I learned from the best: Anton Ego, Pete Wells, Anthony Bourdain. Every column is a story, complete with heroes and villains, intrigue and gossip. The food? The food is just an excuse.
When Verguenza opened in New York, I was sent to cover it. The young prodigy, Sterling Rivera, had just left a stint at the celebrated Farmhouse Inn after a spectacular conflagration with the head chef. Sources say the argument centered around the restaurant's famed Gorgonzola Mac. Rivera is reported to have thrown a carbon steel skillet clear across the kitchen, screaming that his genius was being wasted on "shit Kraft casserole". The new restaurant was supposed to be a statement by the critically acclaimed youngster -- proof that he could revolutionize the world of fine dining with a global, no-holds-barred approach.
The only meal available at Verguenza is a four-course, prix fixe dinner. The courses change nightly, depending on the seasonality of rutabaga, the availability of jamon iberico pata negra, and, most importantly, the temperament of the chef. In the restaurant, the guest is never handed a menu. They are simply promised "a delightful surprise". Rumors abound among chefs about Rivera's legendary commitment to perfection. It is said that if salad is served as a course, the chef at the grill station was likely fired that night. The chefs I've spoken to describe an intense, militant culture to Rivera's kitchen. They say that no one lists Verguenza on their resume unless they stay for more than a year. Leaving before then means only one thing: you were lacking.
I can happily report that none of the dishes served to me were salad. In fact, the menu was remarkably creative, and lived up to its billing. Rivera himself came out from the kitchen to introduce the meal. In his words, the meal was a "voyage across continents and worlds, inspired by the work of Salvador Dali, the absurd made mundane". The first course was a hamachi ceviche cured with yuzu and citron foam. It left a delightfully zippy taste that quickly faded into effervescence. Next came a lightly chilled soup described as pumpkin gazpacho. It perfectly prepared the palate for the main course, a seared filet of alligator served on a bed of peppery spring greens. Finally, the biggest surprise of the meal was final course: candied ants. Several of the diners recoiled when presented with the crystalline nugget meant to evoke arthropods trapped in amber. Four actually walked out of the restaurant. However, for those brave enough to partake, this dessert was a singularly spectacular treat. I can only hope that this dessert makes a return to the menu soon, though based on the chef's penchant for switching things up, the odds are slim. I left the restaurant with high hopes for the future of fine dining. Rivera, at least, is not content leaving things to the status quo.
Well I hope they read it! Very well written, it’s nice that you don’t suggest them to change or whatever, you just want to leave (as if they would change anything to begin with, right?)
My older sister had a wild life. I don't envy her, I wouldn't have been able to survive; but thinking of her always makes me think of the Strudel we ate growing up in Salzburg.
Alas, she is with us no longer, but she killed many men in her early twenties. Which is exactly what this dish will do - it'll kill; at your next party or Sunday supper ~!
Murderers from the future were trying to kill dear A. but by God's grace, the first of them was an idiot and she stole his device. She hired a nanny to stand in her place during the usual hours she'd be alone and vulnerable, and would be able to document her poor child's murders, and then go back herself to intercept the killers, no matter how well trained and prepared they were. Well, now onto the recipé ~
A weekly or even fortnightly writing group thread would be HUGELY good. Not only on an individual level, but also on a community level.
I’ll echo the idea of “bad writing” being the goal. It’s easy for everyone to get caught up in the big issue of “Is this good enough?” Vs “Am I having fun?”
I might actually make this my own weekly thing. Give me a bit and I’ll make my own post on this.
Just wanted to chime in and thank you for following through on this! It was a wonderful little reason to sit down and write, something I haven’t done in months. In love with the ethos of “bad writing”. Let’s just get some words out there!
No worries at all mate, I’m just trying to keep communities active and happy, and posting “bad” writing is just a reason. The saying is to write everyday, not to write well everyday.
I’d be interested in craft-related threads. For example, what descriptive techniques do you use or admire? My personal interest in self-promo within writing communities is low, as I think it makes more sense to promote to readers instead of other writers, but I suppose the beauty of weekly or monthly threads is they keep things organized so people can find what they want. Also, check-in or accountability threads would be fun. What did you get done this week?
Hmm, trying to decide if she's having an unusually strong adverse reaction to the drink, a coincidental event in time with a resurgence of magic (you did say it was magipunk, so I assume this means Shadowrun style and the writing fits right into that), or the start of an Isekai from a cyberpunk world into a magical one. :)
I will say I tend to prefer third-person narration while following a particular point of view closely over first-person, but it's not a make-or-break value.
Writing is writing in my opinion, doesn't matter what format or what the content is as long as it's yours and not plagarized. Keep doing it and keep talking about it, you'll only get better.
Maybe something like a monthly prompt-basedwriting contest? On Reddit there’s a dedicated community for this (r/WritingPrompts) but it could be a fun addition here too.
So, disclaimer, but I definitely come from the more structured, genre side of things with my writing.
I think a lot of deciding what your ending will be has to do with what kind of story you want to tell. Most stories answer a question – will these two lovebirds get together? Will the characters escape the haunted house alive? Will this soldier live through this war, and if so, how will the war have changed him?
I would recommend nailing down what question your story fundamentally answers, and then figure out how your ending answers it. Of course, that’s a very simplified way of putting it, but I think starting out simple and building things out from there is how you can get the ball rolling on your story. Once you know how it ends, you know what pieces need to be in place for that ending to work … and as you look to see what pieces you need to put in place, you start to see the shape of your story as a whole.
Prose, for sure. I am terrible at poetry. I also find it much more open and personal compared to prose, which can have pieces of yourself but much more hidden.
Poetry is always what's spoken to me, free verse in particular. Mostly what gets me going is symbolism and imagery, and using words in uncharacteristic, surprising ways.
I have a deep love of prose as a genre and what can be done with it, but when I write poetry just comes out of me and prose is work.
writing
Newest
This magazine is from a federated server and may be incomplete. Browse more on the original instance.