met, than who are we to judge whether his work be art or not?

Do you think we could live the rest of our lives on this road? That's what I meant. The part we could have had if we hadn't ... you know." McVries fumbled in his pocket and came up with a package of Mellow cigarettes. "Smoke?" "I don't." "Neither do I," McVries said, and then put a cigarette into his mouth. He found a book of matches with a tomato sauce recipe on it. He lit the cigarette, drew smoke in, and coughed it out. [...] "I thought I'd learn," McVries said defiantly. "It's crap, isn't it?" Garraty said sadly. McVries looked at him, surprised, and then threw the cigarette away. "Yeah," he said. "I think it is.

The librarians sent books to the hospitals. They answered a thousand questions put to them by the military and civil authorities: How could Leningrad make matches? How could flint and steel lighters be manufactured? What materials were needed for candles? Was there any way of making yeast, edible wood, artificial vitamins? How do you make soap? The librarians found recipes for candles in old works of the eighteenth century.

First, you need something to organize: ideas, material, scraps of expertise, recipes, prognostications, anecdotes, scurrilous gossip, anything that might be relevant to what you want to write. And you get this stuff by hoarding it, by faithfully making notes and squirreling them away.

It's my latest recipe." She beamed. "Roast leaf." "It's gone off. That's not like any roast beef sandwich I've ever tasted." "No, no. Not roast beef. Roast leaf." He stared at her. "I'm a vegetarian," she explained. "I don't eat meat. So I create my own substitutions with vegetables. Roast leaf, for example. I start with whatever greens are in the market, boil and mash them with salt, then press them into a roast for the oven. According to the cookery book, it's every bit as satisfying as the real thing." "Your cookery book is a book if lies." To her credit, she took it gamely. "I'm still perfecting the roast leaf. Perhaps it needs more work. Try the others. The ones on brown bread are tuna-ish- brined turnip flakes in place of fish- and the white bread is sham. Sham is everyone's favorite. Doesn't the color look just like ham? The secret is beetroot.

The only acceptable hobby, throughout all stages of life, is cookery. As a child: adorable baked items. Twenties: much appreciated spag bol and fry-ups. Thirties and forties: lovely stuff with butternut squash and chorizo from the Guardian food section. Fifties and sixties: beef wellington from the Sunday Telegraph magazine. Seventies and eighties: back to the adorable baked items. Perfect. The only teeny tiny downside of this hobby is that I HATE COOKING. Don't get me wrong; I absolutely adore the eating of the food. It's just the awful boring, frightening putting together of it that makes me want to shove my own fists in my mouth. It's a lovely idea: follow the recipe and you'll end up with something exactly like the pretty picture in the book, only even more delicious. But the reality's rather different. Within fifteen minutes of embarking on a dish I generally find myself in tears in the middle of what appears to be a bombsite, looking like a mentally unstable art teacher in a butter-splattered apron, wondering a) just how I am supposed to get hold of a thimble and a half of FairTrade hazelnut oil (why is there always the one impossible-to-find recipe ingredient? Sesame paste, anyone?) and b) just how I managed to get flour through two closed doors onto the living-room curtains, when I don't recall having used any flour and oh-this-is-terrible-let's-just-go-out-and-get-a-Wagamama's-and-to-hell-with-the-cost, dammit.

If it wasn't for curse words and grandoise hand gestures, I don't know if Brooklynites would even be able to communicate. In fact, I had requested that holograms of me making dramatic hand gestures be included in this book, but my publisher said it was "too expensive", which is total fucking bullshit.

And to all those out there who feel stuck, lost, in a rut, or just unable to transcend habits or behaviors that no longer serve you, understand that we are with you. You are all an integral and vital part of this movement. Keep rising. We are with you in each breath and in every moment. This book is for you.

And to all those out there who feel stuck, lost, in a rut, or just unable to transcend habits or behaviors that no longer serve you, understand that we are with you. You are all an integral and vital part of this movement. Keep rising. We are with you in each breath and in every moment. This book is for you.

Some books are like chewing gum. They have just enough flavour to sate you for an hour or so. Others are like gourmet meals. Meticulously crafted with complex flavours that - while exciting during consumption - leave only a vague memory behind. The best books are like old recipes, passed down through generations. They stick with you long after the last bite. You want to return to them again and again, because they become a part of who you are. I want to write those.

