Yuzu Quotes

I had no particular problem about getting divorced. For all intents and purposes we already were divorced. And I had no emotional hang up about signing and sealing the official documents. If that's what she wanted, fine. It was a legal formality, nothing more. But when it came to why, and how, things had turned out this way, the sequence of events was beyond me. I understood, of course, that over time, and as circumstances changed, a couple could grow closer, or move apart. Changes in a person's feelings aren't regulated by custom, logic, or the law. They're fluid, unstable, free to spread their wings and fly away. Like migratory birds have no concept of borders between countries. But these were all just generalizations, and I couldn't easily grasp the individual case here-that this woman, Yuzu, refused to love this man, me, and chose instead to be loved by someone else. It felt terribly absurd, a horribly ugly way to be treated. There wasn't any anger involved (I think). I mean, what was I supposed to be angry with? What I was feeling was a fundamental numbness. The numbness your heart automatically activates to lessen the awful pain when you want some-body desperately and they reject you. A kind of emotional morphine.

But these were all just generalizations, and I couldn’t easily grasp the individual case here—that this woman, Yuzu, refused to love this man, me, and chose instead to be loved by someone else. It felt terribly absurd, a horribly ugly way to be treated. There wasn’t any anger involved (I think). I mean, what was I supposed to be angry with? What I was feeling was a fundamental numbness. The numbness your heart automatically activates to lessen the awful pain when you want somebody desperately and they reject you. A kind of emotional morphine.

Eating a meal in Japan is said to be a communion with nature. This particularly holds true for both tea and restaurant kaiseki, where foods at their peak of freshness reflect the seasonal spirit of that month. The seasonal spirit for November, for example, is "Beginning Anew," because according to the old Japanese lunar calendar, November marks the start of the new tea year. The spring tea leaves that had been placed in sealed jars to mature are ready to grind into tea. The foods used for a tea kaiseki should carry out this seasonal theme and be available locally, not flown in from some exotic locale. For December, the spirit is "Freshness and Cold." Thus, the colors of the guests' kimonos should be dark and subdued for winter, while the incense that permeates the tearoom after the meal should be rich and spicy. The scroll David chose to hang in the alcove during the tea kaiseki no doubt depicted winter, through either words or an ink drawing. As for the flowers that would replace the scroll for the tea ceremony, David likely would incorporate a branch of pine to create a subtle link with the pine needle-shaped piece of yuzu zest we had placed in the climactic dish. Both hinted at the winter season and coming of New Year's, one of David's underlying themes for the tea kaiseki. Some of the guests might never make the pine needle connection, but it was there to delight those who did.

How do you fancy making some dark cherry ganache with me, and we can fill these little yuzu shells with that instead? They can be a temporary special: a macaron de saison." I scrape the offending basil mixture into the bin. "Whatever you want." Her brightening eyes betray her. "That's the enthusiasm I was looking for," I reply, smiling. "What shall we call them then? It has to be French." We surrender to a thoughtful silence. Outside the cicadas are playing their noisy summer symphony. I imagine them boldly serenading one another from old tires, forgotten woodpiles, discarded plastic noodle bowls. "Something about summer..." she mumbles. After conferring with my worn, flour-dusted French-English dictionary, we agree on 'Brise d'Ete.

This hollandaise sauce that's been generously drizzled over the whole dish... I can taste yuzu kosho and soy sauce in it. That's a decidedly Japanese twist on a typically very European sauce! The heavy savoriness of thick sliced pork grilled to a crusty golden brown... ... balances perfectly with the briskly tart Shio Konbu seaweed and shiso leaves mixed into the rice! Then there's the centerpiece of his dish, the tempura egg! It's crispy on the outside and delectably soft and gooey on the inside! Instead of freezing it, he must have poached the egg before deep-frying it this time! The whites are unbelievably tender, and the soft-boiled yolk is so creamy you might not believed it's cooked! To batter and deep-fry a poached egg that delicate without crushing it... ... you'd need skill and a touch bordering on the superhuman! Just how much has he trained?! How hard has he practiced... ... to make this single dish?! "Sure does take you back, doesn't it? This Eggs Benedict. I switched the muffin out for some seasoned rice, a family-restaurant staple. Then there's the poached egg that I deep-fried. Pork chops for the bacon. Japanese-style hollandaise sauce.

