Best 1420 quotes in «cooking quotes» category

Strong, good smells clash with each other, garlic against cinnamon, savory against sweet. Two dressings, Ma's traditional corn bread version as well as the stuffing she made last year for a change of pace, a buttery version with cherries and sausage and hazelnuts. The herb-brined turkey, probably larger than we need, and a challenge to manhandle into and out of the refrigerator. A deep dish of creamy, smooth mashed potatoes, riced and dried to make them thirsty, then plumped back up with warmed cream and butter. For dessert, a mocha cake I came up with one day. In the batter is barely sweetened chocolate and dark, strong coffee. The layers are sealed together with more chocolate, warmed up with a hint of ancho powder.

Taking solitude in stride was a sign of strength and of a willingness to take care of myself. This meant - among other things - working productively, remembering to leave the house, and eating well. I thought about food all the time. I had a subscription to Gourmet and Food & Wine. Cooking for others had often been my way of offering care. So why, when I was alone, did I find myself trying to subsist on cereal and water? I'd need to learn to cook for one.

Taste is the most unexplored sense

That is just one more thing I love about cooking. Recipes are certain. Use good ingredients, follow the directions, be sure your oven temperature is true and monitor your stove properly, and you are assured success. There are not many variables once you understand how cooking works. Life, on the other hand, is full of variables. Nothing is predictable. Not the weather, not other people, not traffic, not even our own bodies. We are like seaweed, whipped around in the current of an erratic ocean.

That smells delicious, Miss Sydney... may I ask what it is?" "Marjoram sausage and potatoes. And green peas in cream." Ross's appetite kindled at the savory fragrance that wafted from the plate. Lately Sophia had taken a strong hand in the kitchen, showing the inept cook-maid how to prepare edible meals. She paid close attention to his likes and dislikes, observing that he preferred well-seasoned food and had an incurable sweet tooth. In the past several days Ross had succumbed to the temptation of crisp-crusted charlotte pudding mounded high with orange filling... plum cake rich with molasses and currants... sugared apples wedged between thick layers of dough.

That was my first real experience at feeling set apart. Not only did I not knock them dead, but rather it was I that died...acutely aware of being mutton dressed up as lamb. I exchanged my white tie and tails for a white waiter’s jacket and got back to my proper calling!

The bones and shells and peels of things are where a lot of their goodness resides. It's no more or less lamb for being meat or bone; it's no more or less pea for being pea or pod. Grappa is made from the spent skins and stems and seeds of wine grapes; marmalade from the peels of oranges. The wine behind grappa is great, but there are moments when only grappa will do; the fruit of the orange is delicious, but it cannot be satisfactorily spread. “The skins of onions, green tops from leeks, stems from herbs must all be swept directly into a pot instead of the garbage. Along with the bones from a chicken, raw or cooked, they are what it takes to make chicken stock, which you need never buy, once you decide to keep its ingredients instead of throwing them away. If you have bones from fish, it's fish stock. If there are bones from pork or lamb, you will have pork or lamb stock.

The best meals are those prepared by loving hands.

The business, as respected three-star chef Scott Bryan explains it, attracts 'fringe elements', people for whom something in their lives has gone terribly wrong.

The complete recipe for imagination is absolute boredom.

The cookie-verse is infinite

The fire alarm went off. Fire engines came racing; we all rushed out on the gravel drive, everyone thinking it was us. In fact, one of the elderly residents of Saltram had left a pan on the oven in her flat. Apparently this happens all the time. The tenant in question is appearing as an extra -- playing one of the cooks.

The English, he thought, had once conquered most of the known world, but their cooking hadn't improved as a result.

The cooking was invigorating, joyous. For Julia, the cooking fulfilled the promises that Le Cordon Bleu had made but never kept. Where Le Cordon Bleu always remained rooted in the dogma of French cuisine, Julia strove to infuse its rigors with new possibilities and pleasures. It must have felt liberating for her to deconstruct Carême and Escoffier, respecting the traditions and technique while correcting the oversight. “To her,” as a noted food writer indicated, “French culinary tradition was a frontier, not a religion.” If a legendary recipe could be improved upon, then let the gods beware.

