Wine Rack Quotes

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The most racking pangs succeeded: a grinding in the bones, deadly nausea, and a horror of the spirit that cannot be exceeded at the hour of birth or death. Then these agonies began swiftly to subside, and I came to myself as if out of a great sickness. There was something strange in my sensations, something indescribably sweet. I felt younger, lighter, happier in body; within I was conscious of a heady recklessness, a current of disordered sensual images running like a millrace in my fancy, a solution of the bonds of obligation, an unknown but innocent freedom of the soul. I knew myself, at the first breath of this new life, to be more wicked, tenfold more wicked, sold a slave to my original evil and the thought, in that moment, braced and delighted me like wine.
Robert Louis Stevenson (The Strange Case of Dr. Jekyll and Mr. Hyde)
But don't get me wrong...driving a truck doesn't make me a redneck. I don't have a gun rack in it. I have a wine rack.
Alex Trebek (The Answer Is…: Reflections on My Life)
Another man I met recently had employed a builder to screw a wine rack to the wall. Why he wants a wine rack anyway is a bit of a mystery, since he lives only a few doors from a pub that sells proper beer. Even more unfathomable is how he could bear the shame of standing by while another man drilled four holes in some brickwork and inserted some rawlplugs. He can regard himself as little more than a receptacle for keeping sperm at the right temperature until it’s needed.
James May (Notes from the Hard Shoulder)
Jim and Myron LaFleur, with the entire beer cooler and wine rack at their disposal, were abysmally shitfaced.
Stephen King (Skeleton Crew: featuring The Mist)
These things matter to me, Daniel, says the man with six days to live. They are sitting on the porch in the last light. These things matter to me, son. The way the hawks huddle their shoulders angrily against hissing snow. Wrens whirring in the bare bones of bushes in winter. The way swallows and swifts veer and whirl and swim and slice and carve and curve and swerve. The way that frozen dew outlines every blade of grass. Salmonberries thimbleberries cloudberries snowberries elderberries salalberries gooseberries. My children learning to read. My wife's voice velvet in my ear at night in the dark under the covers. Her hair in my nose as we slept curled like spoons. The sinuous pace of rivers and minks and cats. Fresh bread with too much butter. My children's hands when they cup my face in their hands. Toys. Exuberance. Mowing the lawn. Tiny wrenches and screwdrivers. Tears of sorrow, which are the salt sea of the heart. Sleep in every form from doze to bone-weary. Pay stubs. Trains. The shivering ache of a saxophone and the yearning of a soprano. Folding laundry hot from the dryer. A spotless kitchen floor. The sound of bagpipes. The way horses smell in spring. Red wines. Furnaces. Stone walls. Sweat. Postcards on which the sender has written so much that he or she can barely squeeze in the signature. Opera on the radio. Bathrobes, back rubs. Potatoes. Mink oil on boots. The bands at wedding receptions. Box-elder bugs. The postman's grin. Linen table napkins. Tent flaps. The green sifting powdery snow of cedar pollen on my porch every year. Raccoons. The way a heron labors through the sky with such a vast elderly dignity. The cheerful ears of dogs. Smoked fish and the smokehouses where fish are smoked. The way barbers sweep up circles of hair after a haircut. Handkerchiefs. Poems read aloud by poets. Cigar-scissors. Book marginalia written with the lightest possible pencil as if the reader is whispering to the writer. People who keep dead languages alive. Fresh-mown lawns. First-basemen's mitts. Dish-racks. My wife's breasts. Lumber. Newspapers folded under arms. Hats. The way my children smelled after their baths when they were little. Sneakers. The way my father's face shone right after he shaved. Pants that fit. Soap half gone. Weeds forcing their way through sidewalks. Worms. The sound of ice shaken in drinks. Nutcrackers. Boxing matches. Diapers. Rain in every form from mist to sluice. The sound of my daughters typing their papers for school. My wife's eyes, as blue and green and gray as the sea. The sea, as blue and green and gray as her eyes. Her eyes. Her.