It is difficult to give a recipe for successful conversation. But it would certainly include three fundamentals. Assemble good ingredients, mix and spice with your own thinking, and serve attractively. To assemble the ingredients, read. Read lots of different things. Read newspapers that express a viewpoint contrary to your own; read periodicals that have thoughtful, provocative articles; read books that tell of places and persons of current interest; read fiction, of course, but not to the exclusion of all other things.

You've felt it too, haven't you? Even for a fleeting moment? When you're engrossed a good book, or losing yourself in trying a new recipe, or tackling something at work, and then you look up at the clock, only to realize just how many hours have passed. Whatever you want to call it: flying, sailing, surfing. It's the way time moves differently when you're caught up in the simple joy of being yourself. It's what can happen when you make the decision the let go of criticism and worry and fear. And that's where The Best really lives.

The house had always been full of books, far too many for one person to get through in a lifetime. Her father didn't collect them to read, to own first editions or to keep those signed by the author; Gil collected them for the handwritten marginalia and doodles that marked the pages, for the forgotten ephemera used as bookmarks. Every time Flora came home he would show her his new discoveries: left-behind photographs, postcards and letters, bail slips, receipts, handwritten recipes and drawings, valentines and tickets, sympathy cards, excuse notes to teachers; bits of paper with which he could piece together other people's lives, other people who had read the same books he held and who had marked their place.

CHAPTER 6

Diabetic Diet. The premise of this book is to enable the reader to choose healthy foods by following a healthier more nutritious diet plan.

There is no single recipe for making the perfect tea, as there are no rules for producing a Titian or a Sesson. Each preparation of the leaves has its individuality, its special affinity with water and heat, its own method of telling a story. The truly beautiful must always be in it. How much do we not suffer through the constant failure of society to recognise this simple and fundamental law of art and life;

Luella had been Lou's favorite grandma. Some grandmas took their grandchildren to parks, or bought them books and dolls, or shared their special stories. Her grandma shared her recipes. She taught Lou how to check when a roast turkey was done, chop veggies without cutting off a finger, and bake a coconut cake grown men swooned over. A fog of comforting smells had perpetually blanketed her kitchen- an expression of her love so strong you could taste it. Lou caught the culinary bug during those early days and loved that she was named after her grandma, even if Lou believed she'd never make food quite as delicious.

In book 8 of Plato’s Republic, Socrates argues that people are not naturally led to self-governance but rather seek a strong leader to follow. Democracy, by permitting freedom of speech, opens the door for a demagogue to exploit the people’s need for a strongman; the strongman will use this freedom to prey on the people’s resentments and fears. Once the strongman seizes power, he will end democracy, replacing it with tyranny. In short, book 8 of The Republic argues that democracy is a self-undermining system whose very ideals lead to its own demise. Fascists have always been well acquainted with this recipe for using democracy’s liberties against itself; Nazi propaganda minister Joseph Goebbels once declared, “This will always remain one of the best jokes of democracy, that it gave its deadly enemies the means by which it was destroyed.” Today is no different from the past. Again, we find the enemies of liberal democracy employing this strategy, pushing the freedom of speech to its limits and ultimately using it to subvert others’ speech.

We want the Demon, you see, to extract from the dance of atoms only information that is genuine, like mathematical theorems, fashion magazines, blueprints, historical chronicles, or a recipe for ion crumpets, or how to clean and iron a suit of asbestos, and poetry too, and scientific advice, and almanacs, and calendars, and secret documents, and everything that ever appeared in any newspaper in the Universe, and telephone books of the future...

The famous Babylonian “Code of Hammurabi” states that tavern owners must always pour a sufficient amount of beer or face the death penalty. Trade and travel then brought beer to Egypt, where it was again associated with the work of the gods. Workers at the Giza Pyramids were given beer rations several times a day and over a hundred medicines recipes included the beverage. The Egyptians believed beer to be healthier than water and shared it with their fellow men of all ages, young and old.

Negotiations with Iran, especially, will not be easy under any circumstances, but I suspect that they might be somewhat less difficult if the nuclear-weapon states could show that their requests are part of a broader effort to lead the world, including themselves, toward nuclear disarmament. Preventing further proliferation is essential, but it is not a recipe for success to preach to the rest of the world to stay away from the very weapons that nuclear states claim are indispensable to their own security.

