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“Great writers and my mom never used food as an object. Instead it was a medium, a catalyst to mend hearts, to break down barriers, to build relationships. Mom's cooking fed body and soul. She used to quip, "If the food is good, there's no need to talk about the weather." That was my mantra for years---food as meal and conversation, a total experience.
I leaned my forehead against the glass and thought again about Emma and the arrowroot. Mom had highlighted it in my sophomore English class. "Jane Fairfax knew it was given with a selfish heart. Emma didn't care about Jane, she just wanted to appear benevolent."
"That girl was stupid. She was poor and should've accepted the gift." The football team had hooted for their spokesman.
"That girl's name was Jane Fairfax, and motivation always matters." Mom's glare seared them.
I tried to remember the rest of the lesson, but couldn't. I think she assigned a paper, and the football team stopped chuckling.
Another memory flashed before my eyes. It was from that same spring; Mom was baking a cake to take to a neighbor who'd had a knee replacement.
"We don't have enough chocolate." I shut the cabinet door.
"We're making an orange cake, not chocolate."
"Chocolate is so much better."
"Then we're lucky it's not for you. Mrs. Conner is sad and she hurts and it's spring. The orange cake will not only show we care, it'll bring sunshine and spring to her dinner tonight. She needs that."
"It's just a cake."
"It's never just a cake, Lizzy."
I remembered the end of that lesson: I rolled my eyes----Mom loathed that----and received dish duty. But it turned out okay; the batter was excellent.
I shoved the movie reel of scenes from my head. They didn't fit in my world. Food was the object. Arrowroot was arrowroot. Cake was cake. And if it was made with artisan dark chocolate and vanilla harvested by unicorns, all the better. People would crave it, order it, and pay for it. Food wasn't a metaphor---it was the commodity---and to couch it in other terms was fatuous. The one who prepared it best won.”
― Katherine Reay, Lizzy and Jane

“Happy endings depend on your point of view! (When the right thing seems wrong, the wrong thing may not be right either.)”
― G. Gold, How Dare You - Deadly December

“It was a fine line to walk—insanity and reality. The lines were not made of rich, black charcoal, but that of a nebulous gray watercolor. The transition so vaguely defined that it might as well not even be there. And when the line was so arbitrary, I found myself lost between right and wrong.”
― Laura C. Reden, Dark Reflections