Brian Doyle (Mink River)
What you have heard is true. I was in his house. His wife carried a tray of coffee and sugar. His daughter filed her nails, his son went out for the night. There were daily papers, pet dogs, a pistol on the cushion beside him. The moon swung bare on its black cord over the house. On the television was a cop show. It was in English. Broken bottles were embedded in the walls around the house to scoop the kneecaps from a man's legs or cut his hands to lace. On the windows there were gratings like those in liquor stores. We had dinner, rack of lamb, good wine, a gold bell was on the table for calling the maid. The maid brought green mangoes, salt, a type of bread. I was asked how I enjoyed the country. There was a brief commercial in Spanish. His wife took everything away. There was some talk of how difficult it had become to govern. The parrot said hello on the terrace. The colonel told it to shut up, and pushed himself from the table. My friend said to me with his eyes: say nothing. The colonel returned with a sack used to bring groceries home. He spilled many human ears on the table. They were like dried peach halves. There is no other way to say this. He took one of them in his hands, shook it in our faces, dropped it into a water glass. It came alive there. I am tired of fooling around he said. As for the rights of anyone, tell your people they can go f--- themselves. He swept the ears to the floor with his arm and held the last of his wine in the air. Something for your poetry, no? he said. Some of the ears on the floor caught this scrap of his voice. Some of the ears on the floor were pressed to the ground.
Carolyn Forché
In the center of the room Sarra the demon hung upside down by one leg, its arms bound behind its back, its suit scuffed-looking. Beneath it, crawling around an intricately scribed circle, a woman with short, curly red hair drew binding symbols with a gold stick. She looked up as I fanned away the smoke that was billowing up from the crack in the tile. "You're a Summoner. Hullo. I'm Noelle. Did you know that you have mismatched eyes?" I walked around the demon. It glared at me. "Yes, I know. Why do you have Sarra strung up by one leg?" She drew another symbol. It flared bright green as soon as the stick lifted from the circle. "It was getting a bit stroppy with me. The Hanged Man always teaches them a few manners. It's retaliating with the smoke. Are those spirits I saw yours, then?" "Yes, they are. There are four others as well. I hate to be a bother, but I'm in a bit of a hurry, what with Christian being held by this one's master and all, so if you could possibly just give me the abbreviated version of what's going on here, I'll be on my way to rescue him." She leaned back on her heels and sucked the tip of her gold stick. "Asmodeus, eh?" The demon snarled. A chunk of ceiling fell behind me. We both ignored it. It just never does to give a demon the satisfaction of knowing it's startled you. "It's a nasty bag of tricks, but I heard through the demonic grapevine that it was weakened and searching for a suitable sacrifice to regain its power," she added. "Well, it can't have Christian; he's mine. Back to the demon, if you don't mind…" She looked up at Sarra, still sucking the stick. "It's a pretty specimen, isn't it? I like the hair gel. Nice touch. The mustache is a bit much, though, don't you think? Makes it look so smarmy." "Um…" "I'm destroying it, so I suppose it really doesn't matter." I blinked and avoided two wine bottles as they flew out of a rack when the demon hissed at the Guardian.