Food prepared with a light heart and in a happy frame of mind is often the best food. Preparing the special foods that are favorites of those you love... making just a little effort to garnish the salad with a sprig of parsley, a bit of grated cheese, or a wild strawberry from the nearby meadow. This says "you cared enough to do the little extra things." This makes cooking pleasant and satisfying. Make the food look as pretty as it is good to eat. -Betty Crocker's Picture Cook Book, revised and enlarged (1956)

Pessoa invented The Book of Disquiet, which never existed, strictly speaking, and can never exist. What we have here isn’t a book but its subversion and negation: the ingredients for a book whose recipe is to keep sifting, the mutant germ of a book and its weirdly lush ramifications, the rooms and windows to build a book but no floor plan and no floor, a compendium of many potential books and many others already in ruins. What we have in these pages is an anti-literature, a kind of primitive, verbal CAT scan of one man’s anguished soul.

I imagine a hierarchy of happiness; first purchased in the 1970s, a couple would sit here, dining on meals cooked from brand-new recipe books, eating and drinking from wedding china like proper grown-ups. They’d move to the suburbs after a couple of years; the table, too small to accommodate their growing family, passes on to a cousin newly graduated and furnishing his first flat on a budget. After a few years, he moves in with his partner and rents the place out. For a decade, tenants eat here, a whole procession of them, young people mainly, sad and happy, sometimes alone, sometimes with friends, lovers. They’d serve fast food here to fill a gap, or five stylish courses to seduce, carbohydrates before a run and chocolate pudding for broken hearts. Eventually, the cousin sells up and the house clearance people take the table away. It languishes in a warehouse, spiders spinning silk inside its unfashionable rounded corners, bluebottles laying eggs in the rough splinters. It’s given to another charity. They gave it to me, unloved, unwanted, irreparably damaged. Also the table.

Ingredients 1 drops Grapefruit Essential Oil 1 drop Ylang Ylang Essential Oil 1 drop Wild Orange Essential Oil 2 drops Patchouli Essential Oil 3 drops Bergamot Essential Oil Directions To support harmony in a tense home or mind, combine all ingredients in your diffuser and use as normal.

In Scappi's cookbook we see the first Italian recipes ever published that rely heavily on dairy, particularly butter and cheeses. There are also numerous recipes for pasta. Turkey makes its first appearance in an Italian cookbook. And many of us today are familiar with a recipe first found in L'Opera: zabaglione. The flavors that are prevalent in the cookbook are a little cloying to modern audiences, relying heavily on rosewater, sugar, pepper, ginger, nutmeg, and cinnamon. These flavors make sense in the variety of flaky pastries that are described in the book, but can be a little more off-putting when incorporated into a savory pasta dish.

Driven by heartache, she beat the eggs even more vigorously until the glossy meringue quickly formed into stiff, bird's beak peaks. "Philippe, do you have any orange liqueur?" Marie asked, rummaging through her brother's pantry. "Here it is," Philippe said, handing a corked bottle to her. "What are you making?" "A bûche de Noël," Danielle said, concentrating on her task. Carefully measuring each rationed ingredient, she combined sugar and flour in another bowl, grated orange zest, added the liqueur, and folded the meringue into the mixture. "It's not Christmas without a traditional Yuletide log." Marie ran a finger down a page of an old recipe book, reading directions for the sponge cake, or biscuit. "'Spread into a shallow pan and bake for ten minutes.'" "I wouldn't know about that," Philippe said. "I don't celebrate your husband's holiday," he said pointedly to Marie. "Let's not dredge up that old argument, mon frère," Marie said, softening her words with a smile. "I converted for love." A knock sounded at the front door. Danielle threw a look of concern toward Philippe, who hurried to answer it. "Then we'll cool it," Danielle said, trying to stay calm. "And brush the surface with coffee liqueur and butter cream frosting, roll it like a log, and decorate." She thought about the meringue mushrooms she had made with Nicky last year, and how he had helped score the frosting to mimic wood grains.