Esto ha ido ocurriendo también con las capacidades físicas, como el espacio para orientarse y navegar. La gente pide a Google que la guíe cuando conduce. Cuando llega a una intersección, su instinto puede decirle: «Gira a la izquierda», pero Google Maps le dice: «Gire a la derecha». Al principio hacen caso a su instinto, giran a la izquierda, quedan atascados en un embotellamiento de tráfico y no llegan a tiempo a una reunión importante. La próxima vez harán caso a Google, girarán a la derecha y llegarán a tiempo. Aprenden por experiencia a confiar en Google. Al cabo de uno o dos años, se basan a ciegas en lo que les dice Google Maps, y si el teléfono inteligente falla, se encuentran completamente perdidos. En marzo de 2012, tres turistas japoneses que viajaban por Australia decidieron realizar una excursión de un día a una pequeña isla situada lejos de la costa, y acabaron con su coche dentro del océano Pacífico. La conductora, Yuzu Noda, de veintiún años, dijo después que no había hecho más que seguir las instrucciones del GPS: «Nos dijo que podríamos conducir hasta allí. No dejaba de decir que nos llevaría a una carretera. Quedamos atrapados».[12] En varios incidentes parecidos, los conductores acabaron dentro de un lago, o cayeron desde lo alto de un puente demolido, aparentemente por haber seguido las instrucciones del GPS.[13] La capacidad de orientarse es como un músculo: o lo usas o lo pierdes.[14]

- Wiesz, Tsukuru – głos Eri wydobywał się spomiędzy jej palców. - Mam do ciebie prośbę. - Jaką? - Czy mógłbyś mnie przytulić? Tsukuru pomógł jej wstać i objął ją. Dwie duże piersi przylgnęły do niego jak jakiś dowód. Na plecach czuł ciepło jej dłoni. Miękki, mokry policzek dotknął jej szyi. - Myślę, że już nigdy nie będę mogła wrócić do Japonii – wyszeptała. Jej ciepły, wilgotny oddech musnął jego ucho. - Bo wszystko by mi przypominało Yuzu. I nasze... Tsukuru nic nie powiedział, tylko mocniej ją objął. Stali tak objęci, prawdopodobnie widoczni przez otwarte okno. Ktoś mógł tamtędy przechodzić. Edvard z dziećmi mógł w każdej chwili wrócić. Ale takie rzeczy nie miały znaczenia. Niech ludzie sobie myślą, co chcą. Musieli się tu teraz obejmować ze wszystkich sił. Musieli się zbliżyć i razem odegnać długi cień złego ducha. Prawdopodobnie Tsukuru po to tu przyjechał. Bardzo długo – ile to mogło trwać? - stali tak blisko siebie. Biała firanka nadal nieregularnie kołysała się na wietrze, policzki Eri nadal były mokre, a Alfred Brendel nadal grał utwory z "Roku drugiego. Włochy: Sonet Petrarki nr 47" i "Sonet Petrarki nr 104". Tsukuru dokładnie je wszystkie pamiętał. Mógłby je zanucić z pamięci. Po raz pierwszy zdał sobie sprawę, jak głęboko wsłuchiwał się w nie sercem. Nic więcej nie mówili. Słowa nie miały mocy. Jak tancerze, którzy przestali się poruszać, stali tylko cicho objęci, poddając się nurtowi czasu. Był to czas, w którym mieszały się przeszłość, teraźniejszość i prawdopodobnie także trochę przyszłości. Między ich ciałami nie było luk, jej ciepły oddech w regularnych odstępach owiewał jej szyję. Tsukuru zamknął oczy i poddając się brzmieniu muzyki, wsłuchiwał się w odgłos bicia serca Eri, który nakładał się na stukot małej łódki uderzającej o pomost.