Katie MacAlister (Sex and the Single Vampire (Dark Ones #2))
The frenzies of the chase had by this time worked them bubblingly up, like old wine worked anew. Whatever pale fears and forebodings some of them might have felt before; these were not only now kept out of sight through the growing awe of Ahab, but they were broken up, and on all sides routed, as timid prairie hares that scatter before the bounding bison. The hand of Fate had snatched all their souls; and by the stirring perils of the previous day; the rack of the past night's suspense; the fixed, unfearing, blind, reckless way in which their wild craft went plunging towards its flying mark; by all these things, their hearts were bowled along. The wind that made great bellies of their sails, and rushed the vessel on by arms invisible as irresistible; this seemed the symbol of that unseen agency which so enslaved them to the race. They were one man, not thirty. For as the one ship that held them all; though it was put together of all contrasting things — oak, and maple, and pine wood; iron, and pitch, and hemp — yet all these ran into each other in the one concrete hull, which shot on its way, both balanced and directed by the long central keel; even so, all the individualities of the crew, this man's valor, that man's fear; guilt and guiltiness, all varieties were welded into oneness, and were all directed to that fatal goal which Ahab their one lord and keel did point to. The rigging lived. The mast-heads, like the tops of tall palms, were outspreadingly tufted with arms and legs. Clinging to a spar with one hand, some reached forth the other with impatient wavings; others, shading their eyes from the vivid sunlight, sat far out on the rocking yards; all the spars in full bearing of mortals, ready and ripe for their fate. Ah! how they still strove through that infinite blueness to seek out the thing that might destroy them!
Herman Melville (Moby-Dick or, The Whale)
I was strong in English, and thankful for it. I knew the great Dr. Johnson from his friend Mr. Boswell. There is a friend for you. To sit down and rack the brain to remember every word, and then the glad toil to write it all down. I am thankful to Mr. Boswell for many a peaceful hour, indeed. There is a marvel, hundreds of years after the spirit has gone to new life, that men will bless a name that once had flesh, and laughed, and had good food, and loved to hear good talk. But the great Dr. Johnson was one in a century, and I count myself honoured to have tasted the wine of his speech, even though put to my mouth through the goodness of his friend. For that Englishman is not to be read with the eyes alone, but read out, as with the Word, with a good voice, and a rolling of the tongue, so that the rich taste of magnificent English may come to the ears and go to the head, like the perfumes of the Magi, or like the best of beer, home brewed and long in the cask.
Richard Llewellyn (How Green Was My Valley)
I gave them the same advice that had worked for me: Start by stocking your sense memory. Smell everything and attach words to it. Raid your fridge, pantry, medicine cabinet, and spice rack, then quiz yourself on pepper, cardamom, honey, ketchup, pickles, and lavender hand cream. Repeat. Again. Keep going. Sniff flowers and lick rocks. Be like Ann, and introduce odors as you notice them, as you would people entering a room. Also be like Morgan, and look for patterns as you taste, so you can, as he does, “organize small differentiating units into systems.” Master the basics of structure—gauge acid by how you drool, alcohol by its heat, tannin by its dryness, finish by its length, sweetness by its thick softness, body by its weight—and apply it to the wines you try. Actually, apply it to everything you try. Be systematic: Order only Chardonnay for a week and get a feel for its personality, then do the same with Pinot Noir, and Sauvignon Blanc, and Cabernet Franc (the Wine Folly website offers handy CliffsNotes on each one’s flavor profile). Take a moment as you drink to reflect on whether you like it, then think about why. Like Paul Grieco, try to taste the wine for what it is, not what you imagine it should be. Like the Paulée-goers, splurge occasionally. Mix up the everyday bottles with something that’s supposed to be better, and see if you agree. Like Annie, break the rules, do what feels right, and don’t be afraid to experiment.