The English murder their meat twice: once when they shoot it, again when they cook it. 'Drôle, n'est-ce pas'?

The feet-on-the-stove stance of this book is a deliberate attempt to cure myself, and anyone else who will listen, of the nasty habit of worrying the world to pieces like a terrier with a rag. What we are up to here is not the hasty shaking loose of a culinary result, but a patient rumination on cooking itself. There are more important things to do than hurry.

The kernels of wheat entered the aperture virtually in single file, as if passing between a thumb and an index finger. To mill any faster risked overheating the stone, which in turn risked damaging the flour. In this fact, Dave explained, lies the origin of the phrase "nose to the grindstone": a scrupulous miller leans in frequently to smell his grindstone for signs of flour beginning to overheat. (So the saying does not signify hard work as much as attentiveness.) A wooden spout at the bottom of the mill emitted a gentle breeze of warm, tan flour that slowly accumulated in a white cloth bag. I leaned in close for a whiff. Freshly milled whole-grain flour is powerfully fragrant, redolent of hazelnuts and flowers. For the first time I appreciated what I'd read about the etymology of the word "flour" -- that it is the flower, or best part, of the wheat seed. Indeed. White flour has little aroma to speak of; this flour smelled delicious.

The idea is to make the ingredients sing, not a grand opera, but a jolly chanson.

The kitchen smelled amazing. Turkey-apple sausage sizzled in a blackened iron skillet on the sturdy old eight-burner gas range. Thick slices of bread toasted in a shiny vintage Toastmaster. Hair tied back, sleeves rolled up on her blouse, apron around her waist, Grace tossed a handful of pecans into the skillet and let them brown with the sausage while she flipped a cheddar-filled omelet in another pan. The heady aroma of freshly ground black dark-roast coffee filled the kitchen.

The life of the cook was a life of adventure, looting, pillaging and rock-and-rolling through life with a carefree disregard for all conventional morality. It looked pretty damn good to me on the other side of the line.

The more I experimented, the more I wanted to discover flavor, texture, scent. Gently toasting spices. Mixing herbs. My immediate instincts were toward anything like comfort food, the hallmarks of which were a moderate warmth and a sloppy, squelching quality: soups, stews, casseroles, tagines, goulashes. I glazed cauliflower with honey and mustard, roasted it alongside garlic and onions to a sweet gold crisp, then whizzed it up in a blender. I graduated to more complicated soups: Cuban black bean required slow cooking with a full leg of ham, the meat falling almost erotically away from the bone, swirled up in a thick, savory goo. Italian wedding soup was a favorite, because it looked so fundamentally wrong- the egg stringy and half cooked, swimming alongside thoughtlessly tossed-in stale bread and not-quite-melted strips of Parmesan. But it was delicious, the peculiar consistency and salty heartiness of it. Casseroles were an exercise in patience. I'd season with sprigs of herbs and leave them ticking over, checking up every half hour or so, thrilled by the steamy waves of roasting tomatoes and stewed celery when I opened up the oven. Seafood excited me, but I felt I had too much to learn. The proximity of Polish stores resulted in a weeklong obsession with bigos- a hunter's stew made with cabbage and meat and garnished with anything from caraway seeds to juniper berries.

The loin of Cinta Senese had been sitting in the cold room, begging to be cooked. I'd shown it to Filippo- This is our supper, I'd said, and he'd replied that supper was too far away, and didn't the painters deserve the best, serving God as they did? So I'd grabbed it, along with some garlic, thyme, rosemary, peppercorns and nutmeg. Surely they'd have salt at the studio... Filippo had bought some onions, a flask of milk and a hunk of prosciutto on the way. I hunted around in the small, chaotic niche where the artists kept their food and discovered a dusty flask of olive oil. Sniffing it dubiously, I found it was quite fresh: the dark green oil from the hills behind Arezzo. In Florence we almost always cooked in lard, oil would do in a pinch. The kiln was lit but not being used for anything, and the fire was dying down. I threw some pieces of oak onto it, chopped the onions and the ham with a borrowed knife, cut the loin away from the ribs. The artists had a trivet and some old pans which they used to cook with every now and again, though mostly they lived on pies from the cook-shop up the street. There was an earthenware pot with a cracked lid, which seemed clean enough. I put it on the trivet, poured in a good stream of the green oil, browned the meat in its wrapping of fatty rind. Sandro gave up a cup of white wine, unwillingly, which I threw over the pork. When it had cooked off, I crushed two big cloves of garlic and added them along with the rosemary I had brought, and a handful of thyme. The milk had just foamed, and I poured it over the meat. The air filled with a rich, creamy, meaty waft.