This isn't the first time you two are meeting, is it?" He didn't answer that. That wasn't his to tell. Ashna would tell her family and China in her own time, if at all. He just had to do this. China dropped into a chair, then jumped up again. A whole new wave of understanding suffusing her face. "That's why you asked to be on the show. Oh God, you're Frederick Wentworthing her." He shouldn't know what that meant but he totally did. "I'm half agony, half hope, Ms. Dashwood." He tried to shrug, but she looked in his eyes and her whole face turned into a giant awwww. She pressed her hands into her face. "You can't do that to me. You can't quote Persuasion to me." It was his mother's favorite book. It's where his name had come from. "Listen. I'm not going to force her to do anything. I'm just going to ask, and if she says no, I won't pressure her. I promise." "Why do I get the feeling you're pretty sure she won't say no?" "As I said, half agony, half hope.

To make a tarte of strawberyes," wrote Margaret Parker in 1551, "take and strayne theym with the yolkes of four eggs, and a little whyte breade grated, then season it up with suger and swete butter and so bake it." And Jess, who had spent the past year struggling with Kant's Critiques, now luxuriated in language so concrete. Tudor cookbooks did not theorize, nor did they provide separate ingredient lists, or scientific cooking times or temperatures. Recipes were called receipts, and tallied materials and techniques together. Art and alchemy were their themes, instinct and invention. The grandest performed occult transformations: flora into fauna, where, for example, cooks crushed blanched almonds and beat them with sugar, milk, and rose water into a paste to "cast Rabbets, Pigeons, or any other little bird or beast." Or flour into gold, gilding marchpane and festive tarts. Or mutton into venison, or fish to meat, or pig to fawn, one species prepared to stand in for another.

Wandering across the vast room, I stopped at a set of shelves as high as the ceiling, and holding about six hundred volumes - all classics on the history of Soalris, starting with the nine volumes of Giese's monumental and already relatively obsolescent monograph. Display for its own sake was improbable in these surroundings. The collection was a respective tribute to the memory of the pioneers. I took down the massive volumes of Giese and sat leafing through them. Rheya had also located som reading matter. Looking over her shoulder, I saw that she had picked one of the many books brought out by the first expedition, the Interplanetary Cookery Book, which could have been the personal property of Giese himself. She was pouring over the recipes adapted to the arduous conditions of interstellar flight. I said nothing, and returned to the book resting on my knees. Solaris - Ten Years of Exploration had appeared as volumes 4-12 of the Solariana collection whose most recent additions were numbered in the thousands.

MAKES: 2 quarts COOKING METHOD: stove COOKING TIME: 20 minutes This is an all-purpose barbecue sauce, with a distinct garlic and tomato flavor. We have used this recipe to rave reviews at the James Beard Foundation and the American Institute of Wine and Food’s “Best Ribs in America” competition. Use it as a finishing glaze or serve it on the side as a dip for any type of barbecue. 2 TABLESPOONS OLIVE OIL ¼ CUP CHOPPED ONION 1 TEASPOON FRESH MINCED GARLIC 4 CUPS KETCHUP 1⅓ CUPS DARK BROWN SUGAR 1 CUP VINEGAR 1 CUP APPLE JUICE ¼ CUP HONEY 1½ TABLESPOONS WORCESTERSHIRE SAUCE 1½ TABLESPOONS LIQUID SMOKE 1 TEASPOON SALT 1 TEASPOON BLACK PEPPER 1 TEASPOON CAYENNE PEPPER 1 TEASPOON CELERY SEED Heat the olive oil in a large nonreactive saucepan over medium heat. Add the onion and garlic and lightly sauté. Stir in the remaining ingredients and heat until the sauce bubbles and starts to steam. Remove from the heat and cool to room temperature. Transfer to a tightly covered jar or plastic container and store refrigerated for up to 2 weeks.