So, Rachel, what do you want to get?" he asks, even though we still haven't opened the menu. I throw open the cover and quickly scan my choices. I am hungry for everything. I want to taste their teriyaki sauce and see how they've worked yuzu into a salad dressing and sample their tempura batter. I want to sit up at the sushi bar and chat with the chef about different fillets of raw fish. And I want to be on a date with a guy who wants to hear the chef's answers too. Still, Rob Zuckerman is nice, and he's obviously smart and successful, and he has a full head of brown hair (one cannot discount that full head of hair). So I close my menu and ask him to suggest a few things since he has obviously been here before. "Why don't we start with a bowl of edamame and an order of tatsuta-age chicken?" "I made that this week," I exclaim, excited that he'd pick that off the menu since I was eyeing it. "I'm learning how to cook and it's actually really easy. You just marinate the chicken and then coat it in potato starch before you fry it." I notice that Rob is staring at me as if I've just started reciting the recipe in Japanese. "I can't believe I've ordered it all these years when I could make it at home.

Dairy Chiko, in the basement of Nakano Broadway, is a surrealist ice cream shop known for octuple-decker soft-serve cones. You can also order a smaller cone with less than one billion calories, but the draw at Dairy Chiko is watching how other people eat their towering cones of vanilla, yuzu, milk tea, matcha, ramune, orange, strawberry, and chocolate (flavors may vary). Walking while eating is taboo in Japan, and Dairy Chiko has no seating area, so people loiter near the stand, two to a cone, drawing spoons up the sides of the ice cream, trying to forestall the inevitable. Old ladies, meanwhile, usually order a small matcha cone and eat it with a spoon, avoiding the shame of a green milk mustache. Near Dairy Chiko is a cafe with a public seating area and a very angry-looking drawing of an eight-layer cone with the international NO symbol superimposed on it.

For dinner, he serves dishes such as raw local fish accented with touches like fresh basil and balsamic vinegar; roasted pumpkin soup laced with ishiri; fat, chewy handmade spaghetti with tender rings of squid on a puddle of ink enhanced with another few drops of fish sauce. It's what Italian food would be if Italy were a windswept peninsula in the Far East. If dinner is Ben's personal take on Noto ingredients, breakfast still belongs to his in-laws. It's an elaborate a.m. feast, fierce in flavor, rich in history, dense with centuries of knowledge passed from one generation to the next: soft tofu dressed with homemade soy and yuzu chili paste; soup made with homemade miso and simmered fish bones; shiso leaves fermented kimchi-style, with chilies and ishiri; kaibe, rice mixed with ishiri and fresh baby squid, pressed into patties and grilled slowly over a charcoal fire; yellowtail fermented for six months, called the blue cheese of the sea for its lactic funk. The mix of plates will change from one morning to the next but will invariably include a small chunk of konka saba, mackerel fermented for up to five years, depending on the day you visit. Even when it's broken into tiny pieces and sprinkled over rice, the years of fermentation will pulse through your body like an electric current.

He's on to sashimi now, fanning and curling slices of snapper and fugu into white roses on his cutting board. Before Toshio can plate the slices, Shunichi reaches over and calmly replaces the serving plate his son has chosen with an Edo-era ceramic rectangle more to his liking. Three pieces of tempura- shrimp, eggplant, new onion- emerge hissing and golden from the black iron pot in the corner, and Toshio arranges them on small plates with wedges of Japanese lime. Before the tempura goes out, Shunichi sneaks in a few extra granules of salt while Toshio's not looking. By now Dad is shadowing his son's every move. As Toshio waves a thin plank of sea cucumber eggs over the charcoal fire, his dad leans gently over his shoulder. "Be careful. You don't want to cook it. You just want to release its aroma." Toshio places a fried silverfish spine on a craggy ceramic plate, tucks grated yuzu and sansho flowers into its ribs, then lays a sliver of the dried eggs over the top. The bones shatter like a potato chip, and the sea cucumber detonates in my mouth.