Bianca Bosker (Cork Dork: A Wine-Fueled Adventure Among the Obsessive Sommeliers, Big Bottle Hunters, and Rogue Scientists Who Taught Me to Live for Taste)
The seventh day, and no wind—the burning sun Blister’d and scorch’d, and, stagnant on the sea, They lay like carcasses; and hope was none, Save in the breeze that came not; savagely They glared upon each other—all was done, Water, and wine, and food,—and you might see The longings of the cannibal arise (Although they spoke not) in their wolfish eyes. At length one whisper’d his companion, who Whisper’d another, and thus it went round, And then into a hoarser murmur grew, An ominous, and wild, and desperate sound; And when his comrade’s thought each sufferer knew, ’Twas but his own, suppress’d till now, he found: And out they spoke of lots for flesh and blood, And who should die to be his fellow’s food. But ere they came to this, they that day shared Some leathern caps, and what remain’d of shoes; And then they look’d around them and despair’d, And none to be the sacrifice would choose; At length the lots were torn up, and prepared, But of materials that much shock the Muse— Having no paper, for the want of better, They took by force from Juan Julia’s letter. The lots were made, and mark’d, and mix’d, and handed, In silent horror, and their distribution Lull’d even the savage hunger which demanded, Like the Promethean vulture, this pollution; None in particular had sought or plann’d it, ’Twas nature gnaw’d them to this resolution, By which none were permitted to be neuter— And the lot fell on Juan’s luckless tutor. He but requested to be bled to death: The surgeon had his instruments, and bled Pedrillo, and so gently ebb’d his breath, You hardly could perceive when he was dead. He died as born, a Catholic in faith, Like most in the belief in which they’re bred, And first a little crucifix he kiss’d, And then held out his jugular and wrist. The surgeon, as there was no other fee, Had his first choice of morsels for his pains; But being thirstiest at the moment, he Preferr’d a draught from the fast-flowing veins: Part was divided, part thrown in the sea, And such things as the entrails and the brains Regaled two sharks, who follow’d o’er the billow The sailors ate the rest of poor Pedrillo. The sailors ate him, all save three or four, Who were not quite so fond of animal food; To these was added Juan, who, before Refusing his own spaniel, hardly could Feel now his appetite increased much more; ’Twas not to be expected that he should, Even in extremity of their disaster, Dine with them on his pastor and his master. ’Twas better that he did not; for, in fact, The consequence was awful in the extreme; For they, who were most ravenous in the act, Went raging mad—Lord! how they did blaspheme! And foam and roll, with strange convulsions rack’d, Drinking salt water like a mountain-stream, Tearing, and grinning, howling, screeching, swearing, And, with hyaena-laughter, died despairing. Their numbers were much thinn’d by this infliction, And all the rest were thin enough, Heaven knows; And some of them had lost their recollection, Happier than they who still perceived their woes; But others ponder’d on a new dissection, As if not warn’d sufficiently by those Who had already perish’d, suffering madly, For having used their appetites so sadly. And if Pedrillo’s fate should shocking be, Remember Ugolino condescends To eat the head of his arch-enemy The moment after he politely ends His tale: if foes be food in hell, at sea ’Tis surely fair to dine upon our friends, When shipwreck’s short allowance grows too scanty, Without being much more horrible than Dante.
Lord Byron (Don Juan)
Ellie Haworth is living the dream. She often tells herself so when she wakes up, hungover from too much white wine, feeling the ache of melancholy, in her perfect flat that nobody eve messes up in her absence. (She secretly wants a cat, but is afraid of becoming a cliche.) She holds down a job as a feature writer on a a national newspaper, has obedient hair, a body that is basically plump and slender in the right places, and is pretty enough to attract attention that she still pretends offends her. She has a sharp tongue-too sharp, according to her mother-a ready wit, several credit cards, and a small car she can manage without male help. When she meets people she knew at school, she can detect envy when she describes her life: she has not yet reached an age where the lack of a husband or children could b regarded as failure. When she meets meant, she can see them ticking off her attributes - great job, nice rack, sense of fun - as if she's a prize to be won. If, recently, she has become aware that the dream is a little fuzzy, that the edge she was once famed for at the office has deserted her since John came, that the relationship she had once found invigorating has begun to consume her in ways that are not exactly enviable, she chose not to look to hard. After all, it's easy when you're surrounded by people like you, journalists, and writers who drink hard, party hard have sloppy, disastrous affairs and unhappy partners home who, tired of their neglect, will eventually have affairs. She is one of them, one of their cohorts, living the life of the glossy magazine pages, a life she has pursued since she first knew she wanted to write. She is successful, single, selfish. Ellie Haworth is as happy as she can be. As anyone can be, considering. And nobody gets everything, so Ellie tells herself, when occasionally she wakes up trying to remember whose dream she's meant to be living.
