Untangling My Chopsticks Quotes

“Along with the greening of May came the rain. Then the clouds disappeared and a soft pale lightness fell over the city, as if Kyoto had broken free of its tethers and lifted up toward the sun. The mornings were as dewy and verdant as a glass of iced green tea. The nights folded into pencil-gray darkness fragrant with white flowers. And everyone's mood seemed buoyant, happy, and carefree.
When I wasn't teaching or studying tea kaiseki, I would ride my secondhand pistachio-green bicycle to favorite places to capture the fleeting lushness of Kyoto in a sketchbook. With a small box of Niji oil pastels, I would draw things that Zen pots had long ago described in words and I did not want to forget: a pond of yellow iris near a small Buddhist temple; a granite urn in a forest of bamboo; and a blue creek reflecting the beauty of heaven, carrying away a summer snowfall of pink blossoms.
Sometimes, I would sit under the shade of a willow tree at the bottom of my street, doing nothing but listening to the call of cuckoos, while reading and munching on carrots and boiled egg halves smeared with mayonnaise and wrapped in crisp sheets of nori. Never before had such simple indulgences brought such immense pleasure.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“Tea first came to Japan in the sixth century by way of Japanese Buddhist monks, scholars, warriors, and merchants who traveled to China and brought back tea pressed into bricks. It was not until 1911, during the Song dynasty, that the Japanese Buddhist priest Eisai (also known as Yosai) carried home from China fine-quality tea seeds and the method for making matcha (powdered green tea). The tea seeds were cultivated on the grounds of several Kyoto temples and later in such areas as the Uji district just south of Kyoto.
Following the Chinese traditional method, Japanese Zen monks would steam, dry, then grind the tiny green tea leaves into a fine powder and whip it with a bamboo whisk in boiling water to create a thick medicinal drink to stimulate the senses during long periods of meditation.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“The culture's reverence for nature accentuates Kyoto's innate beauty. Designs on fabric, pottery, lacquer, and folding screens depict swirling water, budding branches, and birds in flight. Delicate woodcuts and scrolls celebrate the moonlight, rain, and snow. Elegant restaurant dishes arrive with edible garnishes of seasonal flora.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“That first bite of fat-streaked tuna sushi was a culinary epiphany. It was as though I had been wearing a mitten on my tongue all those years and had suddenly taken it off. The velvety fish had a rare beef-like core surrounded by a creamy richness from the marbled fat. The lightly vinegared rice and earthy soy were like exclamation points at the end of a perfect sentence. The wasabi added a final unexpected prickle of heat that kindled my desire for more. That night I promised myself that one day I would eat sushi in Japan.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“Because this tea kaiseki would be served so soon after breakfast, it would be considerably smaller than a traditional one. As a result, Stephen had decided to serve each mini tea kaiseki in a round stacking bento box, which looked like two miso soup bowls whose rims had been glued together. After lifting off the top dome-shaped cover the women would behold a little round tray sporting a tangle of raw squid strips and blanched scallions bound in a tahini-miso sauce pepped up with mustard. Underneath this seafood "salad" they would find a slightly deeper "tray" packed with pearly white rice garnished with a pink salted cherry blossom. Finally, under the rice would be their soup bowl containing the wanmori, the apex of the tea kaiseki. Inside the dashi base we had placed a large ball of fu (wheat gluten) shaped and colored to resemble a peach. Spongy and soft, it had a savory center of ground duck and sweet lily bulb. A cluster of fresh spinach leaves, to symbolize the budding of spring, accented the "peach," along with a shiitake mushroom cap simmered in mirin, sake, and soy.
When the women had finished their meals, we served them tiny pink azuki bean paste sweets. David whipped them a bowl of thick green tea. For the dry sweets eaten before his thin tea, we served them flower-shaped refined sugar candies tinted pink.