I can tell right away by looking at you what you want to eat," he says. "I can tell how many brothers and sisters you have." After divining my favorite color (blue) and my astrological sign (Aquarius), Nakamura pulls out an ivory stalk of takenoko, fresh young bamboo ubiquitous in Japan during the spring. "This came in this morning from Kagumi. It's so sweet that you can eat it raw." He peels off the outer layer, cuts a thin slice, and passes it across the counter. First, he scores an inch-thick bamboo steak with a ferocious santoku blade. Then he sears it in a dry sauté pan until the flesh softens and the natural sugars form a dark crust on the surface. While the bamboo cooks, he places two sacks of shirako, cod milt, under the broiler. ("Milt," by the way, is a euphemism for sperm. Cod sperm is everywhere in Japan in the winter and early spring, and despite the challenges its name might create for some, it's one of the most delicious things you can eat.) Nakamura brings it all together on a Meiji-era ceramic plate: caramelized bamboo brushed with soy, broiled cod milt topped with miso made from foraged mountain vegetables, and, for good measure, two lightly boiled fava beans. An edible postcard of spring. I take a bite, drop my chopsticks, and look up to find Nakamura staring right at me. "See, I told you I know what you want to eat." The rest of the dinner unfolds in a similar fashion: a little counter banter, a little product display, then back to transform my tastes and his ingredients into a cohesive unit. The hits keep coming: a staggering plate of sashimi filled with charbroiled tuna, surgically scored squid, thick circles of scallop, and tiny white shrimp blanketed in sea urchin: a lesson in the power of perfect product. A sparkling crab dashi topped with yuzu flowers: a meditation on the power of restraint. Warm mochi infused with cherry blossoms and topped with a crispy plank of broiled eel: a seasonal invention so delicious it defies explanation.

Failure or not depends on the perspective of people. Failure is not the opposite of success, but a part of it. If you do not fail, you might not notice a lot of things.

În cele din urmă eu am abandonat-o pe Yuzu, spuse Eri. Cumva am reușit să fug de ea. M-am îndepărtat cât am putut de chestia aia urâtă care-i stătea în spinare, orice ar fi fost ea. [...] Ea mi-era cea mai dragă de pe lume, și multă vreme am văzut-o ca pe o parte din mine. Voiam să mă ocup de ea, dar pe de altă parte obosisem și eu. Eram obosită să o tot îngrijesc. Oricâte eforturi făceam, nu reușeam să o împiedic să se îndepărteze de lumea reală, și pentru mine asta era cumplit. Dacă rămâneam în Nagoya, era posibil la un moment dat să o iau și eu razna. Dar astea sunt doar scuze, nu?

Shokado bento boxes were originally paint boxes, you know--- that's why they're divided up into squares like that. Anyway, in the top left are the appetizers. Wakasa winter mackerel, marinated in vinegar and served sashimi-style; Hinase oysters simmered in a sweet soy and mirin sauce; Kyoto-reared chicken, deep-fried in the Toji temple style using a yuba batter; vinegared Taiza crab; stewed Shishigatani pumpkin; and Omi beef, marinated and deep-fried Tatsuta-age style. All served bite-size. In the top right is what we call 'imobo'--- dried codfish stewed with ebi-imo taro. I've served it with grated yuzu from Mio. Should brighten up the flavor a little. Bottom right is a selection of sashimi: lightly salted Wakasa tilefish served on a bed of kelp, and Toyama winter yellowtail, sliced extra thin and wrapped in thin slices of lightly pickled Shogoin turnip. Try those with a bit of the shredded shio-kombu--- kelp simmered in soy sauce. And bottom left is the rice, cooked in soft-shelled turtle broth. It's a very delicate flavor, so you can eat it just like you would plain white rice. In that little sake cup is some squeezed ginger juice--- try drizzling that on the rice, if you like. It'll really bring out the flavor. The soup is white miso with chunks of millet cake. Take your time, and enjoy!

Those are the best evenings, when we fill up on bread bowls stuffed to the brim with clam chowder and then spend the full-moon-drenched night on the empty pier, gathering the thick, swirling clouds of raw magic. I wouldn't be able to spend late nights with Remy, cozied up in my room with magic-infused globes floating around us as we watch the latest episode of Demon Slayer projected on my ceiling, while sipping charmed mugs of yuzu honey tea.

Suddenly, I'm thinking about all I didn't know about Felix's life. What the ate at the Israeli restaurant, for example, the meal that made him want to come here. "Endive salad with creamy yuzu dressing, followed by three-chili shrimp scampi," Felix cuts in. "For dessert: white chocolate gelato with fresh pomegranate and a passionfruit drizzle.