The quest for an ever-whiter shade of bread, which goes all the way back to the Greeks and Romans, is a parable about the folly of human ingenuity -- about how our species can sometimes be too smart for its own good. After figuring out an ingenious system for transforming an all but nutritionally worthless grass into a wholesome food, humanity pushed on intrepidly until it had figured out a way to make that food all but nutritionally worthless yet gain! Here in miniature, I realized, is the whole checkered history of "food processing." Our species' discovery and development of cooking (in the broadest sense of the word) gave us a handful of ingenious technologies for rendering plants and animals more nutritious and unlocking calories unavailable to other creatures. But there eventually came a moment when, propelled by the logic of human desire and technological progress, we began to overprocess certain foods in such a way as to actually render them detrimental to our health and well-being. What had been a highly adaptive set of techniques that contributed substantially to our success as a species turned into a maladaptive one -- contributing to disease and general ill health and now actually threatening to shorten human lives.

There are so many slight things she can distinguish between her senses: she can smell the difference between lavender and clover honeys; she can feel the softening progression of ripeness in a pear; and she can sense how much heat is rising in a panful of gravy, lentils, garlic.

There are mysteries buried in the recesses of every kitchen – every crumb kicked under the floorboard is a hidden memory. But some kitchens ae made of more. Some kitchens are everything.

There is a difference between dining and eating. Dining is an art. When you eat to get most out of your meal, to please the palate, just as well as to satiate the appetite, that,my friend, is dining.

There exists a bastard cuisine that is too often assumed to be real French cooking.

There has ling been a happy symbiotic relationship between kitchen and bar. Simply put, the kitchen wants booze, and the bartender wants food.

There is communion of more than our bodies when bread is broken and wine drunk.

There is no culture where everyone cooks in the same way.

Today's orthodoxy thrives on someone else doing the cooking. The single-service packet from the supermarket has replaced the sit-down home-cooked meal as the most common food choice. Easy foodism disengages people from the process and creates a level of food illiteracy unthinkable just a few short decades ago.

There was some ordinary pork, a heap of pigs' livers and some caul fat. Carenza had been to the market that morning and bought fronds of bronze fennel with their pollen-heavy flowers still on them; sorrel; bitter lettuce. I chose the fennel, went out to the courtyard and picked some marjoram, thyme, parsley and mint. I decided to make some tomacelli, because I liked them and it was the kind of fiddly, absorbing dish I could lose myself in. So I put the livers on to boil, and then cut up some veal haunch. Carenza liked mortadelli and so I'd make her some with the veal. I chopped the veal up finely with a bit of its fat and some lardo, mixed in some parsley and some marjoram. The livers were done, so I drained them and put them in a bowl. Into the mortadella mixture went a handful of grated parmigiana cheese, some cloves, cinnamon and a few threads of saffron. An egg yolk went in too, and then I sank my hands into the cool, slippery mound and mixed it with my fingers. When it was smooth I shaped it into egg-sized balls, wrapped them in pieces of caul and threaded them onto a spit. While the mortadelli sizzled over the flame, I took the livers and crumbled them up, added some minced pancetta, some grated pecorino, marjoram, parsley, raisins, some ginger and nutmeg and pepper. I bound it all together with a couple of eggs and made the stuff into balls, smaller than the mortadelli, wrapped them in more caul and set to frying them in melted lardo.

The whole concept of 'the perfect meal' is ludicrous. I knew already that the best meal in the world, the perfect meal, is very rarely the most sophisticated or expensive one....Context and memory play powerful roles in all the truly great meals in one's life.

They drained the red-tinged sherry from the cranberries, tasting as they went. Isabelle dropped the swollen berries like a long ruby necklace across the rosemary and garlic, Antonia adding a thin stream of milky-green olive oil, finally covering the mixture with slices of translucent pink and white pancetta.

