Hunger gives flavour to the food.
Diet food is not a meal its a medicine.
All worries are less with wine.
Some people when they see cheese, chocolate or cake they don't think of calories.
The salt is to the food, what soul is to the body.
A good food is mouthwatering when you see it and finger licking when you eat it.
We love our mother because she cares and also because she cooks.
In an age when mass pleasures like television are becoming more feeble and homogeneous, the very act of discrimination becomes a form of protest. At a time when mass marketing of food produces a product so disgusting that it has to be wrapped in distracting gimmicks to be sold, the mere fact of paying attention to what you eat and drink and telling the truth about taste is a revolutionary act.
Extreme excellence in music is liable to yet stronger objections; to attain it, almost every other accomplishment must be neglected; and, when attained, it leads to an improper degree of intimacy with professional people. Music softens the mind—and if a master and his pupil are continually together, bad consequence may ensure: nevertheless, I would have you know and love music; but I would not have you doat upon it.
Too often we only identify the crucial points in our lives in retrospect. At the time we are too absorbed in the fetid detail of the moment to spot where it is leading us. But not this time. I was experiencing one of my dad’s deafening moments. If my life could be understood as a meal of many courses (and let’s be honest, much of it actually was), then I had finished the starters and I was limbering up for the main event. So far, of course, I had made a stinking mess of it. I had spilled the wine. I had dropped my cutlery on the floor and sprayed the fine white linen with sauce. I had even spat out some of my food because I didn’t like the taste of it.“But it doesn’t matter because, look, here come the waiters. They are scraping away the debris with their little horn and steel blades, pulled with studied grace from the hidden pockets of their white aprons. They are laying new tablecloths, arranging new cutlery, placing before me great domed wine glasses, newly polished to a sparkle. There are more dishes to come, more flavors to try, and this time I will not spill or spit or drop or splash. I will not push the plate away from me, the food only half eaten. I am ready for everything they are preparing to serve me. Be in no doubt; it will all be fine.” (pp.115-6)
Two by two, I read library books as fast as I could go, rushing them home in the basket of my bicycle. From the minute I reached our house, I started to read. Every book I seized on stood for the devouring wish to read being instantly granted. I knew this was bliss, knew it at the time. Taste isn't nearly so important; it comes in its own time. I wanted to read immediately. The only fear was that of books coming to an end.
Like a child who saves their favourite food on the plate for last, I try to save all thoughts of you for the end of the day so I can dream with the taste of you on my tongue.
She walked empty handed in the street, where everyone sold their dreams. Ignoring the cold stares of the demon, which guarded it and always craved for the taste of the things every soul hid. At the dead end, it leapt on her. Digging the nails deep into her chest, in the search of the dreams, she hid. Only to be destroyed by the light shot from her heart. The light that blinded the whole world, setting the dreams of others free.
And when we finally stood up and turned to face the world, I could feel something climbing through me. I could feel it on its hands and knees inside me, rising up, rising up - and I smiled.I smiled, thinking, The hunger, because I knew it all too well.The hunger.The desire.Then, slowly, as we walked on, I felt the beauty of it, and I could taste it, like words inside my mouth.
How does it feel to break a part of you each day and feed to the demons inside the other person in the name of love? How many days will you do that? Have you ever thought about what happens after those demons had enough of you and decide to leave you for the taste of new soul? Look at yourself once, How much of you is remaining for yourself? Will you ever get that part of you back?
How does it feel to break a part of you each day and feed to the demons inside the other person in the name of love.How many days will you do that? Have your ever thought about what happens after those demons had enough of you and decideto leave you for the taste of new soul? Look at yourself once, How much of you is remaining for yourself? Will ever get that part of you back?
One picks one's way about through the glass and aluminum doors, the receptionists' smiles, the lunches with too much alcohol, the openings with more, the mobs of people desperately trying to define good taste in such loud voices one can hardly hear oneself giggle, while the shebang is lit by flashes and flares through the paint-stained window, glimmers under the police-locked door, or, if one is taking a rare walk outside that day, by a light suffusing the whole sky, complex as the northern aurora.
A child's reading is guided by pleasure, but his pleasure is undifferentiated; he cannot distinguish, for example, between aesthetic pleasure and the pleasures of learning or daydreaming. In adolescence we realize that there are different kinds of pleasure, some of which cannot be enjoyed simultaneously, but we need help from others in defining them. Whether it be a matter of taste in food or taste in literature, the adolescent looks for a mentor in whose authority he can believe. He eats or reads what his mentor recommends and, inevitably, there are occasions when he has to deceive himself a little; he has to pretend that he enjoys olives or War and Peace a little more than he actually does. Between the ages of twenty and forty we are engaged in the process of discovering who we are, which involves learning the difference between accidental limitations which it is our duty to outgrow and the necessary limitations of our nature beyond which we cannot trespass with impunity. Few of us can learn this without making mistakes, without trying to become a little more of a universal man than we are permitted to be. It is during this period that a writer can most easily be led astray by another writer or by some ideology. When someone between twenty and forty says, apropos of a work of art, 'I know what I like,'he is really saying 'I have no taste of my own but accept the taste of my cultural milieu', because, between twenty and forty, the surest sign that a man has a genuine taste of his own is that he is uncertain of it. After forty, if we have not lost our authentic selves altogether, pleasure can again become what it was when we were children, the proper guide to what we should read.