Suddenly, I'm thinking about all I didn't know about Felix's life. What he ate at the Israeli restaurant, for example, the meal that made him want to come here. "Endive salad with creamy yuzu dressing, followed by three-chili shrimp scampi," Felix cuts in. "For dessert: white chocolate gelato with fresh pomegranate and a passionfruit drizzle.

I pluck the package of yuzu gummies from Eriku's palm and pop one in my mouth. "Umai!" I moan. "Now I know where all your energy comes from." I am fueled by sugar and love. The rest of the afternoon, I eat yuzu gummies, and by the end of our session, I know the ins and outs of ionic, metallic, and covalent bonds. After that, he brings a new sweet every day. "It will help with your memory," he asserts. "Scents and flavors create specialized neurological pathways." He flips open a textbook. "Today is Tokyo Banana and intermolecular force." It goes on. Meito Cola Mochi Candy paired with changes of substances. Hokkaido melon with mascarpone-cheese-flavored Kit Kats and inorganic chemistry. We finish with Eiwa coffee-flavored marshmallows and organic chemistry.

Candy? Let me guess, it's vegan, organic, sugar-free, and all profits go to baby pandas?" Adam teased.

So powerful! Yet so light! The delicate and sweet oil sweeps across the tongue in a paralyzing wave! The tender and fluffy flesh! The mild and mellow marinade accented with the citrusy bite of yuzu fruit! It's too much! It's the full power of a perfect Tokishirazu Salmon... ... presented in one direct explosion of flavor!

So that's the Wanmono Soup made by Satoshi Isshiki... ... the so-called Master of Aggressive Japanese Cuisine." "Look how beautifully it's plated! Even the ingredient colors are coordinated!" "A true work of art!" "Just looking at it sucks me in." "But the taste... how does it taste?! Is it as delicious as it is gorgeous?!" "Just one sip of the broth was enough to send a shock wave surging through my body. Delicately constructing a wanmono soup out of just hare and konbu is difficult enough. But to incorporate clam stock as well?! And so seamlessly too!" "Clams?!" "Wait, the soup broth is hare... and also clam?! How does that even work?!" "There are four major components of a proper wanmono soup. Suiji --- the broth that forms the backbone of the dish Sukuchi --- the ingredients that accent the dish's aroma Wandane --- the main ingredient of the soup Wanzuma --- the side ingredients that complement the wandane Blending the hare and clam stocks in a seven-to-three ratio infused the suiji broth with the mellow, salty body of the clams... ... putting a new, delicious spin on the traditional wanmono soup broth! And the fresh, tangy aroma of yuzu fruit in the suikuchi accent neatly underscores that flavor, making it stand out all the more! With this, he's done nothing short of innovatively reinventing a traditional Japanese soup stock!

The green sponge turned out to be fu (wheat gluten), a high-protein Buddhist staple food often flavored with herbs and spices. The pink-and-yellow cigarette lighters turned out to be yogurts. The lime-green yo-yos were rice taffy cakes bulging with sweet white bean paste. As for the vermilion-colored mollusks, they were a kind of cockle called blood clams (or arc shell) and, according to Tomiko, "delicious as sushi." The jumbo green sprouts came from the daikon radishes and were "tasty in salads." And the pebbly-skinned yellow fruit was yuzu, an aromatic citrus with a lemony pine flavor that was "wonderful in soup.

The tour concluded with our buying the ingredients for shabu-shabu to enjoy that night with Tomiko and her husband. Sitting around the wooden table in Tomiko's kitchen, we drank frosty Kirin beers and munched on edamame, fresh steamed soybeans, nutty and sweet, that we pulled from their salt-flecked pods with our teeth. Then Tomiko set down a platter resplendent with gossamer slices of raw beef, shiitake mushrooms, cauliflower florets, and loamy-tasting chrysanthemum leaves to dip with long forks into a wide ceramic bowl of bubbling primary dashi. I speared a piece of sirloin. "Wave the beef through the broth," instructed Tomiko, "then listen." Everyone fell silent. As the hot dashi bubbled around the ribbon of meat, it really did sound as though it was whispering "shabu-shabu," hence the onomatopoeic name of the dish. I dipped the beef in a sauce of toasted ground sesame and soy and as I chewed, the rich roasted cream mingled with the salty meat juices. "Try this one," urged Tomiko, passing another sauce of soy and sesame oil sharpened with lemony yuzu, grated radish, and hot pepper flakes. I tested it on a puffy cube of warm tofu that Tomiko had retrieved from the dashi with a tiny golden wire basket. The pungent sauce invigorated the custardy bean curd.

