e-book Poisoned Kisses (Mills & Boon Nocturne) (Mythica, Book 3)

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This totally makes me want to buy a Dutch oven right now at Target.

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I was dreaming of those expensive brands and have been saving up but the target brand is perfect for my budget. If I can do the bread, anyone can! I am SO not a bread expert. Like, not at all.

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I have a very large, old cast iron Dutch oven holds about two and a half gallons. Hey, Thanks so much for sharing these recipes! I think the dutch oven is such a great and versatile tool to have in the kitchen. Lindsay, I am finding your posts about how to use blenders, food processors, and dutch ovens really helpful! Such as the bread, and a whole chicken. I never would have thought of those. I really appreciated your post on ways you can use a food processor. I bought the cuisinart food processor that you recommend and it has become my new fave appliance!

This guy needs to bake for quite a while, especially if you end up using dry beans, so being able to just leave a nice heavy duty pan in the oven for that long is really awesome.

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Great information on the Dutch oven. Would I be able to utilize my dutch oven for your wonderful recipes? Food always taste better in it. Among the South African indigenous peoples specifically Zulus these pots also became known as phutu pots, after a popular food prepared in it. There is no way I could every use any other food processor ever again.

Dutch oven

My sister and Pinch of Yum team member actually took all the photos for this one! I ordered her a marble board and got her set up with some good camera settings and told her how to stand… boom.

I have the Le Creuset ones but we also have an outlet near by. I even have a Lodge dutch oven for camping…. Those settlers and chuck wagon cooks knew a good cooking dish when they saw it! I made the no-knead bread in mine once but it made the inside all dark. I have the same Lodge 6-Quart Dutch Oven! My then-boyfriend bought it for me for Christmas. LOL — this is my favorite comment in a long time.

You and your then-boyfriend-now-husband are awesome. It's a new year! And it's cold outside. I drove over to Caribou Coffee this morning for a one-shot-of-syrup Ho Ho Mocha can't let go, guys, I just can't and during my frigid 3-minute drive, all I could think about were the cozy, creamy, comforting foods that need to be a part of my day today. You're not the kind of person who thinks about dinner before you've even had breakfast? But I don't understand. Any day that you bake dinner all in one pan and carry it proudly out to your table to be…. This is how I make hummus.

This is the Lindsay-making-hummus-at-home-in-less-thanminutes hummus variety. Which actually is my favorite variety, because spending 30 minutes making something that lasts for lots of lunches is a time steal. In a good way. You need to peel the skins! Unless you have some sort of amazing blender that can whoosh anything, everything, one hundred percent smooth and creamy - does that even exist? If he does not mean by work the earning of a little money through assisting in a superior's blind purposes, but the straining of his resources, what manner of living must he choose?

The ultimate complication lies in his relation to money. Wealth— wealth in love, money, the admiration of oneself and others—is indispensable to those who would surround themselves with the flatterings and stimulations of beauty" Throughout the book, he keeps moralistically fluctuating between the paradoxical prosperity of poverty—a deliberate cult of disaster—and the conviction that there is an ideal need for a tradition of great wealth. And even at the last, when he is reduced to a total destitution largely of his own making, he warns himself: "You cannot renounce, for none but the rich dare speak in praise of poverty" He ends in the condition that a stranger had described for him in the first chapter:.

And upon my enquiring as to what he feared most of the future, he answered: "Destitution. Destitution of finances, destitution of mind, destitution of love. The inability to retort.

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The need of possessing one's opposite in years, sex, and texture of the skin; and the knowledge that by this need one has been made repugnant. The replacing of independence by solitude. As regards the question of literary species, this fluctuant attitude involves a kind of grotesqueness that is midway between tragedy and comedy, or, in the narrator's words, "the hilarious aspects of distress" Many of the situations could be easily transformed into farce. Perhaps the most obvious instance is the episode about a compulsion to address the wooden statue of a policeman at the entrance to a store.