Music is the 'pure' art par excellence. It says nothing and has nothing to say. Never really having an expressive function, it is opposed to drama, which even in its most refined forms still bears a social message and can only be 'put over' on the basis of an immediate and profound affinity with the values and expectations of its audience. The theatre divides its public and divides itself. The Parisian opposition between right-bank and left-bank theatr, bourgeois theatre and avant-garde theatre, is inextricably aesthetic and political.
Thus, for an adequate interpretation of the differences found between the classes or within the same class as regards their relation to the various legitimate arts, painting, music, theatre, literature etc., one would have to analyse fully the social uses, legitimate or illegitimate, to which each of the arts, genres, works or institutions considered lends itself. For example, nothing more clearly affirms one's 'class', nothing more infallibly classifies, than tastes in music.
Let us hope that life grant an opportunity to those miserable who live in the golden palaces to taste the infinite peace of a wooden cottage in the countryside and so their misery ends!
Use your senses to SEE yourself for who you truly are. SMELL the flowers and become one with nature. TASTE the goodness of God. HEAR the truth. TOUCH the hearts of others with kindness and honest deeds.
Cold has its own taste. It tastes of a bitten tongue. It coils around you, a living thing, a beast that means to kill you, not with wrath, not with tooth nor claw, but with the mercy of surrender, with the kindness of letting you go gentle into the long night after such a burden of pain and misery.
We are taught to think ourselves ugly. Eyes are an assaulted sense. We are taught to behave by spankings and whippings. Touch is an assaulted sense. We are taught we should not smell, or we smell wrong. Smell is an assaulted sense. We listen to songs that call us 'hos and tell us how to give blow jobs. Hearing is an assaulted sense. Taste, not so much.
How promising today's generation is. They can whip out their cellular phones like sheep, instantly take a million digital photos of their cat and then just delete them. But I'd like to see these kids try to artfully use a traditional film camera or make a super 8 home movie. Traditional film takes integrity, nostalgia, effort, patience and imagination - things that the 21st century has very little of. Everything these days, even a superior medium like film photography with an extensively vivid history and an iconic meaning, is becoming disposable in this age.
Temptation turns you. It makes you into something you never dreamed, it presses you to give up everything you ever loved, it calls you to sell your soul for one, fleeting moment.[..] It makes you ache...you'll make any promise,swear any oath. For one...perfect...unsoiled taste
The Countess was considerably younger than her husband. All of her clothes came from Paris (this was after Paris) and she had superb taste. (This was after taste too, but only just. And since it was such a new thing, and since the Countess was the only lady in all Florin to posses it, is it any wonder she was the leading hostess in the land?)
There are all degrees of proficiency in the use men make of this instructive world where we are boarded and schooled and apprenticed. It is sufficient to our present purpose to indicate three degrees of progress.One class lives to the utility of the symbol, as the majority of men do, regarding health and wealth as the chief good. Another class live about this mark to the beauty of the symbol; as the poet and artist and the sensual school in philosophy. A third class live above the beauty of the symbol to the beauty of the thing signified and these are wise men. The first class have common sense; the second, taste; and the third spiritual perception.I see in society the neophytes of all these classes, the class especially of young men who in their best knowledge of the sign have a misgiving that there is yet an unattained substance and they grope and sigh and aspire long in dissatisfaction, the sand-blind adorers of the symbol meantime chirping and scoffing and trampling them down. I see moreover that the perfect man - one to a millennium - if so many, traverses the whole scale and sees and enjoys the symbol solidly; then also has a clear eye for its beauty; and lastly wears it lightly as a robe which he can easily throw off, for he sees the reality and divine splendor of the inmost nature bursting through each chink and cranny.
Thence it is possible to arrive by easy stages at the happy notion, not uncommon among 'intellectuals', that taste consists of distaste, and that the loftiest of pleasures is that of feeling displeased; and thus to end by enjoying almost nothing in literature but one's own opinions, while oneself incapable of writing a living sentence.
In reality there is no kind of evidence or argument by which one can show that Shakespeare, or any other writer, is "good". Nor is there any way of definitely proving that--for instance--Warwick Beeping is "bad". Ultimately there is no test of literary merit except survival, which is itself an index to majority opinion.