After all the women had left, Stephen, his helper, Mark, and I sat down to enjoy our own "Girl's Day" meal. And even though I was sitting in the corner of Stephen's dish-strewn kitchen in my T-shirt and rumpled khakis, that soft peach dumpling really did taste feminine and delicate.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“Finally, we would have been offered either a spring takiawase, meaning "foods boiled or stewed together," or a wanmori (the apex of a tea kaiseki meal) featuring seasonal ingredients, such as a cherry blossom-pink dumpling of shrimp and egg white served in a dashi base accented with udo, a plant with a white stalk and leaves that tastes like asparagus and celery, and a sprig of fresh sansho, the aromatic young leaves from the same plant that bears the seedpods the Japanese grind into the tongue-numbing spice always served with fatty eel.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“The fanciest grade of green tea in Japan goes by the name of gyokuro, meaning "jade dew." It consists of the newest leaves of a tea plantation's oldest tea bushes that bud in May and have been carefully protected from the sun under a double canopy of black nylon mesh. The leaves are then either steeped in boiled water or ground into a powder to make matcha (literally, "grind tea"), the thick tea served at a tea ceremony. (The powder used to make the thin tea served at a tea ceremony comes from grinding the older leaves of young tea plants, resulting in a more bitter-tasting tea.)
The middle grade of green tea is called sencha, or "brew tea," and is made from the unprotected young tea leaves that unfurl in May or June. The leaves are usually steeped in hot water to yield a fragrant grassy brew to enjoy on special occasions or in fancy restaurants.
For everyday tea, the Japanese buy bancha. Often containing tiny tea twigs, it consists of the large, coarse, unprotected leaves that remain on the tea bush until August. When these leaves are roasted, they become a popular tea called hojicha. When hojicha combines with popped roasted brown rice, a tea called genmaicha results.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“Eating a meal in Japan is said to be a communion with nature. This particularly holds true for both tea and restaurant kaiseki, where foods at their peak of freshness reflect the seasonal spirit of that month. The seasonal spirit for November, for example, is "Beginning Anew," because according to the old Japanese lunar calendar, November marks the start of the new tea year. The spring tea leaves that had been placed in sealed jars to mature are ready to grind into tea. The foods used for a tea kaiseki should carry out this seasonal theme and be available locally, not flown in from some exotic locale.
For December, the spirit is "Freshness and Cold." Thus, the colors of the guests' kimonos should be dark and subdued for winter, while the incense that permeates the tearoom after the meal should be rich and spicy. The scroll David chose to hang in the alcove during the tea kaiseki no doubt depicted winter, through either words or an ink drawing. As for the flowers that would replace the scroll for the tea ceremony, David likely would incorporate a branch of pine to create a subtle link with the pine needle-shaped piece of yuzu zest we had placed in the climactic dish. Both hinted at the winter season and coming of New Year's, one of David's underlying themes for the tea kaiseki. Some of the guests might never make the pine needle connection, but it was there to delight those who did.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“As I tried various restaurants, certain preconceptions came crashing down. I realized not all Japanese food consisted of carefully carved vegetables, sliced fish, and clear soups served on black lacquerware in a highly restrained manner. Tasting okonomiyaki (literally, "cook what you like"), for example, revealed one way the Japanese let their chopsticks fly.
Often called "Japanese pizza," okonomiyaki more resembles a pancake filled with chopped vegetables and your choice of meat, chicken, or seafood. The dish evolved in Osaka after World War II, as a thrifty way to cobble together a meal from table scraps.
A college classmate living in Kyoto took me to my first okonomiyaki restaurant where, in a casual room swirling with conversation and aromatic smoke, we ordered chicken-shrimp okonomiyaki. A waitress oiled the small griddle in the center of our table, then set down a pitcher filled with a mixture of flour, egg, and grated Japanese mountain yam made all lumpy with chopped cabbage, carrots, scallions, bean sprouts, shrimp, and bits of chicken. When a drip of green tea skated across the surface of the hot meal, we poured out a huge gob of batter. It sputtered and heaved. With a metal spatula and chopsticks, we pushed and nagged the massive pancake until it became firm and golden on both sides. Our Japanese neighbors were doing the same. After cutting the doughy disc into wedges, we buried our portions under a mass of mayonnaise, juicy strands of red pickled ginger, green seaweed powder, smoky fish flakes, and a sweet Worcestershire-flavored sauce. The pancake was crispy on the outside, soft and savory inside- the epitome of Japanese comfort food.
Another day, one of Bob's roommates, Theresa, took me to a donburi restaurant, as ubiquitous in Japan as McDonald's are in America. Named after the bowl in which the dish is served, donburi consists of sticky white rice smothered with your choice of meat, vegetables, and other goodies. Theresa recommended the oyako, or "parent and child," donburi, a medley of soft nuggets of chicken and feathery cooked egg heaped over rice, along with chopped scallions and a rich sweet bouillon. Scrumptious, healthy, and prepared in a flash, it redefined the meaning of fast food.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“As my grandmother discovered long ago, the Japanese excel in cultivating nature. Their gardens come in numerous styles, including paradise gardens, dry-landscape gardens, stroll gardens, and tea gardens. Although each type has its own goal, tray all share the same principle: nature is manipulated to create a miniature symbolic landscape.