Needless to say, cooking for a man with such a delicate palate can be challenging and every once in a while I like to make something that isn't served with a glass of milk and a side of applesauce. This can be difficult with a husband with such discriminating taste buds. Difficult, but not impossible, if you're willing to lie. Which I am.   During the winter months I love to make soups and one of my favorites is taco soup. It has all of the basic food groups in one bowl; meat, veggies, beans, and Fritos. It's perfection. I've been warming bodies and cleaning colons with this recipe for years. However, when I met my husband he advised he didn't like beans, so he couldn't eat taco soup. This was not the response I hoped for.   I decided to make it for him anyway. The first time I did I debated whether to add beans. I knew he wouldn't eat it if I did, but I also knew the beans were what gave it the strong flavor. I decided the only way to maintain the integrity of the soup was to sacrifice mine. I lied to him about the ingredients. Because my husband is not only picky but also observant, I knew I couldn't just dump the beans into the soup undetected. Rather, I had to go incognito. For that, I implored the use of the food processor, who was happy to accommodate after sitting in the cabinet untouched for years.   I dumped the cans of beans in the processor and pureed them into a paste. I then dumped the paste into the taco soup mixture, returning the food processor to the cabinet where it would sit untouched for another six months.   When it came time to eat, I dished out a heaping bowl of soup and handed it to my husband. We sat down to eat and I anxiously awaited his verdict, knowing he was eating a heaping bowl of deceit.   “This is delicious. What's in it?” he asked, in between mouthfuls of soup.   “It's just a mixture of taco ingredients,” I innocently replied, focusing on the layer of Fritos covering my bowl.   “Whatever it is, it's amazing,” he responded, quickly devouring each bite.   At that moment I wanted nothing more than to slap the spoon out of his hand and yell “That's beans, bitch!” However, I refrained because I'm classy (and because I didn't want to clean up the mess).

The great man of the masses. It is easy to give the recipe for what the masses call a great man. By all means, supply them with something that they find very pleasant, or, first, put the idea into their heads that this or that would be very pleasant, and then give it to them. But on no account immediately: let it rather be won with great exertion, or let it seem so. The masses must have the impression that a mighty, indeed invincible, strength of will is present; at least it must be seen to be there. Everyone admires a strong will, because no one has it, and everyone tells himself that, if he had it, there would be no more limits for him and his egoism. Now, if it appears that this strong will is producing something very unpleasant for the masses, instead of listening to its own covetous desires, then everyone admires it all the more, and congratulates himself. For the rest, let him have all the characteristics of the masses: the less they are ashamed before him, the more popular he is. So, let him be violent, envious, exploitative, scheming, fawning, grovelling, puffed up, or, according to the circumstances, all of the above.

I lift the lid of the chest. Inside, the air is musty and stale, held hostage for years in its three-foot-by-four-foot tomb. I lean in to survey the contents cautiously, then pull out a stack of old photos tied with twine. On top is a photo of a couple on their wedding day. She's a young bride, wearing one of those 1950's netted veils. He looks older, distinguished- sort of like Cary Grant or Gregory Peck in the old black-and-white movies I used to watch with my grandmother. I set the stack down and turn back to the chest, where I find a notebook, filled with handwritten recipes. The page for Cinnamon Rolls is labeled "Dex's Favorite." 'Dex.' I wonder if he's the man in the photo. There are two ticket stubs from 1959, one to a Frank Sinatra concert, another to the movie 'An Affair to Remember.' A single shriveled rosebud rests on a white handkerchief. A corsage? When I lift it into my hand, it disintegrates; the petals crinkle into tiny pieces that fall onto the living room carpet. At the bottom of the chest is what looks like a wedding dress. It's yellowed and moth-eaten, but I imagine it was once stark white and beautiful. As I lift it, I can hear the lace swishing as if to say, "Ahh." Whoever wore it was very petite. The waist circumference is tiny. A pair of long white gloves falls to the floor. They must have been tucked inside the dress. I refold the finery and set the ensemble back inside. Whose things are these? And why have they been left here? I thumb through the recipe book. All cookies, cakes, desserts. She must have loved to bake. I tuck the book back inside the chest, along with the photographs after I've retied the twine, which is when I notice a book tucked into the corner. It's an old paperback copy of Ernest Hemingway's 'The Sun Also Rises.' I've read a little of Hemingway over the years- 'A Moveable Feast' and some of his later work- but not this one. I flip through the book and notice that one page is dog-eared. I open to it and see a line that has been underscored. "You can't get away from yourself by moving from one place to another." I look out to the lake, letting the words sink in. 'Is that what I'm trying to do? Get away from myself?' I stare at the line in the book again and wonder if it resonated with the woman who underlined it so many years ago. Did she have her own secret pain? 'Was she trying to escape it just like me?

