Quotes about apron

A collection of quotes on the topic of apron, making, cooking, cook.

Quotes about apron

Rick Riordan photo

“Percy!” he bellowed. He dropped his broom and ran at me. If you’ve never been charged by an enthusiastic Cyclops wearing a flowered apron and rubber cleaning gloves, I’m telling you, it’ll wake you up quick.”

Rick Riordan book The Battle of the Labyrinth

Source: The Battle of the Labyrinth

Flowers
Eoin Colfer photo

“… Hardly. A ragged apron does not a waiter make.”

Eoin Colfer (1965) Irish author of children's books

Source: Artemis Fowl Boxed Set, Bks 1-5

Richelle Mead photo

“This is very domestic of you," he said. "It's kinda hot, really. Giving me all sorts of fantasies about you in an apron vacuuming my house.”

Richelle Mead Blood Promise

Source: Blood Promise

Housing
Libba Bray photo

“Naughty John, Naughty John, does his work with his apron on. Cuts your throat and takes your bones, sells 'em off for a coupla stones.”

Libba Bray book The Diviners

Source: The Diviners

Kim Harrison photo

“… Ivy’s COOK THE STEAK, DON’T STAKE THE COOK apron…”

Kim Harrison (1966) Pseudonym

Source: A Perfect Blood

Cooking
Barbara Kingsolver photo

“Cooking is 80 percent confidence, a skill best acquired starting from when the apron strings wrap around you twice.”

Barbara Kingsolver book Animal, Vegetable, Miracle: A Year of Food Life

Source: Animal, Vegetable, Miracle: A Year of Food Life

Confidence, Cooking
Melanie Joy photo

“The carnistic schema, which twists information so that nonsense seems to make perfect sense, also explains why we fail to see the absurdities of the system. Consider, for instance, advertising campaigns in which a pig dances joyfully over the fire pit where he or she is to be barbecued, or chickens wear aprons while beseeching the viewer to eat them. And consider the Veterinarian's Oath of the American Veterinary Medical Association, “I solemnly swear to use my … skills for the … relief of animal suffering,” in light of the fact that the vast majority of veterinarians eat animals simply because they like the way meat tastes. Or think about how people won't replace their hamburgers with veggie burgers, even if the flavor is identical, because they claim that, if they try hard enough, they can detect a subtle difference in texture. Only when we deconstruct the carnistic schema can we see the absurdity of placing our preference for a flawless re-creation of a textural norm over the lives and deaths of billions of others.”

Melanie Joy book Why We Love Dogs, Eat Pigs, and Wear Cows

Source: Why We Love Dogs, Eat Pigs, and Wear Cows (2010), p. 133

Death, People, Way, Thinking

“[Describing her visit to a slaughter facility in Pennsylvania] The floor was very slippery and the walls and everything else were covered with blood. Dried blood had formed a crust on the chains. I surely didn't want to fall down in all that blood and guts. The workers wore non-slip boots, yellow aprons, and helmets. It was a scene of controlled, mechanized chaos.”

Sue Coe (1951) British artist

Dead Meat, as quoted in A Plea for the Animals by Matthieu Ricard (Boulder, CO: Shambhala, 2016), p. 78 https://books.google.it/books?id=bTLuDAAAQBAJ&pg=PA78.

Plutarch photo

“Aristodemus, a friend of Antigonus, supposed to be a cook's son, advised him to moderate his gifts and expenses. "Thy words," said he, "Aristodemus, smell of the apron."”

Plutarch (46–127) ancient Greek historian and philosopher

44 Antigonus I
Apophthegms of Kings and Great Commanders

Cooking

“The general ignorance of the visual arts, especially their theoretical bases, deplorable even in the so-called intellectual world; the artist’s well-founded despair of ever reaching the mythical “masses” with “advanced art”; the resulting ghetto mentality predominant in the narrow and incestuous art world itself, with its resentful reliance on a very small group of dealers, curators, critics, editors, and collectors who are all too frequently and often unknowingly bound by invisible apron strings to the “real world’s” power structure—all of these factors may make it unlikely that conceptual art will be any better equipped to affect the world any differently than, or even as much as, its less ephemeral counterparts.”

