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Quote by Elle Newmark

“The following morning dawned clear and cool, and the chef decided to send me to the Rialto to buy pears and Gorgonzola. It was a culinary test, and I was ready. I'd accompanied him on other shopping trips when he instructed me on how to judge pears by scent and color and touch. They must be bought at the absolute peak of ripeness, with no hint of green or bruising. They must be firm, though not hard, and well perfumed, ready to be eaten the same day but overripe the next. The cheese must be dolce, not picante, because it would be served with the pears for dessert. The ripeness of Gorgonzola is more forgiving than pears. Already veined with a pungent mold, it will last a good while, although even molded cheeses have their limits.”

Quote by Elle Newmark

Book:The Book of Unholy Mischief
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The Book of Unholy Mischief

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Elle Newmark

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“In a ready crust of crushed walnuts, flour, and butter, D'Ours lays the pear slices in a pinwheel design. Because they've soaked up the red wine, their edges are etched in burgundy while their centers are white, giving them a candy cane appearance. A perfect Christmas dessert. Next, he crumbles the Roquefort over the pears, noting the irony of fruit desserts. Pairing fruit with sweet ingredients such as honey or sugar brings out the fruit's tartness while tangy cheese can make the fruit seem sweeter. Which might explain why my grandfather salted his grapefruit. "Roquefort has an intriguing history," he says while tapping a traditional flan filling of cream, sugar, and eggs. "You might be surprised to learn..." I stick up my hand and before D'Ours can object, I explain how Roquefort, like most blue cheeses, attributes its blue veins to penicillin mold and that in the past, Roquefort makers (there are only, like, nine in the world), used to put wrapped cheese next to humongous moldy rye bread in caves and let the spores from the rye bread seep into the cheese.”

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“Just imagine! In the early nineteenth century, this cathedral was in such a state of disrepair that the city considered tearing it down. Luckily for us, Victor Hugo heard about the plans to destroy it and wrote The Hunchback of Notre-Dame to raise awareness of its glorious history. And, by golly, did it work! Parisians campaigned to save it, and the building was repaired and polished to the pristine state you find today.”

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“She wanted for these nameless recipes she'd invented to go rippling out into the world, changing colour and shape as they went, just like the drop of a hidden ingredient which you added to the soup at the very end. Rika wanted to go on living with a sense of that chain reaction stored inside her. She wanted to see Kaji again too. She wanted to meet her and tell her that this world deserved to be lived in. Or, no -- that this world deserved to be tasted, greedily.”

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“And then, on his soul and conscience, [Gringoire] ... was not very sure that he was madly in love with the gypsy. He loved her goat almost as dearly. It was a charming animal, gentle, intelligent, clever; a learned goat. Nothing was more common in the Middle Ages than these learned animals, which amazed people greatly, and often led their instructors to the stake. But the witchcraft of the goat with the golden hoofs was a very innocent species of magic. Gringoire explained them to the archdeacon, whom these details seemed to interest deeply. In the majority of cases, it was sufficient to present the tambourine to the goat in such or such a manner, in order to obtain from him the trick desired. He had been trained to this by the gypsy, who possessed, in these delicate arts, so rare a talent that two months had sufficed to teach the goat to write, with movable letters, the word “Phœbus.” “‘Phœbus!’” said the priest; “why ‘Phœbus’?” “I know not,” replied Gringoire. “Perhaps it is a word which she believes to be endowed with some magic and secret virtue. She often repeats it in a low tone when she thinks that she is alone.” “Are you sure,” persisted Claude, with his penetrating glance, “that it is only a word and not a name?” “The name of whom?” said the poet. “How should I know?” said the priest. “This is what I imagine, messire. These Bohemians are something like Guebrs, and adore the sun. Hence, Phœbus.” “That does not seem so clear to me as to you, Master Pierre.” “After all, that does not concern me. Let her mumble her Phœbus at her pleasure. One thing is certain, that Djali loves me almost as much as he does her.” “Who is Djali?” “The goat.” The archdeacon dropped his chin into his hand, and appeared to reflect for a moment. All at once he turned abruptly to Gringoire once more. “And do you swear to me that you have not touched her?” “Whom?” said Gringoire; “the goat?” “No, that woman.” “My wife? I swear to you that I have not.” “You are often alone with her?” “A good hour every evening.” Dom Claude frowned. “Oh! oh! Solus cum sola non cogitabuntur orare Pater Noster.” “Upon my soul, I could say the Pater, and the Ave Maria, and the Credo in Deum patrem omnipotentem without her paying any more attention to me than a chicken to a church.” “Swear to me, by the body of your mother,” repeated the archdeacon violently, “that you have not touched that creature with even the tip of your finger.” “I will also swear it by the head of my father, for the two things have more affinity between them. But, my reverend master, permit me a question in my turn.” “Speak, sir.” “What concern is it of yours?” The archdeacon’s pale face became as crimson as the cheek of a young girl.”

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