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“The chopped liver was smooth but just a little grainy, rich but with just a slight iron tang. The kimchi was sour and tart and crunchy and a little fishy, clearly the real thing. Piled together on a toasted slice of baguette and with a little extra richness from homemade mayo, it was an excellent bite. But not one that photographed all that well. Sure, the kimchi was bright red and pretty, splayed out like phoenix feathers, but the chopped liver was brown and mushy. I didn't think liver would get me all that many hits. Something that also tasted good but didn't photograph very well: the bite-size orbs of gefilte fish, the puree of who-knows-what soft and smooth, its pearly grayness flecked with orange bits of carrot. At least the vibrant beet and cardamom pickle on top, reminiscent of horseradish, looked nice.”

Quote by Amanda Elliot

Book:Best Served Hot
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Best Served Hot

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Amanda Elliot

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Book:Best Served Hot
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“By 1938, Scotland had for nearly 200 years lived within a classic peripheral identity assigned to it by the artists and ideologues of the great European core cultures through the mode of Romanticism and their control of the means of (ideological) production. However, the brute fact of subsequent uneven economic development compelled the Scots to bring into collision with that historically assigned identity a new-fashioned identity more appropriate to a dynamic modern nation. Great national moments of self-presentation, such as the Glasgow Empire Exhibition of 1938, were the occasions when the ongoing dialectic of modern/urban against rural/ancient emerged in its most public and delirious form. Such occasions therefore hold a political lesson. The process of speaking with two voices - the fissures; the uncertainties; the grating shifts of gear from one discourse to another - assert once more, the fluid, unstable character of national identity. Such occasions proclaim that national identity is not a set of inborn, natural characteristic in a people, but the product of that people's history. With the realisation of instability comes the realisation of the possibility of change.”

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“In SMT Magazine and Scottish Country Life, Alastair Borthwick informed would-be visitors that 'Facing you as you enter... are the Cascades - seventeen waterfalls pouring 400 feet down the hillside - and the Grand Staircase, which is a double flight of steps running on either side of the cascades'. Soaring above these at the crest of Bellahouston Hill was the exhibition's 'sensational and symbolic centrepiece' - the 300-feet-high Tower of Empire which Thomas S. Tait designed with assistance from Launcelot Ross and from structural engineer James Mearns... In height, it was equivalent to a skyscraper - a building type most Scots would have known only from illustrations in newspapers and magazines - but the effect of slenderness Tait achieved also made it suggestive of some sort of futuristic scence fiction fantasy structure that might be used to tether airships, for example. Its design captured the imaginations of all who saw it and it was undoubtedly the exhibition's one truly awe-inspiring building.”

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Book:Art Deco Scotland: Design and Architecture in the Jazz Age
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“The outbreak of war and the hiatus in non-essential building that it necessitated meant that the Empire Exhibition came to be looked back upon as a period ensemble, rather than the springboard to a new Scotland that those who planned it had hoped for. The international political situation meant that the demolition of the tower was not unexpected, and the imminent war was causing more pressing worries. By the time thar economic and political will for radical updating returned in the 1950s, concepts of what was modern in architecture and planning had moved on. Nonetheless, several of those subsequently involved in Scotland's post-war development would have been visitors, retaining memories of spaciousness, cleanliness, coordination and colour.”

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“Centering Prayer is an opening, a response, a putting aside of all the debris that stands in the way of our being totally present to the present Lord, so that He can be present to us. It is a laying aside of thoughts, so that the heart can attend immediately to Him. All prayer is a response. The Lord first knocks, beckons, calls to us.”

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Book:Centering Prayer: Renewing an Ancient Christian Prayer Form
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