Fuchsia Dunlop trained as a chef at China's leading cooking school and is internationally renowned for her delicious recipes and brilliant writing about Chinese food. Every Grain of Rice is inspired by the healthy and vibrant home cooking of southern China, in which meat and fish are enjoyed in moderation, but vegetables play the starring role. Try your hand at blanched choy sum with sizzling oil, Hangzhou broad beans with ham, pock-marked old woman's beancurd or steamed chicken with shiitake mushrooms, or, if you've ever in need of a quick fix, Fuchsia's emergency late-night noodles. Many of the recipes require few ingredients and are startlingly easy to make. The book includes a comprehensive introduction to the key seasonings and techniques of the Chinese kitchen, as well as the 'magic ingredients' that can transform modest vegetarian ingredients into wonderful delicacies. With stunning photography and clear instructions, this is an essential volume for beginners and connoisseurs alike.
Winner of The IACP 2019 First Book Award presented by The Julia Child Foundation Like Madhur Jaffrey and Marcella Hazan before her, Naz Deravian will introduce the pleasures and secrets of her mother culture's cooking to a broad audience that has no idea what it's been missing. America will not only fall in love with Persian cooking, it'll fall in love with Naz.” - Samin Nosrat, author of Salt, Fat, Acid, Heat: The Four Elements of Good Cooking Naz Deravian lays out the multi-hued canvas of a Persian meal, with 100+ recipes adapted to an American home kitchen and interspersed with Naz's celebrated essays exploring the idea of home. At eight years old, Naz Deravian left Iran with her family during the height of the 1979 Iranian Revolution and hostage crisis. Over the following ten years, they emigrated from Iran to Rome to Vancouver, carrying with them books of Persian poetry, tiny jars of saffron threads, and always, the knowledge that home can be found in a simple, perfect pot of rice. As they traverse the world in search of a place to land, Naz's family finds comfort and familiarity in pots of hearty aash, steaming pomegranate and walnut chicken, and of course, tahdig: the crispy, golden jewels of rice that form a crust at the bottom of the pot. The best part, saved for last. In Bottom of the Pot, Naz, now an award-winning writer and passionate home cook based in LA, opens up to us a world of fragrant rose petals and tart dried limes, music and poetry, and the bittersweet twin pulls of assimilation and nostalgia. In over 100 recipes, Naz introduces us to Persian food made from a global perspective, at home in an American kitchen.
Over 200,000 copies sold! Now with a newly refreshed design, this classic mathematical folktale tells the story of a clever farmer who outwits the Emperor of China and becomes the wealthiest man in the world—all starting with one grain of rice. When a humble farmer named Pong Lo asks for the hand of the Emperor’s beautiful daughter, the Emperor is enraged. Whoever heard of a peasant marrying a princess? But Pong Lo is wiser than the Emperor knows. And when he concocts a potion that saves the Princess’s life, the Emperor gladly offers him any reward he chooses—except the Princess. Pong Lo makes a surprising request. He asks for a single grain of rice, doubled every day for one hundred days. The baffled Emperor obliges—only to discover that if you’re as clever as Pong Lo, you can turn a single grain of rice into all the wealth and happiness in the world! A Bank Street Best Book of the Year for 9 to 12 Praise for A Grain of Rice: “Gracefully illustrated. . . . This original story set in fifteenth-century China will captivate readers and perhaps teach them a little about mathematics.” —Booklist “Clever and quietly told in simple, yet evocative language.” —Kirkus Reviews “Any young reader (with calculator handy) will enjoy the tale.” —Scientific American “[A] book that is wise and humorous, and one to be perused and savored.” —School Library Journal
Preface...... The story of Lord Buddha is the most read story in the world. This is one story that is beyond the boundaries of religion, culture and society. The story is being told and retold for almost more than two thousand and five hundred years, yet what happened at that time from the birth of prince Siddhartha till he attained his Nirvana is very enigmatic. Not much written evidence is available for that, while lot of literature is available for what happened after Nirvana. This story is just an attempt to tell the world what would have happened at that time, when seen in the logical context of human boundaries. This story is only upto the point when monk Gautam attains Nirvana. Further attempt to tell the story after Nirvana, when Gautam became Buddha, will be made after the outcome of this attempt. We know some stories connected with prince Siddhartha, his life and these stories are scattered here and there in various books. Jatakas contain the previous birth stories of Lord Buddha. But there is no such consolidated book, which can be ascribed to prince Siddhartha’s life. The author has made an attempt to collect all such stories and thread them into a garland. The result is this book. In the attempt, some literary and fictional additions have been done. But in the end, the author is sure that the readers will like the storyline. Kapilvastu was not a huge kingdom. Its name is not included in the sixteen (or twelve) Mahajanpadas. It clearly indicates that Kapilvastu was a small principality within the kingdom of Kosala. The rulers of Kapilvastu were descendants of great Ikshavaku, who was also ancestor of the rulers of Kosala. It clearly means that the rulers of Kapilvastu and Kosala were related by blood. And as per the tradition, the throne