Jojo Moyes (The Last Letter from Your Lover)
French Onion Soup Ingredients: 3 lbs onions, sliced into thin rings 2 bay leaves 1 tsp dried thyme 1/4 tsp salt 1/2 stick (1/4 cup) unsalted butter, cut in half 1/4 cup all purpose flour 1/4 cup dry white wine 6 cups beef stock 1/2 day-old baguette 3 tsp butter Onion salt or powder 1 cup grated Gruyere cheese Directions: Cook onions, bay leaves, thyme, salt, and half the butter in a large, heavy pot over moderate heat, uncovered, stirring frequently until onions are very soft and deep golden brown, about 45 minutes. It’s okay if the bottom of the pan browns, as long as it doesn’t burn. The brown “stuff” on the bottom of the pan is the fond, and having lots of it will make your soup taste richer. If it seems as though it may start to brown, turn down the heat. Once the onions are browned and you have lots of fond, add flour and cook for 1 minute, stirring constantly. Add wine and cook 2 minutes, stirring constantly. Add stock and simmer, uncovered and stirring occasionally, for 30 minutes. While soup simmers, put oven rack in middle position and preheat oven to 350º F. Cut the baguette into large cubes and toss with the remaining butter and onion salt to taste. Arrange bread in a single layer on a large baking sheet and toast, turning once, until golden brown, about 15 minutes. They’ll be like large, slightly soft croutons. Remove from oven. Preheat broiler. Put 4 ovenproof soup crocks on a cookie sheet. Discard bay leaves from soup and divide soup among crocks, then top each crock with croutons. Sprinkle Gruyere to cover tops of crocks. Broil 4-5 inches from heat until cheese is melted and bubbly, 1-2 minutes.
Sandra Byrd (Bon Appetit (French Twist #2))
For days wagons had been arriving from all directions, loaded with sacks, crocks and crates, tubs of pickled fish; racks dangling with sausages, hams and bacon; barrels of oil, wine, cider and ale; baskets laden with onions, turnips, cabbages, leeks; also parcels of ramp, parsley, sweet herbs and cress. Day and night the kitchens were active, with the stoves never allowed to go cold. In the service yard four ovens, constructed for the occasion, produced crusty loaves, saffron buns, fruit tarts; also sweet-cakes flavoured with currants, anise, honey and nuts, or even cinnamon, nutmeg and cloves. One of the ovens produced only pies and pasties, stuffed with beef and leeks, or spiced hare seethed in wine, or pork and onions, or pike with fennel, or carp in a swelter of dill, butter and mushrooms, or mutton with barley and thyme.
Jack Vance (The Complete Lyonesse (Lyonesse, #1, #2 and #3))
The cellar was spattered with blood, with bodies that showed death in a dozen horrid ways. Wine-racks stood by the walls, looted empty, but the floor was black with Spanish blood, strewn with mutilations obscene as nightmare. Young, old, men and women, all killed horribly. It struck Sharpe that these people must have died the day before, as he watched from the hilltop, killed as the French pretended the village was empty.
Bernard Cornwell (Sharpe's Gold (Sharpe, #9))
Instead, adults rationalized that their children tripped into the wine cabinet and their hand popped open an entire rack by mistake.