Think global; Think big! Think of planting a seed for unborn generations to taste; Think of making a shade that will provide comfort to others. If what you enjoy now appeals to you, thank God for the life of those who made it happen. However, the good news is that "you too can make it happen"!
But, when nothing subsists of an old past, after the death of people, after the destruction of things, alone, frailer but more enduring, more immaterial, more persistent, more faithful, smell and taste still remain for a long time, like souls, remembering, waiting, hoping, on the ruin of all the rest, bearing without giving way, on their almost impalpable droplet, the immense edifice of memory.
One not only wants to be understood when one writes, but also quite as certainly not to be understood. It is by no means an objection to a book when someone finds it unintelligible: perhaps this might just have been the intention of its author, perhaps he did not want to be understood by "anyone”. A distinguished intellect and taste, when it wants to communicate its thoughts, always selects its hearers; by selecting them, it at the same time closes its barriers against "the others". It is there that all the more refined laws of style have their origin: they at the same time keep off, they create distance, they prevent "access" (intelligibility, as we have said,) while they open the ears of those who are acoustically related to them.
I remember an hypothesis argued upon by the young students, when I was at St. Omer's, and maintained with much learning and pleasantry on both sides, 'Whether supposing that the flavour of a big who obtained his death by whipping (per flagellationem extremem) superadded a pleasure upon the palate of a man more intense than any possible suffering we can conceive in the animal, is man justified in using that method of putting an animal to death?' I forget the decision.
Though some may see their shortcomings as the greatest evil from the pit of hell, while some throw invectives at God for bringing them into a cruel, problematic world. These shortcomings are transient, the greatest evil does its work and needs no interrogation, their invectives are just a waste of time, and the world is the most sweetest to those with a functional taste buds.
Such competence is not necessarily acquired by means of the 'scholastic' labours in which some 'cinephiles' or 'jazz-freaks' indulge. Most often it results from the unintentional learning made possible by a disposition acquired through domestic or scholastic inculcation of legitimate culture. This transposable disposition, armed with a set of perceptual and evaluative schemes that are available for general application, inclines its owner towards other cultural experiences and enables him to perceive, classify and memorize them differently. . . . In identifying what is worthy of being seen and the right way to see it, they are aided by their whole social group and by the whole corporation of critics mandated by the group to produce legitimate classifications and the discourse necessarily accompanying any artistic enjoyment worthy of the name.
Every cuisine has its characteristic 'flavor principle,' Rozin contends, whether it is tomato-lemon-oregano in Greece; lime-chili in Mexico; onion-lard-paprika in Hungary, or, in Samin's Moroccan dish, cumin-coriander-cinnamon-ginger-onion-fruit. (And in America? Well, we do have Heinz ketchup, a flavor principle in a bottle that kids, or their parents, use to domesticate every imaginable kind of food. We also now have the familiar salty-umami taste of fast food, which I would guess is based on salt, soy oil, and MSG.
If we are defined by reason and morality, then reason and morality must define our choices, even when animals are concerned. When people say, for example, that they like their veal or hot dogs too much to ever give them up, and yeah it's sad about the farms but that's just the way it is, reason hears in that the voice of gluttony. We can say that what makes a human being human is precisely the ability to understand that the suffering of an animal is more important than the taste of a treat.
In our heart we know that life loves life. Yet we feast on some of the other life-forms with which we share our planet; we kill to live. Taste is what carries us across that rocky moral terrain, what makes the horror palatable, and the paradox we could not defend by reason melts into a jungle of sweet temptations.
At first people ate simply because they were alive and because food was tasty. Modern people have come to think that if they do not prepare food with elaborate seasonings, the meal will be tasteless. If you do not try to make food delicious, you will find that nature has made it so.
There are neither raptures, nor ecstasies, nor transports of bliss in the pleasures of the table; but they make up in duration what they lose in intensity, and are distinguished above all by the merit of inclining us towards all the other pleasures of life, or at least of consoling us for the loss of them.
The reason is that you eat too many foods that are high in "calories," which are little units that measure how good a particular food tastes. Fudge, for example, has a great many calories, whereas celery, which is not really a food at all but a member of the plywood family, provided by Mother Nature so that mankind would have a way to get onion dip into his mouth at parties, has none.
the toilet is an intimacyonly shared with parents when you are youngand once again when they are olderand with lovers when say on a Sundaymorning stretching into the bathroomyou wake to the sound of stream into bowland go to hug the naked bodystood with its back to you and kiss the neckand taste the whole of the night on thereand smell the morning’s pale yellow lossand take the whole of him in your handand feel the water moving through himand knowing that this is love the prone fleshwhat we expel from the body and what we let inside
All this security and prospects are different for different people. Somebody is happy playing music and with a less pay, somebody is secure in the corporate world with a high pay with headache. We have individual tastes, tastes are not universal.