He yields to the temptation, then fears that his act has been noticed:. I could have done the same under happier circumstances, but the meaning would not have been the same. It is quite natural to address inanimate things—it is no more foolish than confiding secrets to a dog. But as I looked about apprehensively, I saw that a woman had observed me. She was pretty, and insolent, and was watching me intently. There was no kindness in her eyes, nothing but cold curiosity.

And to escape her judgment, I repeated my greeting, this time leaning back, squinting, and waving my hand, as though I had been speaking to someone in the recesses of the store—but now I noticed that the clerk inside, with bewildered moonface, was staring at me glumly.

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I am now bending beneath eyes, the wooden eyes of the policeman, the cold, curious eyes of the woman, and the glum eyes of the clerk inside the store. Perhaps these two preparatory notes indicate the pattern most clearly: "Be sure to have him boast of things for which he has attacked others"; and "He's all for setting up rules, but when they are applied to him he insists that the case is different. Though you, in learning, brought trouble upon yourself, let no man discredit your discoveries by pointing to your troubles. Nor must you turn against your bitterness.

The sword of discovery goes before the couch of laughter. One sneers by the modifying of a snarl; one smiles by the modifying of a sneer. You should have lived twice, and smiled the second time. And the narrator's talk of lapsing into total silence is interwoven with his cry: " resurgam!

I shall rise again! Hail, all hail! Here is a promise: resurgam. But though I think that, in an ideal world, comedy would be the highest form of art, I find that tragedy leads most directly into the study of man's attempted solutions for his problems. I would but add the hope that, as with the ancient Greek theater, we sum up the analysis of "tragic dignification" by a satyr play, that is to say, a burlesque of the solemnities that have preceded it.


Dutch Oven Cooking

Before turning directly to the sociopsychology of our present concerns, perhaps I should mention one further point as regards the sheerly literary aspect of the book. At the time when I was taking preparatory notes, I was also doing much research in studies to do with the nature and etiology of drug addiction. As a result, I became interested in the notion that the case history could be readily adapted for purely poetic purposes. The form made for a kind of vignette with a strongly aphoristic aspect. Since the narrative is so designed that the plot gradually emerges from a sententious context—though the aphorisms are "in character," hence not to be taken as strictly identical with the view of the author—I discovered that the case history, as a form, blends well with the aphoristic; a reader hardly notices when one leaves off and the other takes over.

So much for a view of the work in its internality. Let us now reverse things and approach it situationally, from without. Since we ended the former discussion on purely poetic considerations, we might take them as our point of departure for this new phase. In Djuna Barnes's novel Nightwood, her major spokesman, the overripely perverted doctor, O'Connor, avows: "Calamity is what we are all seeking. For "there is one notable difference between a biblical jeremiad and a purely literary variant of the species. But "a literary jeremiad must somehow be fun. I would assume that such delight begins in the preverbal solace of an infant sobbing itself to sleep.

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See my comments on the "three freedoms" of lamentation, praise, an invective, in my essay on Shakespeare's Timon of Athens in the paperback Laurel edition. Calamity, or pathos, serves another function, which I have called "tragic dignification. Suffering is a way of "bearing witness"—that is, in etymological literalness, being a "martyr.

In the case of this particular book, since the whole cult of stress comes to a focus in what amounts to a roundabout courting of insanity—or more accurately perhaps, near-insanity, a state up to but not beyond the edge of the abyss—it might be relevant to quote some lines from the recently deceased poet, Theodore Roethke, regarding his desire "to break through the barriers of rational experience.

In Roethke's case, the predicaments that he periodically got himself into were, in a sense, willed—for he deliberately cultivated a vigilant search for a kind of expression that would be in its very essence neoinfantile. Here another strand ties in. I refer to the "aesthetic of alcohol," the desire to attain, in one's sober writing, the kind of effects that one feels one is getting when under alcohol's influence.

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In a sense alcohol thus acts as a kind of "call," which the sobriety of writing can never wholly answer.