K. Kingsman
Embrace Efficiency, Elevate Flavor: Smart Kitchen Tools for Culinary Adventurers The kitchen, once a realm of necessity, has morphed into a playground of possibility. Gone are the days of clunky appliances and tedious prep work. Enter the age of the smart kitchen tool, a revolution that whispers efficiency and shouts culinary liberation. For the modern gastronome, these tech-infused gadgets are not mere conveniences, but allies in crafting delectable adventures, freeing us to savor the journey as much as the destination. Imagine mornings when your smart coffee maker greets you with the perfect brew, prepped by the whispers of your phone while you dream. Your fridge, stocked like a digital oracle, suggests recipes based on its ever-evolving inventory, and even automatically orders groceries you've run low on. The multi-cooker, your multitasking superhero, whips up a gourmet chili while you conquer emails, and by dinnertime, your smart oven roasts a succulent chicken to golden perfection, its progress monitored remotely as you sip a glass of wine. But efficiency is merely the prologue. Smart kitchen tools unlock a pandora's box of culinary precision. Smart scales, meticulous to the milligram, banish recipe guesswork and ensure perfect balance in every dish. Food processors and blenders, armed with pre-programmed settings and self-cleaning prowess, transform tedious chopping into a mere blip on the culinary radar. And for the aspiring chef, a sous vide machine becomes a magic wand, coaxing impossible tenderness from the toughest cuts of meat. Yet, technology alone is not the recipe for culinary bliss. For those who yearn to paint with flavors, smart kitchen tools are the brushes on their canvas. A connected recipe platform becomes your digital sous chef, guiding you through each step with expert instructions and voice-activated ease. Spice racks, infused with artificial intelligence, suggest unexpected pairings, urging you to venture beyond the familiar. And for the ultimate expression of your inner master chef, a custom knife, forged from heirloom steel and lovingly honed, becomes an extension of your hand, slicing through ingredients with laser focus and lyrical grace. But amidst the symphony of gadgets and apps, let us not forget the heart of the kitchen: the human touch. Smart tools are not meant to replace our intuition but to augment it. They free us from the drudgery, allowing us to focus on the artistry, the love, the joy of creation. Imagine kneading dough, the rhythm of your hands mirroring the gentle whirring of a smart bread machine, then shaping a loaf that holds the warmth of both technology and your own spirit. Or picture yourself plating a dish, using smart portion scales for precision but garnishing with edible flowers chosen simply because they spark joy. This, my friends, is the symphony of the smart kitchen: a harmonious blend of tech and humanity, where efficiency becomes the brushstroke that illuminates the vibrant canvas of culinary passion. Of course, every adventure, even one fueled by smart tools, has its caveats. Interoperability between gadgets can be a tangled web, and data privacy concerns linger like unwanted guests. But these challenges are mere bumps on the culinary road, hurdles to be overcome by informed choices and responsible data management. After all, we wouldn't embark on a mountain trek without checking the weather, would we? So, embrace the smart kitchen, dear foodies! Let technology be your sous chef, your precision tool, your culinary muse. But never forget the magic of your own hands, the wisdom of your palate, and the joy of a meal shared with loved ones. For in the end, it's not about the gadgets, but the memories we create around them, the stories whispered over simmering pots, and the laughter echoing through a kitchen filled with the aroma of possibility.
Daniel Thomas
Misdemeanor Mushrooms Preheat oven to 325 degrees F., rack in the middle position   This recipe is from Bill Jessup, Charlie Jessup’s cousin and he’s a detective. Charlie says he calls these “Misdemeanor Mushrooms,” because they’re so good they ought to be illegal.   2 pounds pork sausage 3 cloves of finely chopped garlic 2 Tablespoons ground sage 8-ounce package cream cheese 1 Tablespoon parsley 1 ounce Marsala wine (optional) 1 pound medium to large mushrooms Parmesan cheese (to sprinkle)   In a large, non-stick skillet, combine sausage, garlic and sage. Sauté until sausage is browned and garlic is translucent. Drain fat from skillet and add softened, cubed cream cheese and parsley. Simmer for 10 minutes, stir in the wine (if you want to use it,) remove from heat, and cover. Wash mushrooms. Remove stems and set caps aside. Chop the stems very fine and stir into the sausage/ cheese mixture. Brush caps with melted butter and arrange cap-down on a non-stick baking sheet. (Bill says if you shave just a bit from the bottom of the cap to make them flat, they’ll sit on the pan a lot better.) Fill each cap with a heaping mound of warm sausage mixture and sprinkle with Parmesan cheese. Bake in a 325-degree F. oven for 15 minutes. Yield: Serves 15 to 20 people as an appetizer (unless Charlie
Joanne Fluke (Joanne Fluke Christmas Bundle: Sugar Cookie Murder, Candy Cane Murder, Plum Pudding Murder, & Gingerbread Cookie Murder)
During a visit to the county landfill, I parked my truck in front of a junk heap and stared. As I meditated on the garbage piled as high as a demolished apartment building, it struck me that everything in this gigantic entangled mass was once new. State-of-the-art. An object of want. There were BBQ grills, bikes, toys, lawn furniture, stoves, picture frames, wine racks; it was a graveyard of past desires, a swollen scrap heap of residually accumulated consumption. Then I thought: Someone once opened their wallet, swiped a credit card, and bought this stuff. And now, here it lies as worthless junk, while its debt probably remains.