Why am I impatient I am unsure for what is patience? And why should I ultimately feel that I am lacking in it. Is it timing? Waiting? Abstaining? Obligation? Longing? Torture? Perseverance? Discipline? Wanting? Someone recently referred to it as a staring contest between yourself, fate, god and chance. He also referred to it as a tease, a flirt. It's staring at her image when you want to hear her voice, feel her breath, taste her skin. Patience is the recovery from a really hot dream interrupted by the damn alarm clock. Patience is a hard cock with bound hands.
It took the mountain top, it seems to me now, to give me the sensation of independence. It was as if I'd discovered something I'd never tasted before in my short life. Or rediscovered it - for I associated it with the taste of water that came out of the well, accompanied with the ring of that long metal sleeve against the sides of the living mountain, as from deep down it was wound up to view brimming and streaming long drops behind it like bright stars on a ribbon. It thrilled me to drink from the common dipper. The coldness, the far, unseen, unheard springs of what was in my mouth now, the iron smell, all said mountain mountain mountain as I swallowed. Every swallow was making me a part of being here, sealing me in place, with my bare feet planted on the mountain and sprinkled with my rapturous spills. What I felt I'd come here to do was something on my own.
Now I myself, I cheerfully admit, feel that enormity in Kensington Gardens as something quite natural. I feel it so because I have been brought up, so to speak, under its shadow; and stared at the graven images of Raphael and Shakespeare almost before I knew their names; and long before I saw anything funny in their figures being carved, on a smaller scale, under the feet of Prince Albert. I even took a certain childish pleasure in the gilding of the canopy and spire, as if in the golden palace of what was, to Peter Pan and all children, something of a fairy garden. So do the Christians of Jerusalem take pleasure, and possibly a childish pleasure, in the gilding of a better palace, besides a nobler garden, ornamented with a somewhat worthier aim. But the point is that the people of Kensington, whatever they might think about the Holy Sepulchre, do not think anything at all about the Albert Memorial. They are quite unconscious of how strange a thing it is; and that simply because they are used to it. The religious groups in Jerusalem are also accustomed to their coloured background; and they are surely none the worse if they still feel rather more of the meaning of the colours. It may be said that they retain their childish illusion about their Albert Memorial. I confess I cannot manage to regard Palestine as a place where a special curse was laid on those who can become like little children. And I never could understand why such critics who agree that the kingdom of heaven is for children, should forbid it to be the only sort of kingdom that children would really like; a kingdom with real crowns of gold or even of tinsel. But that is another question, which I shall discuss in another place; the point is for the moment that such people would be quite as much surprised at the place of tinsel in our lives as we are at its place in theirs. If we are critical of the petty things they do to glorify great things, they would find quite as much to criticise (as in Kensington Gardens) in the great things we do to glorify petty things. And if we wonder at the way in which they seem to gild the lily, they would wonder quite as much at the way we gild the weed.
One might trouble one's dainty snout with a whiff of the taleggio displayed in an artisanal cheese shop, or take a saucer of jasmine tea and a knuckle of fennel-scented snuff at a counter of buffed Big Nothing granite. But there was a want in these ladies yet, and it was for the rude life of youth.
Had a person attempted to taste me so soon after we met, I would have been alarmed; but since Athena was an octopus, I was thrilled. Although we couldn’t have been more different — I, a terrestrial vertebrate constrained by joints and bound to air; she, a marine mollusk with not a single bone, who breathed water — she was clearly as curious about me as I was about her.
I don't want to write a mass before being in a state to do it well, that is a Christian. I have therefore taken a singular course to reconcile my ideas with the exigencies of Academy rules. They ask me for something religious: very well, I shall do something religious, but of the pagan religion. . . . I have always read the ancient pagans with infinite pleasure, while in Christian writers I find only system, egoism, intolerance, and a complete lack of artistic taste.
Today, Chanel sells nothing other than its griffe; the griffe is an absolute symbol for 'fashion' which, having become historical, is now able to sell this history better than it could sell fashion. Chanel's lasting success proves that fashion has become self-referential: the fetish of the mere name shows how it has begun to revolve around itself. The House of Chanel produces what Coco most abhorred: a thing of the past, dead. The visible, outwardly displayed griffe has become the opposite of individualized style: instead it confirms the latent uniform collectivity, which had always defined Chanel-wear; in the end, it signifies membership of an expensive club. The Chanel woman does not want to display her own taste, she wants to belong. In order to be certain, she is laden with Chanel signs and accessories, like amulets to protect against the evil eye; on the pocket, on the belt, on the dress buttons, on the watch, on costume jewelry, proudly stand the initials of the founder of the house, to which she knows she belongs.