A paradise garden is meant to evoke the Buddhist paradise through the use of water dotted with stone "islands." Dry-landscape gardens, usually tucked away in Zen temples, use dry pebbles and stones to create minimalist views for quiet contemplation. Stroll gardens offer changing scenes with every step, a pool of carp here, a mossy trail there, and a small bridge to link them both, while a tea garden provides a serene path to take you from the external world to the spiritual one of the teahouse.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“Although Japanese cooking aims to spotlight the natural flavors of ingredients, zesty accents often appear to provide contrast. A blast of pungent wasabi counterposes the oily richness of raw fish. A shake of spicy herbal sansho cuts through the fatty succulence of grilled eel. And a dab of stinging yellow mustard offsets the mild sweetness of boiled greens.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“My passion for cooking grew as my mother taught me how to make her chewy cranberry bread, Dijon mustard vinaigrette, and Nantucket quahog chowder thickened with chopped clams, potatoes, and sweet onions. Then it reached new heights in college when I took a year off to study French cooking at Le Cordon Bleu in Paris, where I learned to master a mean spinach soufflé, make a perfect sauce Bordelaise, and craft authentic shiny chocolate-topped éclairs. When I was hired as the sous-chef at Le Potiron (The Pumpkin), a Parisian restaurant near Les Halles, I used my newfound skills to transform tough cuts of beef into tender stews, improvise with sweetbreads, and bake cakes from memory.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“With nothing else to do, I sipped my tea and watched the sushi masters. With quick precise strokes, they transformed glistening blocks of fatty tuna and gray mullet into smooth neat rectangles. The morsels shone like jewels, the color, cut, and shape perfectly showcasing the seafood's freshness. The two men snatched handfuls of rice from a wide wooden bowl and shaped them into ovals as if preparing for a snowball fight. They say the most talented sushi masters can form their rice so that every grain points in the same direction.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“There was nothing more to leave behind. In a way, I had walked the roji, the Zen term for "dewy path," which represents the transition from the outside burning world of dust and passions to the contemplative spiritual world of a Japanese teahouse.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“Cool green foods became the natural choice in restaurants and teahouses. Matcha, the powdered green tea used for the tea ceremony, flavored ice cream, jewel-like gelatin cubes, and sweet whipped cream eaten in parfaits and layered with grapes, pineapple chunks, and chewy white mochi balls. There were Japanese-style snow cones, huge hills of shaved ice drizzled with green tea syrup, along with green tea-flavored mousse and tea-tainted sponge cake.
Matcha flavored savory items too, including green tea noodles served hot in dashi soup, as well as chilled and heaped on a bamboo draining mat with a cold dipping sauce of dashi, mirin, and soy. There was green tea-flavored wheat gluten and the traditional Kyoto-style dish of white rice topped with thin petals of sashimi that you "cooked" at the table by drenching it with brewed green tea from a tiny teapot.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“As Tomiko and I sank to our knees on floor pillows, her mother filled our sake cups with an amber-green liquid. Called toso, it was a traditional New Year's elixir made from sweet rice wine seasoned with a Chinese herbal-medicine mixture called tososan. Meant to ward off the evil spirits, the drink was honeyed, warm, and laced with cinnamon and peppery sansho.
To display the contents of the lacquer boxes, Tomiko's mother had arranged the various layers in the center of the table. The top layer always contains the traditional sweet dishes and hors d'oeuvres, while the second layer holds steamed, boiled, and vinegared offerings. The third box consists of foods that have been grilled or fried.