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.

…those doughnuts are a lot better than having a mule kick you in the head," There was no argument there.

. . to cook well and with imagination you have to be in a cheerful and contented frame of mind, and thus inclined to be generous.

There's a recipe from the medieval book that she wants to try- an omelet fried in oil and garlic, a stuffing of crushed walnuts, hot green chili peppers, and pomegranate seeds. She goes to the cabinets and the refrigerator and begins to work while her uncle sits at the table and opens his history of Constantinople. She stands at the table, peeling and mincing onions, then fries the omelet lightly, turning it once, and its aroma is rich and complicated. The dish is sweet, tender, and so delicious that it's virtually ephemeral, the eggs dissolving in their mouths.

The sergeants are shunted forward and they blink and stare up at Gonzo as he leans on the edge of his giant mixing bowl. MacArthur never addressed his troops from a mixing bowl--not even one made from a spare geodesic radio emplacement shell--and certainly de Gaulle never did. But Gonzo Lubitsch does, and he does it as if a whole long line of commanders were standing at his shoulder, urging him on. "Gentlemen," says Gonzo softly, "holidays are over. I need an oven, and I need one in about twenty minutes, or these fine flapjacks will go to waste, and that is not happening." And something about this statement and the voice in which he says it makes it clear that this is simply true. One way or another, this thing will get done. Under a layer of grime and horror, these two are soldiers, and more, they are productive, can-do sorts of people. Rustily but with a gratitude which is not so far short of worship, they say "Yes, sir" and are about their business.

The tone of the repartee was familiar, as was the subject matter, a strangely comfortable background music to most of my waking hours over the last two decades or so - and I realised that, my God... I've been listening to the same conversation for twenty-five years!

Think you're not an artist? Of course you are! Everyone has something special to offer. Go for it! Creative expression is what makes a meal, in a word, Beautiful. Go ahead and find your creative voice in food and feel the power it has to transform your dining experience.

This book is about street-level cooking and its practitioners. Line cooks are the heroes.

To ferment your own food is to lodge a small but eloquent protest - on behalf of the senses and the microbes - against the homogenization of flavors and food experiences now rolling like a great, undifferentiated lawn across the globe. It is also a declaration of independence from an economy that would much prefer we remain passive consumers of its standardized commodities, rather than creators of idiosyncratic products expressive of ourselves and of the places where we live, because your pale ale or sourdough bread or kimchi is going to taste nothing like mine or anyone else's.

Too lazy to peel fresh? You don't deserve to eat garlic.

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.

To want to own a restaurant can be a strange and terrible affliction. What causes such a destructive urge in so many otherwise sensible people? Why would anyone who has worked hard, saved money, often been successful in other fields, want to pump their hard-earned cash down a hole that statistically, at least, will almost surely prove dry? Why venture into an industry with enormous fixed expenses (...), with a notoriously transient and unstable workforce, and highly perishable inventory of assets? The chances of ever seeing a return on your investment are about one in five. What insidious spongi-form bacteria so riddles the brains of men and women that they stand there on the tracks, watching the lights of the oncoming locomotive, knowing full well it will eventually run over them? After all these years in the business, I still don't know.

Two cool things I like about a great cook and their exquisite dishes...they enjoy cooking it and enjoy watching me eat it!

TV cookery is very like internet porn - the overwhelming majority of its audience will never ever get to act out what's happening on screen.

Using someone else's kitchen feels a little like reading their diary. I'm so anxious.

Vegetables cooked for salads should always be on the crisp side, like those trays of zucchini and slender green beans and cauliflowerets in every trattoria in Venice, in the days when the Italians could eat correctly. You used to choose the things you wanted: there were tiny potatoes in their skins, remember, and artichokes boiled in olive oil, as big as your thumb, and much tenderer...and then the waiter would throw them all into an ugly white bowl and splash a little oil and vinegar over them, and you would have a salad as fresh and tonic to your several senses as La Primavera. It can still be done, although never in the same typhoidic and enraptured air. You can still find little fresh vegetables, and still know how to cook them until they are not quite done, and chill them, and eat them in a bowl.