Max cooked up a story about an enderman who wants to be a professional swimmer. The enderman is willing to pay 500 emeralds for a Potion of Water Resistance (so he doesn't burn while in the water). ② After hearing about the enderman, tons of kids at school freaked out. They wanted to brew that potion. Kids kept bugging the Brewing teacher about it. How do I craft one? What's the secret recipe? And so on. (The Brewing teacher got so annoyed, he called in sick today.) ③ Max and I dug up most of the sand around the village. (You need sand to make glass, glass to craft bottles, and bottles to brew potions.) ④ Yesterday, we spent hours crafting bottles.

respiratory system encompasses the nose, throat, and lungs. Some of the oils that help the respiratory system include eucalyptus, myrrh, fennel, sandalwood, thyme, cypress, bergamot, and sage. · The digestive system is responsible for breaking down food and includes the stomach, liver, intestines, and gallbladder. Oils used for this include dandelion, marshmallow, meadow sweet, and chamomile. · The circulatory system is responsible for transporting blood and oxygen throughout the body. Oils used for this include lemon, lavender, peppermint, fennel, thyme, juniper, and white birch.  · The endocrine system includes the thyroid glands, the pancreas, and the hormone glands. Essential oils used are sweet marjoram, clary sage, fennel, jasmine, rose, lemon, and juniper. · The immune system is responsible for fighting against diseases including everything from a cold to malaria.   ·  The nervous system transmits nerve impulses throughout the body. These cells are vitally important to the function of the human body. Oils used for the nervous system include clove, basil, ylang ylang, lavender, chamomile, bergamot, and sweet marjoram. · The brain is responsible for the functions of almost every organ system throughout the body. The essential oils used for the brain include lavender, chamomile, basil, lemon, peppermint, and ginger.

You can't work in the library without going into the Old Levels," said Mirelle somberly. "At least some of the time. I wouldn't be keen on going to some parts of the Library, myself." Lirael listened, wondering what they were talking about. The Great Library of the Clayr was enormous, but she had never heard of the Old Levels. She knew the general layout well. The Library was shaped like a nautilus shell, a continuous tunnel that wound down into the mountain in an ever-tightening spiral. This main spiral was an enormously long, twisting ramp that took you from the high reaches of the mountain down past the level of the valley floor, several thousand feet below. Off the main spiral, there were countless other corridors, rooms, halls, and strange chambers. Many were full of the Clayr's written records, mainly documenting the prophesies and visions of many generations of seers. But they also contained books and papers from all over the Kingdom. Books of magic and mystery, knowledge both ancient and new. Scrolls, maps, spells, recipes, inventories, stories, true tales, and Charter knew what else. In addition to all these written works, the Great Library also housed other things. There were old armories within it, containing weapons and armor that had not been used for centuries but still stayed bright and new. There were rooms full of odd paraphernalia that no one now knew how to use. There were chambers where dressmakers' dummies stood fully clothed, displaying the fashions of bygone Clayr or the wildly different costumes of the barbaric North. There were greenhouses tended by sendings, with Charter marks for light as bright as the sun. There were rooms of total darkness, swallowing up the light and anyone foolish enough to enter unprepared. Lirael had seen some of the Library, on carefully escorted excursions with the rest of her year gathering. She had always hankered to enter the doors they passed, to step across the red rope barriers that marked corridors or tunnels where only authorized librarians might pass.

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

Science? The Savage frowned. He knew the word. But what it exactly signified he could not say. Shakespeare and the old men of the pueblo had never mentioned science, and from Linda he had only gathered the vaguest hints: science was something you made helicopters with, some thing that caused you to laugh at the Corn Dances, something that prevented you from being wrinkled and losing your teeth. He made a desperate effort to take the Controller's meaning. "Yes," Mustapha Mond was saying, "that's another item in the cost of stability. It isn't only art that's incompatible with happiness; it's also science. Science is dangerous; we have to keep it most carefully chained and muzzled." "What?" said Helmholtz, in astonishment. "But we're always saying that science is everything. It's a hypnopædic platitude." "Three times a week between thirteen and seventeen," put in Bernard. "And all the science propaganda we do at the College …" "Yes; but what sort of science?" asked Mustapha Mond sarcastically. "You've had no scientific training, so you can't judge. I was a pretty good physicist in my time. Too good–good enough to realize that all our science is just a cookery book, with an orthodox theory of cooking that nobody's allowed to question, and a list of recipes that mustn't be added to except by special permission from the head cook. I'm the head cook now. But I was an inquisitive young scullion once. I started doing a bit of cooking on my own. Unorthodox cooking, illicit cooking. A bit of real science, in fact." He was silent. "What happened?" asked Helmholtz Watson. The Controller sighed. "Very nearly what's going to happen to you young men. I was on the point of being sent to an island.