Since not everything fit into the lacquer boxes, Tomiko's mother had placed a long rectangular dish at everyone's place holding three different nibbles. The first one was a small bowl of herring eggs to represent fertility. Waxy yellow in color, they had a plastic pop and mild saline flavor. Next came a miniature stack of sugar- and soy-braised burdock root cut like penne pasta and tossed with a rich nutty cream made from pounded sesame seeds. Called tataki gobo (pounded burdock root), the dish is so named because the gobo (root) symbolizes the hope for a stable, deeply rooted life, while the homonym for tataki (pounded) also means "joy aplenty." The third item consisted of a tiny clump of intensely flavored soy-caramelized sardines that tasted like ocean candy. Called tazukuri, meaning "paddy-tilling," the sticky fish symbolized hopes for a good harvest, since in ancient times, farmers used chopped sardines along with ash for fertilizer.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“After more sake, we dipped into salmon roe for fecundity, followed by salmon and kelp rolls. We also had slices of rare beef that had been seared in a drip of soy, plus grilled duck and pickled lotus root rounds, representing the root of the lotus flower that blooms in the lake of the Land of Happiness where Buddha lives. Each morsel lay nestled in separate sections of the various lacquer boxes.
"Have some tai (sea bream)," said Tomiko, passing me a container holding several slices of the coral-red fish, eaten because it sounds like medetai, meaning "auspicious.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“Like families all over Japan, that morning we tucked into a special New Year's breakfast soup called ozoni. Although recipes vary from region to region, they all contain mochi because the pounded rice dumplings symbolize the breaking of "bread" with the New Year's deity Toshigami-sama. The rest of the ingredients in the soup, aside from the dashi base, vary according to what is fresh and regionally available. So around Hiroshima, for example, cooks add oysters, prawns, and saltwater eel caught from the nearby Inland Sea to their ozoni, while natives of Tokyo toss in nubbins of chicken, sliced fish cake, and spinach-like greens. For those living in Kyoto, the ozoni always includes lots of sweet white miso.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“Several minutes later, Tomiko met me at the top of the stairs in her wedding kimono. She was totally transformed. Out of her blue jeans, loose shirt, and bulky sweater, she radiated femininity.
The kimono elongated her torso and created a smooth cylinder from neck to toe, the hallmark of a beautiful Japanese figure. A striking navy obi with red, yellow, white, and turquoise chrysanthemums hugged her waist. A flirtatious cream collar peeked out from under the pale peach robe. The sleeves were just high enough to expose a sensual swatch of skin above her wrist. When she moved her arm, the inner fold revealed an erotic flash of scarlet and white silk.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“After I steamed four giant clams over a skillet of sake, Stephen ripped out the meat and hacked it into chunks. With cupped hands, he scooped up the chewy bits and threw them in a bowl. Then he stirred in spicy red-and-white radish wedges and a warm dressing of wasabi, sugar, and sweet white miso that I had stirred in a small saucepan over a low flame until it became thick and shiny. Following his directions, I spooned the golden clams back into their shells. Stephen garnished them with a pink-and-white "congratulatory" flower of spongy wheat gluten. "Precious," he said, winking at me.
Next, we made sea urchin- egg balls, first blending creamy lobes of sea urchin with raw egg yolk and a little dashi. Stephen cooked the mixture until it formed a stiff paste and then pressed it through a sieve. I plopped a golden dollop in a clean damp cloth and flattened it into a disc. In the center I put three crescents of lily bulb tenderized in salt water.
"Try one," urged Stephen, handing me a wedge of lily bulb. It was mealy and sweet, kind of like a boiled cashew. Stephen brought together the four corners of the damp cloth and twisted it gently to create a bubble of eggy sea urchin paste stuffed with lily bulb. When unveiled, it looked like a Rainier cherry. I twisted out nineteen more balls, which we later arranged on fresh green leaves draped across black lacquer trays.
Next, we impaled several fat shrimp on two metal skewers, sending one rod through the head and the other through the tail. We grilled the grayish pink bodies until they became rosy on one side and then flipped them over until they turned opaque. Stephen painted golden egg yolk for prosperity over the juicy crustaceans and returned them to the grill until they smoldered and charred.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“Unlike the miso soup served in restaurants, however, which contains lots of little goodies, like seaweed and diced tofu, the miso soup served at a tea kaiseki usually features one central ingredient that breaks the soup's surface. Depending upon the season, you might encounter a square of bean curd, a ball of wheat gluten, or a wheel of daikon radish simmered in dashi until butterscotch sweet. These central ingredients are usually cooked separately before being placed in the soup bowl and crowned with a seasonal garnish, such as fall chestnut, peppery spring shoot, or fragrant summer herb.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“I had made a sort of Japanese antipasto to accompany a bottle of French Bordeaux I had bought in the food hall of Daimaru department store. So while John sat on a blue cotton cushion hunched over the low unfinished wooden table sipping red wine from a small glass tumbler, I presented him with a succession of nibbles: chili-speckled rice crackers and peanuts; boiled edamame tossed with coarse salt; chewy strands of dried calamari; and chilled steamed asparagus that I had bought fresh that morning at Nishiki market. For a taste of home, I sautéed pudgy slices of herb-flavored wheat gluten, soft as gnocchi, in garlic butter with sliced shiitake mushrooms. Dinner ended with snappy red grapes and imported coconut sables that broke into buttery splinters in our cupped palms.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“One day we strolled down the Philosopher's Path, which proved as enchanting as I had hoped in the fragrant pink bloom of spring. Since ancient times, the Japanese have heralded the arrival of the cherry blossoms because they symbolize the ephemeral beauty of life.