Lucy R. Lippard (1937) American art curator

John Chandler and Lucy R. Lippard, " The Dematerialization of Art http://www.c-cyte.com/OccuLibrary/Texts-Online/Lippard-Chandler_The_Dematerialization_of_Art.pdf," in Conceptual Art: A Critical Anthology, ed. Alexander Alberro and Blake Stimson (Cambridge, Mass.: MIT Press, 1999).

World, Art, Despair

“In modern industry, research
Has come to be a kind of Church
Where rubber-aproned acolytes
Perform their Scientific Rites
And firms spend funds they do not hafter
In hope of benefits Hereafter.”

Kenneth E. Boulding (1910–1993) British-American economist

Source: 1980s, Illustrating Economics: Beasts, Ballads and Aphorisms, 1980, p. 96

Hope
Gene Wolfe photo

“She often spoke of marryin' a butcher or a sausage maker, having a liking for those trades, as she said, for they knew you couldn't never get all the stains from their aprons, and didn't demand it.”

Gene Wolfe (1931–2019) American science fiction and fantasy writer

"Our Neighbor by David Copperfield", Future Tense (1978), ed. Lee Harding, Reprinted in Gene Wolfe, Endangered Species (1989)
Fiction

Isadora Duncan photo

“Bernard Shaw says that as long as men torture and slay animals and eat their flesh we shall have war. I think all sane, thinking people must be of his opinion. The children of my school were all vegetarians, and grew strong and beautiful on a vegetable and fruit diet. Sometimes during the war when I heard the cries of the wounded I thought of the cries of the animals in the slaughterhouse, and I felt that, as we torture these poor defenceless creatures, so the gods torture us. Who loves this horrible thing called war? Probably the meat-eaters, having killed, feel the need to kill—kill birds, animals—the tender stricken deer—hunt foxes. The butcher with his bloody apron incites bloodshed, murder. Why not? From cutting the throat of a young calf to cutting the throat of our brothers and sisters is but a step. While we are ourselves the living graves of murdered animals, how can we expect any ideal conditions on the earth?”

Isadora Duncan (1877–1927) American dancer and choreographer

My Life (1927), chapter 28; Liveright Publishing, 2013, p. 276 https://books.google.it/books?id=7bmj03oQH9IC&pg=PA276.

Love, Men, God, War
Gabrielle Roy photo

“Rose-Anna was tugging at the edge of her apron with a tired, futile gesture she had never made in the past – the grandmother’s gesture.”

Gabrielle Roy book The Tin Flute

Source: The Tin Flute (1945), P.260

Past
Justin D. Fox photo

“Perched on the southern tip of Africa, far from the centre of anything, many writers have lamented the cultural backwardness, the oppression of living in a divided city. Even as Cape Town evolves, grows more cosmopolitan, holds its first Picasso exhibition, becomes an international convention hub, acquires its very own fashion week … I still can’t help feeling the old unease. Is it the parochialism and cliquishness that outsiders comment on, joking that only third-generation Capetonians are really accepted? Is it the self-satisfied airheads basking at Camps Bay cafés, flicking golden curls and agonising over which cocktail to order? Is it the smug self-sufficiency that comes with having so much beauty on your doorstep that you don’t need to connect with your neighbour? Is it something to do with the schizophrenia of the city not being quite African, of holding onto Europe’s apron strings, of not knowing who or what it really is? Or is it the crime, that ubiquitous topic of so much conversation and so little action, which makes this one of the most violent cities on earth?”

Justin D. Fox (1967) South African author, photojournalist, lecturer and editor

Cape Town Calling (2007)

Beauty, Feeling, Fashion, Help