COOKBOOK FOR THE MODERN HOUSEWIFE The cover was red with a subtle crosshatch pattern and distressed, the book's title stamped in black ink- all of it faded with age. Bordering the cookbook's cover were hints of what could be found inside. Alice tilted her head as she read across, down, across, and up the cover's edges. Rolls. Pies. Luncheon. Drinks. Jams. Jellies. Poultry. Soup. Pickles. 725 Tested Recipes. Resting the spine on her bent knees, the cookbook dense yet fragile in her hands, Alice opened it carefully. There was an inscription on the inside cover. Elsie Swann, 1940. Going through the first few, age-yellowed pages, Alice glanced at charts for what constituted a balanced diet in those days: milk products, citrus fruits, green and yellow vegetables, breads and cereals, meat and eggs, the addition of a fish liver oil, particularly for children. Across from it, a page of tips for housewives to avoid being overwhelmed and advice for hosting successful dinner parties. Opening to a page near the back, Alice found another chart, this one titled Standard Retail Beef Cutting Chart, a picture of a cow divided by type of meat, mini drawings of everything from a porterhouse-steak cut to the disgusting-sounding "rolled neck." Through the middle were recipes for Pork Pie, Jellied Tongue, Meat Loaf with Oatmeal, and something called Porcupines- ground beef and rice balls, simmered for an hour in tomato soup and definitely something Alice never wanted to try- and plenty of notes written in faded cursive beside some of the recipes. Comments like Eleanor's 13th birthday-delicious! and Good for digestion and Add extra butter. Whoever this Elsie Swann was, she had clearly used the cookbook regularly. The pages were polka-dotted in brown splatters and drips, evidence it had not sat forgotten on a shelf the way cookbooks would in Alice's kitchen.

When they got to the table, it was easy to recognize some of the dishes just from their pictures in the book. Skillet Broken Lasagna, which smelled of garlic and bright tomato; Fluffy Popovers with Melted Brie and Blackberry Jam (she started eating that the minute she picked it up and could have cried at the sweet, creamy-cheesy contrast to the crisp browned dough). There were also the two versions of the coconut rice, of course, and Trista had placed them next to the platter of gorgeously browned crispy baked chicken with a glass bowl of hot honey, specked with red pepper flakes, next to it, and in front of the beautifully grilled shrimp with serrano brown sugar sauce. Every dish was worthy of an Instagram picture. Which made sense, since Trista had, as Aja had pointed out, done quite a lot of food porn postings. There was also Cool Ranch Taco Salad on the table, which Margo had been tempted to make but, as with the shrimp dish, given that she had been ready to bail on the idea of coming right up to the last second, had thought better of, lest she have taco salad for ten that needed to be eaten in two days. Not that she couldn't have finished all the Doritos that went on top that quickly. But there hadn't been a Dorito in her house since college, and she kind of thought it ought to be a cause for celebration when she finally brought them back over the threshold of Calvin's ex-house. The Deviled Eggs were there too, thank goodness, and tons of them. They were creamy and crunchy and savory, sweet and- thanks to an unexpected pocket of jalapeño- hot, all at the same time. Classic party food. Classic church potluck food too. Whoever made those knew that deviled eggs were almost as compulsively delicious as potato chips with French onion dip. And, arguably, more healthful. Depending on which poison you were okay with and which you were trying to avoid. There was a gorgeous galaxy-colored ceramic plate of balsamic-glazed brussels sprouts, with, from what Margo remembered of the recipe, crispy bacon crumbles, sour cranberries, walnuts, and blue cheese, which was- Margo tasted it with hope and was not disappointed- creamy Gorgonzola Dolce.