But it isn't just the three or four days of open flowers that stirs the senses. It is their arrival and departure. Looking at a bud about to burst open offers the pleasurable anticipation of rebirth, while the soft scattering of petals on the ground is often considered the most beautiful stage of all because it represents the death of the flowers.
Another day I took John to one of my tea kaiseki classes to watch the making of a traditional picnic to celebrate the arrival of the cherry blossoms. While he sat on a stool near my cooking station, Stephen and I cooked rice in water flavored with kelp, sake, and light soy, then packed it into a wooden mold shaped like a chrysanthemum. After tapping out the compact white flower, we decorated it with two salted cherry blossoms.
We wrapped chunks of salted Spanish mackerel in brined cherry leaves and steamed the packets until the fatty fish turned milky in parts. We also made cold seafood salad, pea custard, and chewy millet dumplings, which we grilled over a charcoal burner until brown and sticky enough to hold a coating of ivory Japanese poppy seeds.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“A small frosted glass of umeshu (plum wine) sat on a white paper coaster toward the top. The syrupy wine, actually made from small Japanese apricots, had a honeyed smoothness and a fruity finish that left behind a streak of warmth.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“We began with two buttery sweet edamame and one sugar syrup-soaked shrimp in a crunchy soft shell. A lightly simmered baby octopus practically melted in our mouths, while a tiny cup of clear, lemony soup provided cooling refreshment. The soup held three slices of okra and several slippery cool strands of junsai (water shield), a luxury food that grows in ponds and marshes throughout Asia, Australia, West Africa, and North America. In the late spring the tiny plant develops leafy shoots surrounded by a gelatinous sheath that floats on the water's surface, enabling the Japanese to scoop it up by hand from small boats. The edamame, okra, and water shield represented items from the mountains, while the shrimp and octopus exemplified the ocean. I could tell John was intrigued and amused by this artistic (perhaps puny?) array of exotica.
Two pearly pieces of sea bream, several fat triangles of tuna, and sweet shelled raw baby shrimp composed the sashimi course, which arrived on a pale turquoise dish about the size of a bread plate. It was the raw fish portion of the meal, similar to the mukozuke in a tea kaiseki. To counter the beefy richness of the tuna, we wrapped the triangles in pungent shiso leaves , then dunked them in soy.
After the sashimi, the waitress brought out the mushimono (steamed dish). In a coal-black ceramic bowl sat an ivory potato dumpling suspended in a clear wiggly broth of dashi thickened with kudzu starch, freckled with glistening orange salmon roe. The steamed dumplings, reminiscent of a white peach, was all at once velvety, sweet, starchy, and feathery and had a center "pit" of ground chicken. The whole dish, served warm and with a little wooden spoon, embodied the young, tender softness of spring.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“To our surprise and delight, dinner was stupendous. Served in our room at the low polished wood table, it exuded a freshness and artistry we had not seen since leaving Kyoto. The sashimi- sea bream, squid, and skipjack- tasted as clean as a freshly sliced apple. Rusty-red miso soup had a meaty fortifying flavor enhanced with cubes of tofu and slithery ribbons of seaweed. The tempura, served in a basket of woven bamboo, shattered to pieces like a well-made croissant. Hiding inside the golden shell was a slice of Japanese pumpkin, a chunk of tender white fish, an okra pod, a shiitake mushroom cap, and a zingy shiso leaf.
Pale yellow chawan-mushi also appeared in a lidded glass custard cup. With a tiny wooden spoon we scooped up the ethereal egg and dashi custard cradling chunks of shrimp, sweet lily buds, and waxy-green ginkgo nuts.