M.J. DeMarco (UNSCRIPTED: Life, Liberty, and the Pursuit of Entrepreneurship)
They were finally alone. He came up straight behind Kane, not quite touching him, but close. He lifted his right hand to the wine rack. Kane was an inch or so shorter than him, just enough that Avery could lean in and whisper into his ear. He still hadn't touched Kane and that cost him. His cock would certainly make him pay for the denial of even the slightest brush. "Come home with me tonight," Avery whispered on the exhale, and then breathed Kane in on the inhale. Kane's scent coated his senses and ran rampant across his soul, settling squarely in his already hard cock. "You have to feel it. I can't be alone in this." When
Kindle Alexander (Always (Always & Forever #1))
• SHE WAS CLEANING UP the dishes on the picnic table when Marshall and Stenko finally came out of the motor home. Marshall had done the tour of The Unit so many times, for so many people, that his speech was becoming smooth and well rehearsed. Fellow retired RV enthusiasts as well as people still moored to their jobs wanted to see what it looked like inside the behemoth vehicle: their 2009 45-foot diesel-powered Fleetwood American Heritage, which Marshall simply called “The Unit.” She heard phrases she’d heard dozens of times, “Forty-six thousand, six hundred pounds gross vehicle weight . . . five hundred horses with a ten-point-eight-liter diesel engine . . . satellite radio . . . three integrated cameras for backing up . . . GPS . . . bedroom with queen bed, satellite television . . . washer/dryer . . . wine rack and wet bar even though neither one
C.J. Box (Below Zero (Joe Pickett, #9))
Jean’s Rosemary, Olive, and Parmesan Sablés Sablés aux Olives, Romarin, et Parmesan I have a real affection for the sandy-textured cookies called biscuits sablés. Here is the savory version that Jean brought to our neighborhood cinema evening. They are extremely easy to make, provided your butter really is at room temperature when you start. Serve them with a glass of white wine and some plump dates; I can’t think of a better beginning to an evening en plein air. 10½ tablespoons unsalted butter 1¼ cups flour 2 scant teaspoons fresh rosemary, finely chopped 1 cup finely grated Parmesan cheese Black pepper 12 cured black olives, pitted and finely chopped An hour or two before you want to bake, take the butter out of the fridge. It needs to be really soft. Preheat the oven to 350°F. Line a large cookie sheet with parchment paper. In a medium mixing bowl, combine flour, rosemary, Parmesan, and a grinding of black pepper. Add the olives and the softened butter cut into three or four chunks. Knead the butter into the flour mixture with your hands until the ingredients are evenly distributed and a ball of dough has formed. Do not overwork the dough. Put the dough in the fridge for 10 minutes. Roll out the dough on a piece of parchment paper to a thickness of about ¼ inch. Using a 2½-inch biscuit cutter (the top of a glass will do just fine), cut 16 rounds. Bake on a sheet of parchment paper until fragrant and highly colored, 15 to 17 minutes. Cool on a wire rack. Store in an airtight container; they keep nicely for 2 to 3 days. Makes 16 cookies
Elizabeth Bard (Picnic in Provence: A Memoir with Recipes)