Fresh Pasta Dough Recipe INGREDIENTS: 1 ½ cups flour ½ cup semolina flour (pasta flour) 2 whole eggs, at room temperature 3 egg yolks, at room temperature DIRECTIONS: In a large bowl, whisk together the flour and the semolina. Create a well in the center and add the eggs and egg yolks. Using a fork, break up the eggs then gradually start to draw flour from the edges of the well into the mixture. If the dough gets too firm to mix with the fork switch to mixing with your hands. Continue to work in flour until the dough no longer sticks to your hands; you may not need to incorporate all of the flour. (I used a bit more than what the recipe called for.) Transfer the dough to a lightly floured surface and knead the dough for 8 to 10 minutes or until it is smooth and pliable. Wrap the dough tightly in plastic wrap and allow to rest for at least 30 minutes. If using a pasta roller: Divide the dough into 4 pieces. Starting with the machine set to the widest setting, pass the dough through the rollers. Fold the dough into thirds and pass it through again 2 more times. Continue passing the pasta through the machine, reducing the setting a few notches each time. You may need to dust a bit with flour if the dough sticks to the rollers at all. Once you reach your desired thickness, use the cutting attachment to cut the pasta sheet into fettuccine. Dust the cut pasta with more flour to prevent sticking and repeat with the remaining dough. If using a rolling pin: Divide the dough in half. Dust your surface with flour and sprinkle generously on your rolling pin. *Roll out the dough as thin and as evenly possible, adding flour as needed to prevent sticking. Use a paring knife (a pizza cutter works great!) to cut your dough into even ribbons, then set aside, dusting the cut pasta with more flour. Repeat with the remaining dough. (At this point, the pasta can be transferred to a sealable plastic bag and frozen for up to 3 months; do not defrost before cooking.) Cook the pasta in a large pot of generously salted boiling water, checking for doneness after just 1 minute; fresh pasta cooks very quickly. As soon as it is al dente, no more than 3 or 4 minutes, drain, reserving some of the cooking water if desired for saucing the pasta. Toss with your sauce, loosen with some of the reserved cooking water as needed and serve immediately. *Note:  You must get the dough as thin as possible and cut them into small strips, otherwise, it will be too thick and end up having the texture of dumplings.

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.

For Aristotle the literary plot was analogous to the plot of the world in that both were eductions from the potency of matter. Sartre denies this for the world, and specifically denies, in the passage just referred to, that without potentiality there is no change. He reverts to the Megaric view of the matter, which Aristotle took such trouble to correct. But this is not our affair. The fact is that even if you believe in a Megaric world there is no such thing as a Megaric novel; not even Paterson. Change without potentiality in a novel is impossible, quite simply; though it is the hopeless aim of the cut-out writers, and the card-shuffle writers. A novel which really implemented this policy would properly be a chaos. No novel can avoid being in some sense what Aristotle calls 'a completed action.' This being so, all novels imitate a world of potentiality, even if this implies a philosophy disclaimed by their authors. They have a fixation on the eidetic imagery of beginning, middle, and end, potency and cause. Novels, then, have beginnings, ends, and potentiality, even if the world has not. In the same way it can be said that whereas there may be, in the world, no such thing as character, since a man is what he does and chooses freely what he does--and in so far as he claims that his acts are determined by psychological or other predisposition he is a fraud, lâche, or salaud--in the novel there can be no just representation of this, for if the man were entirely free he might simply walk out of the story, and if he had no character we should not recognize him. This is true in spite of the claims of the doctrinaire nouveau roman school to have abolished character. And Sartre himself has a powerful commitment to it, though he could not accept the Aristotelian position that it is through character that plot is actualized. In short, novels have characters, even if the world has not. What about time? It is, effectively, a human creation, according to Sartre, and he likes novels because they concern themselves only with human time, a faring forward irreversibly into a virgin future from ecstasy to ecstasy, in his word, from kairos to kairos in mine. The future is a fluid medium in which I try to actualize my potency, though the end is unattainable; the present is simply the pour-soi., 'human consciousness in its flight out of the past into the future.' The past is bundled into the en-soi, and has no relevance. 'What I was is not the foundation of what I am, any more than what I am is the foundation of what I shall be.' Now this is not novel-time. The faring forward is all right, and fits the old desire to know what happens next; but the denial of all causal relation between disparate kairoi, which is after all basic to Sartre's treatment of time, makes form impossible, and it would never occur to us that a book written to such a recipe, a set of discontinuous epiphanies, should be called a novel. Perhaps we could not even read it thus: the making of a novel is partly the achievement of readers as well as writers, and readers would constantly attempt to supply the very connections that the writer's programme suppresses. In all these ways, then, the novel falsifies the philosophy.