was passed to the eldest son of the king and the younger son became vassal ruling small principalities within the kingdom, owing allegiance to the king. This would have happened at that time too, within the kingdom of Kosala. The story has been developed accordingly. Kapilvastu was surrounded by Mahajanpadas, and as such its polity was influenced by the neighboring kingdoms. Many events happened in the neighbouring kingdoms, and that had a bearing in the future of Kapilvastu and hence Siddhartha. These events have also been included in this story to give the story a flow. These incidences and events are of historical significance and happened around the same time, though the interpretation of these events is of author’s own. Some texts point out to the fact that Siddhartha was married to Yashodhara, a princess from the neighbouring kingdom of Koliya. Some texts point out that Siddhartha had three wives, namely, Yashodhara (daughter of Dandapani), Mrigdja (daughter of Kinkinishwar) and Gopa (daughter of Kanika). It is not sure, which one is the right fact. In this book, Siddhartha is shown to be married only to Yashodhara as the Shakyas wanted to preserve their lineage; hence marriage within community was allowed. Also ‘one man- one woman’ formula was propagated. Thus, it would have been not possible for Siddhath to marry three girls. The purity of Shakya race was declared by the Buddha himself in Ambattha Sutta. The predictions of sage Asit were not told to Prince Siddhartha, till this was finally revealed to him. All through his life as a prince, Siddhartha was kept away from four signs sage Asit told- an old decrepit man, a diseased man, a dead man and a monk. In this story, it is emphasized that king Shuddhodan had forbidden presence of anybody who could remind Siddhartha about these signs. Siddhartha virtually grew in controls of the palace. This is author’s idea to develop the story forward. The author is of belief that Buddhism was born after Buddha, i.e., after Siddhartha attained nirvana. Before Buddhism, there was Vedic religion and the Vedic philosophy. The same concept is used in this book to show what Siddhartha was taught by his teachers, Master Arada Kalama and Master Udrak Ramputra. Arada is depicted as an exponent of Raj Yoga techniques whereas Udrak is depicted as master of Hatha Yoga techniques. Siddhartha learnt both these techniques under these masters. This can be seen in the various teachings of Lord Buddha. In the Heart Sutta, Buddha explains about emptiness and form. This is nothing but something that can be explained and attained through combination of Raj yoga, HathaYoga and Laya Yoga. The author would like to mention that the philosophy depicted in the book have been told to him by his guru, Shri Shri Shibendu Lahiri, and sometimes it is verbatim. And what has been given in the book is just a drop in the ocean. There is much more to learn from him. In the book, an attempt is made to describe the psychology of Prince Devdatt, his extreme hatred for Siddhartha and why he hated Siddhartha. Due to this hatred only, Devdatt tried many times to kill Prince Siddhartha, then Lord Buddha after Siddhath attained nirvana. Till Siddhartha was born, Devdatt was heir apparent to the throne of Kapilvastu. He was eldest in the entire family for four brothers- Shuddhodan, Shuklodan, Amritodan and Dronodan. Shuddhodan’s wife, Queen Mayadevi could not conceive for almost twenty years after their marriage. Though there is no concrete evidence to say that, yet it is widely perceived to be like this only. (In some texts, Devdatt is the son of Suprabuddha of Devdaha). In the end of this preface, the entire genealogy of Lord Buddha, whichever the author could gather, is presented for ready reference. And after Siddhartha was born, and he became the heir to the throne of Kapilvastu, being elder son of the king. This incidence and many more such incidences where Siddhartha was given preference over other princes due to the stories associated with his birth, cemented Devdatt’s resolution to get rid of Siddhartha. Readers will not find story of Devdatt out of context in this book. In the concluding part of book, the Maar is shown to take a human form. Though this is not possible for the negativity to take a form, but it was essential to depict the fight monk Gautam had undergone with himself, with his own negativity. Only after defeat of his negativity, he could attain nirvana. Everybody has to fight with his Maar one day or the other, but the fight monk Gautam had with his Maar shows how the negativity sometimes controls the thoughts of even profound persons like monk Gautam. The author is sure that readers would like the depiction of fight between Gautam and his negativity. In order to take the story forward, the protagonist should always have some companion to express his mind. Thus, the protagonist of this story, Siddhartha and later Gautam is shown always in company of somebody, Channa, Yashodhara or Kondinya. Actually, Kondinya may not have met Gautam during his travel to Vaishali, but it is shown just to carry the story forward. The story contains many words which are not from English language, but from Sanskrit or Pali or Hindi. These words are in italics and their meaning is in the other chapter after preface. These words are used as they explain the situation better that any phrase or word in English. In the end, it is hoped that this attempt by the author will be appreciated by the readers. This story should be read as story, and not as an attempt to rewrite history. Many incidences and characters may not fall in line with the thinking of people having knowledge about Buddhism. This is a work of fiction and should be taken likewise. However, author welcomes the comments from the readers.
