Welcome to DU!
The truly grassroots left-of-center political community where regular people, not algorithms, drive the discussions and set the standards.
Join the community:
Create a free account
Support DU (and get rid of ads!):
Become a Star Member
Latest Breaking News
General Discussion
The DU Lounge
All Forums
Issue Forums
Culture Forums
Alliance Forums
Region Forums
Support Forums
Help & Search
The 12 Most Unforgettable Descriptions of Food in Literature
Haruki Murakami’s stir fry, Maurice Sendak’s chicken soup with rice—only the most gifted writers have made meals on the page worth remembering.https://www.theatlantic.com/books/archive/2022/03/unforgettable-food-scenes-books-haruki-murakami/627601/
https://archive.ph/zgwjP
In literature, references to eating tend to be either symbolic or utilitarian. Food can indicate status or milieu (think about all those references to Dorsia in American Psycho), or it can move the plot forward (Rabbit Angstrom’s peanut-brittle habit in John Updike’s final Rabbit book). Even in the hands of the greats, food scenes can seem less than central to a story, more filler or filigree than substance. There are exceptions, however—moments in which food unlocks a higher story form. Here are 12 of my favorites.
The Wind-Up Bird Chronicle, by Haruki Murakami
In addition to having one of the best opening lines of any novel ever, The Wind-Up Bird Chronicle contains some of the most memorable meals in all of literature. In a novel that is all surreality, darkness, and rabbit holes, Murakami’s simple descriptions of sustenance have an almost metronomic quality—the only thing anchoring the story to reality as it slips away from its main character, Toru—while setting the tempo for a strange, unfolding mystery:
At noon I had lunch and went to the supermarket. There I bought food for dinner and, from a sale table, bought detergent, tissues, and toilet paper. At home again, I made preparations for dinner and lay down on the sofa with a book, waiting for Kumiko to come home … Not that I had any great feast in mind: I would be stir frying thin slices of beef, onions, green peppers, and bean sprouts with a little salt, pepper, soy sauce, and a splash of beer—a recipe from my single days. The rice was done, the miso soup was warm, and the vegetables were all sliced and arranged in separate piles in a large dish, ready for the wok.
Such scenes show up repeatedly in Murakami’s work. Every time, the effect is somehow both mouthwatering and unnerving. Note the simplicity of the menu, the methodical preparation, the sense of time and of waiting. Murakami’s descriptions of food do exactly what his novels do best—they take the mundane and make it somehow magical, take the real and warp it into a dream.
snip
6 replies
= new reply since forum marked as read
= new reply since forum marked as read
The Moveable Feast had some great food scenes 
I tried to copy a couple links but my browser isn't having it >
This wasn't so much a meal as a preparation for soup. Vermeer and his wife were looking for a maid.... Vermeer watched while Griet cut up the vegetables for soup and sorted them by color. He was intrigued by her sorting the vegetables by color and in the novel she ended up mixing his oil paints.
I stepped over and picked up the knife, polishing the blade on my apron before placing it back on the table. The knife had brushed against the vegetables. I set a piece of carrot back in its place.
The man was watching me, his eyes grey like the sea. He had a long, angular face, and his expression was steady, in contrast to his wife’s, which flickered like a candle. He had no beard or moustache, and I was glad, for it gave him a clean appearance. He wore a black cloak over his shoulders, a white shirt, and a fine lace collar. His hat pressed into hair the red of brick washed by rain.
“What have you been doing here, Griet?” he asked.
I was surprised by the question but knew enough to hide it. “Chopping vegetables, sir. For the soup.”
I always laid vegetables out in a circle, each with its own section like a slice of pie. There were five slices: red cabbage, onions, leeks, carrots, and turnips. I had used a knife edge to shape each slice, and placed a carrot disc in the center.
The man tapped his finger on the table. “Are they laid out in the order in which they will go into the soup?” he suggested, studying the circle.
“No, sir.” I hesitated. I could not say why I had laid out the vegetables as I did. I simply set them as I felt they should be, but I was too frightened to say so to a gentleman.
“I see you have separated the whites,” he said, indicating the turnips and onions. “And then the orange and the purple, they do not sit together. Why is that?” He picked up a shred of cabbage and a piece of carrot and shook them like dice in his hand.
I looked at my mother, who nodded slightly.
“The colors fight when they are side by side, sir.”
He arched his eyebrows, as if he had not expected such a response. “And do you spend much time setting out the vegetables before you make the soup?”
“Oh no, sir,” I replied, confused. I did not want him to think I was idle.
From the corner of my eye I saw a movement. My sister, Agnes, was peering round the doorpost and had shaken her head at my response. I did not often lie. I looked down.
The man turned his head slightly and Agnes disappeared. He dropped the pieces of carrot and cabbage into their slices. The cabbage shred fell partly into the onions. I wanted to reach over and tease it into place. I did not, but he knew that I wanted to. He was testing me.
The man was watching me, his eyes grey like the sea. He had a long, angular face, and his expression was steady, in contrast to his wife’s, which flickered like a candle. He had no beard or moustache, and I was glad, for it gave him a clean appearance. He wore a black cloak over his shoulders, a white shirt, and a fine lace collar. His hat pressed into hair the red of brick washed by rain.
“What have you been doing here, Griet?” he asked.
I was surprised by the question but knew enough to hide it. “Chopping vegetables, sir. For the soup.”
I always laid vegetables out in a circle, each with its own section like a slice of pie. There were five slices: red cabbage, onions, leeks, carrots, and turnips. I had used a knife edge to shape each slice, and placed a carrot disc in the center.
The man tapped his finger on the table. “Are they laid out in the order in which they will go into the soup?” he suggested, studying the circle.
“No, sir.” I hesitated. I could not say why I had laid out the vegetables as I did. I simply set them as I felt they should be, but I was too frightened to say so to a gentleman.
“I see you have separated the whites,” he said, indicating the turnips and onions. “And then the orange and the purple, they do not sit together. Why is that?” He picked up a shred of cabbage and a piece of carrot and shook them like dice in his hand.
I looked at my mother, who nodded slightly.
“The colors fight when they are side by side, sir.”
He arched his eyebrows, as if he had not expected such a response. “And do you spend much time setting out the vegetables before you make the soup?”
“Oh no, sir,” I replied, confused. I did not want him to think I was idle.
From the corner of my eye I saw a movement. My sister, Agnes, was peering round the doorpost and had shaken her head at my response. I did not often lie. I looked down.
The man turned his head slightly and Agnes disappeared. He dropped the pieces of carrot and cabbage into their slices. The cabbage shred fell partly into the onions. I wanted to reach over and tease it into place. I did not, but he knew that I wanted to. He was testing me.
