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Quote by Rochie Pinson

“When we nurture, we need to do so from the deepest part of ourselves. Trying to fit into a "cookie-cutter" mold of nurturing will only frustrate and be harmful to both ourselves and our loved ones, cheating them of our full nurturing potential. To nurture is to be aware of our most true self and to give from that place. We make challah from a place of commitment to nourish ourselves and our families in a way that goes beyond mere physical feeding and watering.”

Quote by Rochie Pinson

Book:Rising: The Book of Challah: Recipes for Challah & Life from Rebbetzin Rochie's Kitchen
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Rising: The Book of Challah: Recipes for Challah & Life from Rebbetzin Rochie's Kitchen

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Rochie Pinson

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“There will be days when we feel fully risen and expansive and up to facing life's most difficult challenges, and we will gaze at our lovely fat challahs with pride. There will also be days when we may feel deeply deflated and incapable, and the slightly lop-sided challahs cooling on the counter may be more reflective of that state of mind. Through all the risings and the fallings, through the knowledge that we are good enough to nurture, exactly as we are, will help us appreciate the yield of our efforts and recognize the loveliness in all its imperfection.”

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Book:Rising: The Book of Challah: Recipes for Challah & Life from Rebbetzin Rochie's Kitchen
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“He had never owned a car. He biked or hitchhiked where he needed to go. He had recently turned against the word should, and doing so had made him a happier person. He found the market economy and it's anonymous exchange boring. He'd like to imagine a farm where no money changed hands, only goodwill and favors. He had a theory that you had to start out by giving stuff away- preferably big stuff, worth, he figured, about a thousand dollars. At first, he said, people are discomfited by such a big gift. They try to make it up to you, by giving something big in return. And then you give them something else, and they give you something else, and pretty soon nobody is keeping score. There is simply a flow of things from place of excess to place of need. It's personal, and it's satisfying, and everyone feels good about it. This guy is completely nuts, I thought. But what if he's right?”

FarmingEccentricityAnticapitalistAlternative LifestyleAlternative Economy
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“She scanned the masks, and her eyes were immediately drawn to one in a deep shade of purple with shimmering royal-blue sequins and feathers in the same colors. Faux sapphires and amethysts dangled from its sides. "May I have this mask, please?" The man handed it to Rosalia. "You chose the perfect color to complement your beautiful dark hair, signorina." "Grazie." She blushed slightly at his compliment.”

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“At the entrance of one of the Hypogeum's painted rooms, the faint engraved impression of a large human hand, also arbitrarily assigned to the Neolithic, may still be seen. It 'has parallels in similar designs in Palaeolithic sites at Gargas, El Castillo, and particularly with Montespan in the Franco-Cantabrian region.' The impression shows a hand with six fingers [a condition known as Polydactyly that is also seen on at least one of the 'Fat Lady' figures on show in the National Museum of Archaeology].”

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“Soon after the news broke about these published conclusions [regarding the evidence of a Palaeolithic human presence on Malta] and their stark contradiction of the orthodox view on Malta's prehistory, the Italian team distanced itself from its initial Palaeolithic leanings and claimed instead that the depictions in Ghar Hasan are 'out of context' -- which indeed they are if one is only prepared to countenance a Neolithic context for the earliest human presence in Malta. Another development at about the same time was that the Ghar Hasan cave began to be vandalized, and the paintings defaced or completely removed, a process that continued over a long period. The result, which would have caused an international furore anywhere else but Malta, is that today: 'The only depictions which have survived, unless more are obscured by stalagmitic material on the cavern walls, are the two handprints in red pigment in Gallery D ... Vandalism not of the popular type has destroyed and obscured the entire repertoire of images on the accessible areas.”

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