The Power of More shows readers how to accomplish their goals, big or small, by just doing a little bit more. Whether you are a novice runner who wants to complete a 10k race or an elite athlete after a gold medal, you can achieve your ambition by believing in the importance of doing a little bit more. A three-time Olympic champion, McBean explains the effect of breaking down big goals into manageable bits that you can do, as well as the idea that you almost always have a little bit more to give. She discusses the importance of setting goals, the role of communication and teamwork, and the need for motivation, commitment, and accountability. Finally, she dispels the myth that we should expect to be perfect and stresses that both confidence and success are the result of preparation.
The founder of the five-city LuckyRice festival presents a collection of recipes inspired by the contemporary flavors of Asian cuisine in a range of cultures, sharing insight into their culinary traditions while adapting classic flavors for modern American kitchens.
As featured in Epicurious, Modern Farmer, Refinery29, Shape, Plated, Eater, Food52, Midwest Living, Bon Appetit, MindBodyGreen, The Infatuation, Associated Press, On the Menu and NPR's The Splendid Table. Make grains the easiest, healthiest, and most exciting stars on your table. Grist is the only grain and legume cookbook you need. Abra Berens, a James Beard semifinalist for Outstanding Chef: Great Lakes and the author of Ruffage, shares more than 300 recipes and variations, plus substantial reference information to help you discover the next great grain. Grist includes more than 125 recipes for 29 different types of grains, legumes, and seeds that, in combination with vegetables and lean proteins, are the stars of the healthiest, most variable, and most satisfying meals—many of them gluten free. New and seasoned home cooks will want to reference this guide to start building a repertoire of approachable, big-on-flavor recipes. Home cooks will be attracted to the reference quality of the book, its beauty (more than 100 photos and 30 illustrations) and heft (125 recipes + 300 variations = 448 pages), as well as the great writing, relatable voice, author authority, unique recipe style, extensive variations, and gorgeous photography and illustrations. THIS IS THE A TO Z OF GRAINS, BEANS, AND LEGUMES: The content is deep and authoritative, but also wide-ranging, with information and recipes for 29 different grains, legumes, and seeds: Amaranth, Barley, Black-Eyed Peas, Buckwheat, Bulgur, Chickpeas, Common Beans, Corn, Cowpeas, Crowder Peas, Farro, Fava Beans, Field Peas, Fonio, Freekeh, Legumes, Lentils, Lima Beans, Millet, Oats, Quinoa, Rice, Sorghum, Split Peas, Soy Beans, Teff, Tiny Seed Grains, and Wheat Berries. REFERENCE BOOK: Organized by type of grain/legume/seed, each chapter offers authoritative info and tips that home cooks can use to deepen their knowledge of ingredients and broaden their repertoire of techniques. The recipes are simple, are generally quick to prepare, and use ingredients that are easy to find or often already in people's pantries. FOLLOW UP ON SUCCESS: Ruffage by Abra Berens was named a Best Cookbook for Spring 2019 by the New York Times and Bon Appétit, was a 2019 Michigan Notable Book winner, and was nominated for a 2019 James Beard Award. Here's some strong praise for Ruffage: "Things in my kitchen have changed since Ruffage arrived. This organized, easygoing guide to 29 vegetables offers a few cooking methods for each one, supplemented by several variations.” —Kim Severson, New York Times "[RUFFAGE] is a total classic in the making."—Christina Chaey, associate editor, Bon Appétit "Crammed with exciting ideas that encourage creativity, this lively book will quickly become an essential item in the home cook's library."—Library Journal (starred review)
The wisdom of the Masters is often revealed through stories to bring the true meaning of their teachings to closer understanding of the people. In this book The Supreme Master Ching Hai reveals precious pearls of wisdom in the form of fun stories for people of all ages to enjoy.
Kaneko Fumiko (1903-1926) wrote this memoir while in prison after being convicted of plotting to assassinate the Japanese emperor. Despite an early life of misery, deprivation, and hardship, she grew up to be a strong and independent young woman. When she moved to Tokyo in 1920, she gravitated to left-wing groups and eventually joined with the Korean nihilist Pak Yeol to form a two-person nihilist organization. Two days after the Great Tokyo Earthquake, in a general wave of anti-leftist and anti-Korean hysteria, the authorities arrested the pair and charged them with high treason. Defiant to the end (she hanged herself in prison on July 23, 1926), Kaneko Fumiko wrote this memoir as an indictment of the society that oppressed her, the family that abused and neglected her, and the imperial system that drove her to her death.