I busied myself with the seaweed, while Stephen pulled out flexible opaque salmon bones. After skinning the fish, he sliced it down the center seam, creating two pieces, which he cut into quarter-inch-thick slices. Then, like magic, he transformed a knob of ginger into a miniature golden haystack. I handed him the slippery piece of kelp, which he squared off and placed on a bamboo sushi roller. Next, he laid several slices of salmon across the shiny middle, sprinkled it with a few threads of ginger, and rolled it up like a nori roll. After sealing the cylinder in plastic wraps, he handed it to me. "Cut this into bite-size pieces." The sweet and tangy kelp yielded like a cooked lasagna noodle under the sharp knife, creating exotic coral-and-sienna pinwheels. Next, we made delicate egg crepes to wrap around thick oily slices of mackerel that we soaked in a bracing mix of dashi, sugar, and soy. This was followed by a small "salad" of lightly salted white fish "noodles" tossed with salmon roe and lemony yuzu.

To our surprise and delight, dinner was stupendous. Served in our room at the low polished wood table, it exuded a freshness and artistry we had not seen since leaving Kyoto. The sashimi- sea bream, squid, and skipjack- tasted as clean as a freshly sliced apple. Rusty-red miso soup had a meaty fortifying flavor enhanced with cubes of tofu and slithery ribbons of seaweed. The tempura, served in a basket of woven bamboo, shattered to pieces like a well-made croissant. Hiding inside the golden shell was a slice of Japanese pumpkin, a chunk of tender white fish, an okra pod, a shiitake mushroom cap, and a zingy shiso leaf. Pale yellow chawan-mushi also appeared in a lidded glass custard cup. With a tiny wooden spoon we scooped up the ethereal egg and dashi custard cradling chunks of shrimp, sweet lily buds, and waxy-green ginkgo nuts. In a black lacquer bowl came a superb seafood consommé, along with a knuckle of white fish, tuft of spinach, mushroom cap, and a tiny yellow diamond of yuzu zest. A small lacquer bucket held several servings of sticky white rice to eat with crunchy radish pickles and shredded pressed cabbage. A small wedge of honeydew melon concluded the meal.

SALSA VERDE. A sauce made primarily of finely minced Italian parsley and cured anchovies... it is often a garnish for grilled meat or vegetable dishes... and is considered a staple sauce in Italian cuisine. "What was he thinking? This was supposed to be a Japanese dish! Making something Italian means he automatically fails!" "No, he does not. This salsa wasn't made from cured anchovies. Instead, it primarily uses uruka, a specific type of shiokara sauce made from sweetfish. *Shiokara is salted, fermented fish viscera.* Uruka typically requires over a week to make. However, this is an "instant" version, is it not?" "Correct! Wash sweetfish viscera and boil them in saké for two minutes. Then flavor with soy sauce, salt and mirin. The result is a quickly made, yet still rich and appropriately bitter, uruka. "Instant uruka?!" "I didn't know that was possible!" "That wasn't the only place he was creative. Instead of parsley, he minced Japanese perilla leaves and green onion to give it a bright green color and refreshing kick. And since garlic is hardly used in traditional Japanese cuisine, he chose yuzukosho, a seasoning made from chili peppers, yuzu fruit peels and salt, to give it a distinctly Japanese flavor." "Exactly. With instant uruka as its base... ... I made a Japanese-style salsa verde!

But I don’t think there’s anything you can do about it. People like Shuji and Yuzu are unusual. They’ve got so much going for them, right? And they’re idiots! And Tomozaki-kun is a weird one, too. Ah-ha-ha. That stuff is impossible for normal people! I think all normal people…are acting a little bit. I think…you need to find at least one person you can show your real self to, as a kind of compromise, right? That’s just how I see it, of course!