QUOTES by Kate Christensen
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I wrote my first novel in eighth grade for a boy named Kenny on whom I had an unrequited crush and who sat behind me in social studies.
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If there's a rift in the marriage - if someone feels neglected, frustrated, tempted by others, or unsure - then trouble can easily arise.
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Across the Atlantic, in the scattered, far-flung, rural settlements of colonial America, hospitality had become a central concern, and hostesses, like peacocks displaying their iridescent plumage, tried to outdo one another with their creative food displays.
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There's almost nothing you can't do with a cashew. Not only does it lend its nutty sweetness to savory dishes, it also gives desserts a deep richness.
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It's interesting to try to imagine how early humans discovered what was edible and what wasn't. Who figured out that when you cooked stinging nettles, the sting would go away completely? How many people had to die before the relative toxicity of wild mushrooms became widely known?
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It's really hard for me, every day, to confront my writing. It never gets easier over time.
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I procrastinate all morning. That's when I get my office work done and answer e-mails and see what's on the Internet and do laundry.
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My favorite way to cook a clam is in chowder. I was a New Yorker for 20 years, and I always loved tomato-based, celery-heavy Manhattan chowders.
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Littlenecks and cherrystones are chewy and sweet on the half shell with mignonette, served raw. But a well-cooked clam is a toothsome, tender thing, full of that magical stuff known as clam liquor.
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'American Music' is an inventive, passionate, pithy novel whose major theme is love itself and whose minor theme, music, is an emotional, meaningful counterpoint. Like Count Basie and His Orchestra, this book swings.
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Even after he was gone, I still loved my father. I looked Norwegian, like him, with a long face, strong jaw, thin mouth, and flashing eyes. And, like him, I was verbal, easygoing, and low-key on the surface, and, deep down, proud, socially paranoid, full of self-loathing, and prone to rage at injustice.
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I grew up in an all-female family - two sisters and a mostly single mother - and we often bonded, in part, by disparaging men and feeling superior to them.
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Reminded of what a diet really is, I began eating more slowly, being more conscious of when I was full. I started to enjoy my buckwheat bread with goat cheese and pureed butternut-squash soup as a response to real hunger.
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The New Nordic diet originated in 2004, when the visionary chefs Rene Redzepi and Claus Meyer called a symposium of regional chefs to address the public's increasing consumption of processed foods, additives, highly refined grains, and mass-produced poultry and meat.
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I regretted the solitary nature of the writer's life - other people, normal working people, spent their days with co-workers, rode the subway home with a crowd, walked through thronged streets. I worked at home, all by myself.
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Eating by myself in my own apartment, single and alone again for the first time in many years, I should have felt, but did not feel, sad. Because I had taken the trouble to make myself a real dinner, I felt nurtured and cared for, if only by myself. Eating alone was freeing, too; I didn't have to make conversation.
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Now that I'm 50 and respectably settled in New England and markedly happier and more contented than I was in my youth, I modestly hope there's time to realize some of my youthful goals before I croak, but I'll take what I can get.
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Loser lit antiheroes aren't well intentioned or earnest; they don't care whether you like them or not. They're self-mocking, ironic and inventive; they narrate their downfalls with manic wordplay, rampant metaphors, wisecracks, and escalating flights of spleen-fueled lyricism.
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At first blush, it seems odd that loser lit books are rejected initially, then go on to be fiercely loved by legions of readers. This apparent contradiction might be due to the fact that if they didn't screw up their lives, most losers would be the kind of power-elite, Type A go-getters whom readers love to hate.
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Living in New York City is one constant, ongoing literary pilgrimage. For 20 years, I lived among the ghosts of great writers and walked where they had walked.
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In 1990, when I had just arrived in New York City as a wet-behind-the-ears 20-something girl from Arizona, I spent a year or more working as the personal secretary and secret ghostwriter to an American-born countess in her apartment on the Upper East Side.
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'Blue Plate Special' is the autobiography of my first half-century of life, with food as the subject.
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My youngest sister belonged to a group called the Twelve Tribes for many years. She recently left, with her husband and four children. Talking to her about her experiences in the group is fascinating, moving, and enlightening.
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I have observed, through many years of living in north Brooklyn, that people, for example an ostensible group of friends, can be dangerous to one another.
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Food is not a means toward resolution. It can't cure heartbreak or solve untenable dilemmas.
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I don't feel that I've had a life of abuse or that I am a victim in any way. My life is pretty typical of a lot of Americans of my generation who grew up in the sixties in families like mine that were sort of unconventional.
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I wanted to write a food book, but I'm not a chef or an expert on culinary matters, to put it mildly.
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With my friends in Brooklyn, many of them started out as artists. I saw many of these friends move into late middle age, still struggling without health insurance or a cushion. I saw people who had given up being artists. Being an artist necessitates a compromise or living on the edge.
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I never see myself as writing satire. I think I write about people as they really are, without making them better or worse.
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I've always written about adultery because it raises the question of transgression and trouble.
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It makes you vulnerable to win an award. It's nice to get the attention, but your neck is stuck out.
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For writers and artists, it's always a balancing act between wanting to be the center of attention and wanting to be invisible and watch what's going on.
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It's hard for me to generalize about kids and divorce. I think every family's experience is different; some kids are devastated by it, others relieved, and so forth, no matter what generation they're from.
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I remember the moment I first became aware of aging. I was 30. I looked down at my knees, and the skin above them had become a little loose. And I thought, 'And so it begins!'
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I started reading G. K. Chesterton's 'The Man Who Was Thursday' on a subway ride, almost missed my stop, and walked home thumbing pages.
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I realized that I've had a really rocky relationship with food - it has not been a gauzy, beautiful summer of ripe melons and perfectly buttered toast.
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I think there's a part of my brain where food, language, and memory all intersect, and it's really powerful. I think I'm not alone in this.
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When I was younger, I read all the great food memoirs, by M.F.K. Fisher and Laurie Colwin and Julia Child and Nicolas Freeling and Ruth Reichl, and felt flooded with a sense of comfort and safety.
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My first novel, 'In the Drink,' begun when I was 29 and floundering and published when I was 36 and married, was about a 29-year-old woman whose life was even more screwed up than my own had been.
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If I fell into one relationship after another with men who were either emotionally tuned out and unavailable or hotheaded and controlling, or both, it was because I was lacking in good sense about men.
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In a family of all girls, I was always the 'boy' in my mind - the protector, the masculine one. No one would ever have to worry about me.
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