Posts Tagged ‘restaurants’
September 18, 2015 | by Sadie Stein
When we got married, my husband and I knew we didn’t want to do anything elaborate: we had neither the money nor the inclination and, in any case, we wanted to get the wedding over with and begin the marriage. (Proper weddings, as any bridal magazine will tell you, take months of preparation.) So: we agreed on a date, got our license, I bought a suit, and we went to City Hall with our siblings and our two dearest friends.
After the ceremony, we took the subway uptown and met our families for lunch. I’d booked the upstairs dining room of a venerable French restaurant because I knew the food would be good, and everyone would feel comfortable. Like everything else about the wedding, I must admit I didn’t give it too much thought; I knew the day would be nice no matter what and, for my life’s sake, very much hoped it would not be the most important. Read More »
March 25, 2015 | by Sadie Stein
Let’s say you’ve had a long day, have a rare evening to yourself, and decide to treat yourself to dinner out. You sit at a restaurant bar with a good book, a glass of wine, your own company. You choose your meal, start to disappear into a story, and then—bam—it’s spoiled by the intrusion of a chatty neighbor. You give your book a regretful, longing look and resign yourself to the opposite of pleasure.
There are few moments more purely happy than those dedicated to uninterrupted reading, and few more galling than those in which that peace is shattered, abruptly, by a stranger. Read More »
October 15, 2014 | by Sadie Stein
Be not astonished at new ideas; for it is well known to you that a thing does not therefore cease to be true because it is not accepted by many.
A little after nine, on the western outskirts of Berlin, we tried to find a bite. The first restaurant was filled with merry revelers and contained a video of a brightly burning log, but we were informed that a party was in progress, which went some way toward explaining the five dirndls, two pairs of lederhosen, and single loden jacket on the premises. That left us with a single option: the train-station restaurant.
The train-station restaurant appeared to be closed but was in fact merely deserted. A visibly drunk waiter gave us our choice of any table in the two massive dining rooms. Both were funereal, brightly lit by a series of 1980s chandeliers and enlivened by sepulchral muzak. The menu was strange and dubiously cross-cultural; we ordered dumplings. The drunk waiter conferred with a man in chef’s whites in the corner while they stared at us.
Some minutes later, the chef himself approached our table. They were out of everything but turkey dumplings, he said. Would we like turkey dumplings? The answer was obviously no, but we smiled and said, Of course, and sure enough, the turkey dumplings appeared. Aware of potential scrutiny, we feigned great enthusiasm. The drunk waiter, who had started hiccuping cartoonishly, wove by a couple of times. To our immense relief, a small group of Japanese tourists wandered in and sat on the other side of the dining room.
It was at about this time that the chef reappeared at our table. He was carrying a plastic bag and smiling mysteriously. From the bag, he removed a book. He put it down on the table with an air of revelation. We looked at it. It was a German copy of Spinoza’s Ethics. Read More »
September 16, 2014 | by Thessaly La Force
In Merritt Tierce’s debut novel, Love Me Back, life does not go as planned. A Texas high school student named Marie becomes pregnant on a missionary trip when she’s only sixteen. The event completely changes Marie’s life. Raising a child means not going to college, marrying a boy she’s only just met, and cutting short her own adolescence. Tierce writes poignantly of the pain and loneliness in Marie’s new life—as a waitress at a restaurant where the only thing that feels permanent is what her life has become. She tests her boundaries and her limits, numbing herself from reality with sex, drugs, and pain. And while it’s a hard life on the page, Love Me Back is also filled with the kindness and humor that people offer one another when they know there’s no one else. Tierce is a graduate of the Iowa Writers’ Workshop, where she was a Meta Rosenberg Fellow; she is also a recipient of the Rona Jaffe Foundation Writers’ Award.
You write of Marie’s pregnancy, “I don’t hear my whole life being written for me inside my body, cell by cell.” Marie had been accepted into Yale, but the baby completely upends her plans and distances her from her family. One of the earliest scenes in the novel is Marie’s interview at the Olive Garden—it signals the beginning of her life as a young mother in the service industry. What drew you to start at this point?
I wrote the book backward, chronologically—so I actually started at the latest point in Marie’s life. I knew what she felt and thought in the stories in the second half of the book more clearly than I knew younger Marie. I had to write back through her states of mind, back toward childhood. She was still a child when she became pregnant and I had to approach that fog carefully. Marie is unknown to herself at the beginning of the book, and I couldn’t start there. It felt like the gameplay in something like World of Warcraft, where you can only see as much of the map as you’ve explored. The rest is dark. While Marie was living it, she had to emerge from the dark and settle her territory—but while I was writing it I could only write out to the edge of black. I respected that. I let her be what she was—aware, but ignorant. New. And I can’t make any categorical statements about sixteen-year-old mothers, but my hope for my own daughter is that she lets herself find and grow and use her power for herself before she lets anyone else lay claim to it. Read More »
August 15, 2014 | by Dan Piepenbring
- Trend alert: “Dystopian fiction is passé now,” says Lois Lowry, the author of The Giver.
- This blog post about life on a commercial whaling ship is kind of long, but boy, it’s a fucking masterpiece!
- Is there a writer with a reputation more complicated than Martin Amis’s? “Amis occupies a really peculiar position in our national life. He is the object of envy, contempt, anger, disapproval, theatrical expressions of weariness—but also of fascination. Has there in living memory been a writer whom we (by which I mean the papers, mostly) so assiduously seek out for comment—we task him to review tennis, terrorism, pornography, the state of the nation—and whom we are then so keen to denounce as worthless? … It's as if, and in answer to some inchoate public need, we demand of Amis that he say things in public so we can all agree on what an ass he is.”
- There’s a kind of brinksmanship at work in the language of menus, which use verbose descriptions to confer status to food. According to new research, “every increase of one letter in the average length of words describing a dish is associated with an increase of sixty-nine cents in the price of that dish.”
- “The subject of fashion friendships is intriguing … I’m struck by two divergent realities—one conveyed by social media and one I know at close range. They are not one and the same, despite how a photo of two pals (or two enemies) might appear. Because the most meaningful stuff in fashion occurs in private places, and some degree of trust is vital to getting inside.”
August 5, 2014 | by Dan Piepenbring
- Virginia Woolf loathed the concept of the middlebrow—“If any human being, man, woman, dog, cat or half-crushed worm dares call me middlebrow … I will take my pen and stab him dead”—but she should’ve gone easier on it. “Middlebrow is a name you would never call yourself, but rather a semantic shoe that belongs on someone else’s foot. It is also, however, a workable synonym, in the sphere of art and culture, for democracy.”
- Need a quick, cheap tutorial in plotting? Watch sitcoms without the jokes …
- And while you’re working out your plot, you might want to avoid scenes set in restaurants. “That tense guy who ‘stabs his potato’ or ‘saws at his filet’ … I see what you’re doing there. Please don’t.”
- Presenting Western history’s most seminal typos: There’s 1612’s “Thou shalt commit adultery,” and 1830’s Peeface instead of Preface, and the Chilean coin that misspelled Chile…
- “What’s so great about adults? Classic-age Hollywood is full of movies for and about adults that are dull, stodgy, and uninventive—writerly and actorly, honoring traditional values with a secret whiff of piety and an eye on the cash box, rather Mantovani than Beethoven, rather Don Sebesky than John Coltrane. That kind of movie isn’t gone; it now occupies screens in art houses. It’s the rule to the exception.”