欧宝娱乐

“Outbreaks of unvarnished truths in the backyard of our true self can be very precious and inspiring, even though we might inconsistently be tempted to give in to the exhilarating perfume of fables and fairy tales or to flattering praise and fiction. ("The day the mirror was talking back")”
― Erik Pevernagie

“Whenever you go on a trip to visit foreign lands or distant places, remember that they are all someone's home and backyard.”
― Vera Nazarian, The Perpetual Calendar of Inspiration

“That evening after dinner, I picked lemons from the tree in the backyard, the fruits golden bulbs under the rising moon.”
― Aspen Matis, Your Blue Is Not My Blue: A Missing Person Memoir

“I knew I wouldn't discover happiness in a faraway place or in unusual circumstances; it was right here, right now鈥� as in the haunting play "The Blue Bird," where two children spend a year searching the world for the Blue Bird of Happiness, only to find it waiting for them when they finally return home.”
― Gretchen Rubin, The Happiness Project

“Anyone can take an adventure even if it's only in your own backyard. Let your imagination be your adventure and see where it takes you.”
― Carmela Dutra

“Margo Brinker always thought summer would never end. It always felt like an annual celebration that thankfully stayed alive long day after long day, and warm night after warm night. And DC was the best place for it. Every year, spring would vanish with an explosion of cherry blossoms that let forth the confetti of silky little pink petals, giving way to the joys of summer.
Farmer's markets popped up on every roadside. Vendors sold fresh, shining fruits, vegetables and herbs, wine from family vineyards, and handed over warm loaves of bread. Anyone with enough money and enough to do on a Sunday morning would peruse the tents, trying slices of crisp peaches and bites of juicy smoked sausage, and fill their fisherman net bags with weekly wares.
Of all the summer months, Margo liked June the best. The sun-drunk beginning, when the days were long, long, long with the promise that summer would last forever. Sleeping late, waking only to catch the best tanning hours. It was the time when the last school year felt like a lifetime ago, and there were ages to go until the next one. Weekend cookouts smelled like the backyard- basil, tomatoes on the vine, and freshly cut grass. That familiar backyard scent was then smoked by the rich addition of burgers, hot dogs, and buttered buns sizzling over charcoal.”
― Beth Harbison, The Cookbook Club: A Novel of Food and Friendship

“[La 芦 产茅肠辞蝉蝉别 禄 a] bien des avantages. L鈥檃vantage de la 芦 产茅肠辞蝉蝉别 禄, c鈥檈st qu鈥檈lle fonctionne 脿 sec contrairement 脿 nos cabinets d鈥檃isances grand confort qui 茅vacuent de trois 脿 cinq gallons d鈥檈aux pollu茅es 脿 chaque usage, des eaux qu鈥檌l nous faut ensuite 茅purer par le biais de co没teuses installations septiques. Au Qu茅bec, le R猫glement sur l鈥櫭﹙acuation et le traitement des eaux us茅es des r茅sidences isol茅es consid猫re la 芦 产茅肠辞蝉蝉别 禄 comme une alternative valable pour les camps de chasse et de p锚che et tout chalet sans eau courante, pour ceux qui aiment se retrouver dans un v茅ritable milieu sauvage. Elle peut avantageusement remplacer l鈥檌nstallation septique avec 茅l茅ment 茅purateur classique ou modifi茅.
Et sa mauvaise r茅putation ? Cette r茅putation lui vient du fait que la plupart des 芦 产茅肠辞蝉蝉别s 禄 que nous avons connues d茅gageaient de mauvaises odeurs et n鈥櫭﹖aient pas tr猫s accueillantes. Or, un cabinet 脿 fosse s猫che bien construit, selon les normes du R猫glement, ne d茅gage pas d鈥檕deurs et peut facilement 锚tre gard茅 propre comme un sou neuf. Pour qu鈥檌l en soit ainsi, il est essentiel que la fosse soit creus茅e dans un sol sec, perm茅able et bien drain茅. Voil脿 tout le secret d鈥檜ne bonne 芦 产茅肠辞蝉蝉别 禄. La d茅composition des mati猫res f茅cales doit obligatoirement se faire 脿 l鈥檃ir libre, dans un milieu sec. Les odeurs de putr茅faction se produisent in茅vitablement quand l鈥檈au s鈥檌nfiltre 脿 l鈥檌nt茅rieur de la fosse ou quand celle-ci a 茅t茅 creus茅e dans un endroit o霉 le niveau de la nappe d鈥檈au souterraine est 茅lev茅.
L鈥檈au est l鈥檈nnemi public n掳 1 des 芦 产茅肠辞蝉蝉别s 禄.”
― Tony Lesauteur, La B茅cosse n'a pas dit son dernier mot