In a black lacquer bowl came a superb seafood consommé, along with a knuckle of white fish, tuft of spinach, mushroom cap, and a tiny yellow diamond of yuzu zest. A small lacquer bucket held several servings of sticky white rice to eat with crunchy radish pickles and shredded pressed cabbage. A small wedge of honeydew melon concluded the meal.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“While Mrs. Hisa steeped fresh fava beans in sugar syrup, Stephen dry-fried baby chartreuse peppers. I made a salad of crunchy green algae and meaty bonito fish cubes tossed with a bracing blend of soy and ginger juice. Mrs. Hisa created a tiny tumble of Japanese fiddleheads mixed with soy, rice vinegar, and salted baby fish.
For the horse mackerel sushi, Stephen skinned and boned several large sardine-like fillets and cut them into thick slices along the bias. I made the vinegared rice and then we all made the nigiri sushi. After forming the rice into triangles, we topped each one with a slice of bamboo grass, as if folding a flag.
Last, we made the wanmori, the heart of the tenshin. In the center of a black lacquer bowl we placed a succulent chunk of salmon trout and skinned kabocha pumpkin, both of which we had braised in an aromatic blend of dashi, sake, and sweet cooking wine. Then we slipped in two blanched snow peas and surrounded the ingredients with a bit of dashi, which we had seasoned with soy to attain the perfect whiskey color, then lightly salted to round out the flavor.
Using our teacher's finished tenshin as a model, we arranged most of the dishes on three polished black lacquer rectangles, first lightly spraying them with water to suggest spring rain. Then we actually sat down and ate the meal. To my surprise, the leaf-wrapped sushi, the silky charred peppers, candied fava beans, and slippery algae did taste cool and green.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“As Yasu popped open a giant Kirin- the champagne of Japanese beers- Tomiko placed bowls of special buckwheat noodle soup at everyone's place, since the noodles represent long life. They are also said to bring prosperity, because in the past silversmiths and goldsmiths used to pick up the scraps of metal in their workshops with soba noodle dough. A salty seafood vapor wafted up from my soup bowl, holding a wobbly poached egg in a nest of gray noodles. A pink wheat gluten flower and sprig of Japanese chervil lay submerged in the hot dashi broth, along with two round slices of kamaboko, the springy sweet fish paste eaten all over Japan.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“I lost Tomiko and her mother at the eel stall. It was the place to buy prepared fillets of unagi, as meltingly tender as a stick of soft butter. A spotlight shone down on the delicate fillets, gleaming under a varnish of sweet soy glaze. Every eel shop and restaurant makes its own special glaze, which eel purists often forgo. All eel lovers, however, sprinkle on sansho, the tingly tongue-numbing green powder from the ground dried seedpods of the prickly ash tree that lifts the dish from sumptuous to sensational.
At that particular eel shop, the fillets, priced according to their fatty succulence, were still warm and drenched with sauce.
The next few shops were a sashimi lover's paradise. Spiky forest-green sea urchins swollen with creamy yellow eggs sat in green plastic baskets beside huge steak-like sides of tuna, caught only hours ago from the icy waters off Japan. Gigantic octopuses with suction cups like the bottom of rubber bathtub mats rested on ice near sapphire-silver mackerel imbricated on round white platters.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto

“While we formed mochi cakes, the men pounded another batch of rice. When it was soft, they divided the rice dough until it turned nubby like tweed. They sprinkled the second blob with dried shrimp and banged it until it turned coral. Nori seaweed powder colored the third hunk forest green, while the fourth piece of mochi became yellow and pebbly with cooked corn kernels.
For variation, the grandmother rolled several plain mochi in a tan talc of sweetened toasted soybean powder. She also stuffed several dumplings with crimson azuki bean fudge. Then she smeared a thick gob of azuki paste across a mochi puff, pushed in a candied chestnut, and pinched the dumpling shut.
"For the American!" cried Mr. Omura, swiping his mother's creation. I looked up and he handed it to me. It was tender and warm. All eyes turned to watch the American. "Oishii!" I uttered with a full mouth. And it was delicious. The soft stretchy rice dough had a mild savory chew that mingled with the candy-like sweetness of the bean paste and buttery chestnut.”
― Victoria Abbott Riccardi, Untangling My Chopsticks: A Culinary Sojourn in Kyoto