“Il est int茅ressant de noter que le mot 芦 产茅肠辞蝉蝉别 禄 est un mot populaire d茅riv茅 du mot back-house, le mot familier que les anglais utilisent pour d茅crire leur 芦 产茅肠辞蝉蝉别 禄. Avec un fort accent fran莽ais, le mot back-house serait devenu 芦 backhosse 禄. De 芦 backhosse 禄 脿 芦 产茅肠辞蝉蝉别 禄, il n鈥檡 avait qu鈥檜n pas !”
― Tony Lesauteur, La B茅cosse n'a pas dit son dernier mot

“[La 芦 产茅肠辞蝉蝉别 禄 a] bien des avantages. L鈥檃vantage de la 芦 产茅肠辞蝉蝉别 禄, c鈥檈st qu鈥檈lle fonctionne 脿 sec contrairement 脿 nos cabinets d鈥檃isances grand confort qui 茅vacuent de trois 脿 cinq gallons d鈥檈aux pollu茅es 脿 chaque usage, des eaux qu鈥檌l nous faut ensuite 茅purer par le biais de co没teuses installations septiques. Au Qu茅bec, le R猫glement sur l鈥櫭﹙acuation et le traitement des eaux us茅es des r茅sidences isol茅es consid猫re la 芦 产茅肠辞蝉蝉别 禄 comme une alternative valable pour les camps de chasse et de p锚che et tout chalet sans eau courante, pour ceux qui aiment se retrouver dans un v茅ritable milieu sauvage. Elle peut avantageusement remplacer l鈥檌nstallation septique avec 茅l茅ment 茅purateur classique ou modifi茅.
Et sa mauvaise r茅putation ? Cette r茅putation lui vient du fait que la plupart des 芦 产茅肠辞蝉蝉别s 禄 que nous avons connues d茅gageaient de mauvaises odeurs et n鈥櫭﹖aient pas tr猫s accueillantes. Or, un cabinet 脿 fosse s猫che bien construit, selon les normes du R猫glement, ne d茅gage pas d鈥檕deurs et peut facilement 锚tre gard茅 propre comme un sou neuf. Pour qu鈥檌l en soit ainsi, il est essentiel que la fosse soit creus茅e dans un sol sec, perm茅able et bien drain茅. Voil脿 tout le secret d鈥檜ne bonne 芦 产茅肠辞蝉蝉别 禄. La d茅composition des mati猫res f茅cales doit obligatoirement se faire 脿 l鈥檃ir libre, dans un milieu sec. Les odeurs de putr茅faction se produisent in茅vitablement quand l鈥檈au s鈥檌nfiltre 脿 l鈥檌nt茅rieur de la fosse ou quand celle-ci a 茅t茅 creus茅e dans un endroit o霉 le niveau de la nappe d鈥檈au souterraine est 茅lev茅.
L鈥檈au est l鈥檈nnemi public n掳 1 des 芦 产茅肠辞蝉蝉别s 禄.”
― Tony Le Sauteur, La B茅cosse n'a pas dit son dernier mot

“Il est int茅ressant de noter que le mot 芦 产茅肠辞蝉蝉别 禄 est un mot populaire d茅riv茅 du mot back-house, le mot familier que les anglais utilisent pour d茅crire leur 芦 产茅肠辞蝉蝉别 禄. Avec un fort accent fran莽ais, le mot back-house serait devenu 芦 backhosse 禄. De 芦 backhosse 禄 脿 芦 产茅肠辞蝉蝉别 禄, il n鈥檡 avait qu鈥檜n pas !”
― Tony Le Sauteur, La B茅cosse n'a pas dit son dernier mot

“My favorite idea to come out of the world of cultured meat is the 'pig in the backyard.' I say 'favorite' not because this scenario seems likely to materialize but because it speaks most directly to my own imagination. In a city, a neighborhood contains a yard, and in that yard there is a pig, and that pig is relatively happy. It receives visitors every day, including local children who bring it odds and ends to eat from their family kitchens. These children may have played with the pig when it was small. Each week a small and harmless biopsy of cells is taken from the pig and turned into cultured pork, perhaps hundreds of pounds of it. This becomes the community's meat. The pig lives out a natural porcine span, and I assume it enjoys the company of other pigs from time to time. This fantasy comes to us from Dutch bioethicists, and it is based on a very real project in which Dutch neighbourhoods raised pigs and then debated the question of their eventual slaughter. The fact that the pig lives in a city is important, for the city is the ancient topos of utopian thought.
The 'pig in the backyard' might also be described as the recurrence of an image from late medieval Europe that has been recorded in literature and art history. This is the pig in the land of Cockaigne, the 'Big Rock Candy Mountain' of its time, was a fantasy for starving peasants across Europe. It was filled with foods of a magnificence that only the starving can imagine. In some depictions, you reached this land by eating through a wall of porridge, on the other side of which all manner of things to eat and drink came up from the ground and flowed in streams. Pigs walked around with forks sticking out of backs that were already roasted and sliced. Cockaigne is an image of appetites fullfilled, and cultured meat is Cockaigne's cornucopian echo. The great difference is that Cockaigne was an inversion of the experience of the peasants who imagined it: a land where sloth became a virtue rather than a vice, food and sex were easily had, and no one ever had to work. In Cockaigne, delicious birds would fly into our mouths, already cooked. Animals would want to be eaten. By gratifying the body's appetites rather than rewarding the performance of moral virtue, Cockaigne inverted heaven.
The 'pig in the backyard' does not fully eliminate pigs, with their cleverness and their shit, from the getting of pork. It combines intimacy, community, and an encounter with two kinds of difference: the familiar but largely forgotten difference carried by the gaze between human animal and nonhuman animal, and the weirder difference of an animal's body extended by tissue culture techniques. Because that is literally what culturing animal cells does, extending the body both in time and space, creating a novel form of relation between an original, still living animal and its flesh that becomes meat. The 'pig in the backyard' tries to please both hippies and techno-utopians at once, and this is part of this vision of rus in urbe. But this doubled encounter with difference also promises (that word again!) to work on the moral imagination. The materials for this work are, first, the intact living body of another being, which appears to have something like a telos of its own beyond providing for our sustenance; and second, a new set of possibilities for what meat can become in the twenty-first century. The 'pig in the backyard' is only a scenario. Its outcomes are uncertain. It is not obvious that the neighbourhood will want to eat flesh, even the extended and 'harmless' flesh, of a being they know well, but the history of slaughter and carnivory on farms suggests that they very well might. The 'pig in the backyard' is an experiment in ethical futures. The pig points her snout at us and asks what kind of persons we might become.”
― Benjamin Aldes Wurgaft, Meat Planet: Artificial Flesh and the Future of Food (Volume 69)

“Bobby Flay taught me the secret trick to shucking at a party at Bruce and Eric Bromberg's house out in East Hampton. They're all huge now, Bruce and Eric with Blue Ribbon et al. and Bobby with Mesa Grill et al., new cookbooks, and a television show. They put me to work at the enormous four-sided grill they'd set up in the backyard next to the roasting pit where a cuchinillo (young suckling pig) was being basted on a spit, turning darker shades of pink. I had no idea who Bobby was at the time, and the two of us were working side by side, flipping peppers and onions, zucchinis, squash, swordfish steaks, and New York strips. Fresh out of the Cordon Bleu, I thought I was pretty hot shit, ordering Bobby around like a redheaded stepchild. He was very nice about it. Took my guff and told the other grill cooks to listen to the chef. It was the best cooking time I ever had, feeling like I was one of the guys. When I found out who Bobby Flay was, I was mortified. And then I thought, Wow, he was so cool. He never once pulled rank or made me feel like I didn't know what I was doing. He let me be in control. I guess that's what happens when you're the real McCoy. You don't need to piss on other people to make yourself feel better.”
― Hannah Mccouch, Girl Cook: A Novel

“even if you seem like the only one in all of North America who uses more natives than aliens, wildlife will be better off for your efforts.”
― Douglas Tallamy

“Maybe that鈥檚 why I鈥檝e always loved this
backyard,鈥� she said, sighing in a girlish way, as if
younger than yesterday. 鈥淚t doesn鈥檛 change, and yet it grows beyond measure.”
― Gina Marinello-Sweeney, Peter

“I used to catch frogs in my backyard in Long Island. I don鈥檛 know, maybe they were toads. It doesn鈥檛 matter.”
― Aesop Rock