"Often for hors d'oeuvres, I serve room temperature vegetables, something like that, so that the main course might be quite rich but the first course has balanced it out"
About this Quote
Schneider’s line is kitchen advice that doubles as a quiet manifesto about restraint in an age that rewards excess. She’s not chasing the Instagram crescendo of “more”: more butter, more foam, more drama. She’s building a meal like a paragraph, using a plain first sentence to make the complex one land.
The specifics matter. “Often” signals habit, not dogma; this isn’t a rulebook, it’s a practiced instinct. “Room temperature vegetables” is a deliberately unsexy choice. It rejects the hot-and-crispy default and the chilled, dressed-to-impress crudite platter. Room temp lets flavor read without shock: sweetness, bitterness, the vegetable’s own water. It’s also a hospitality tell. Room temperature food suggests calm timing and confidence; you’re not performing, you’re hosting.
Then comes the real subtext: permission to make the main course “quite rich” without apology. The vegetables aren’t penance; they’re architecture. Schneider frames balance as sequencing, not substitution. You don’t have to purge pleasure from the meal; you can manage it by pacing the palate. That’s why “something like that” lands so well: it’s casual, almost tossed off, yet it opens a door to improvisation and taste rather than rigid technique.
Contextually, this is the sensibility of a writer who thinks in edits. The first course is negative space, a palate set to zero, so richness arrives as intention instead of accident.
The specifics matter. “Often” signals habit, not dogma; this isn’t a rulebook, it’s a practiced instinct. “Room temperature vegetables” is a deliberately unsexy choice. It rejects the hot-and-crispy default and the chilled, dressed-to-impress crudite platter. Room temp lets flavor read without shock: sweetness, bitterness, the vegetable’s own water. It’s also a hospitality tell. Room temperature food suggests calm timing and confidence; you’re not performing, you’re hosting.
Then comes the real subtext: permission to make the main course “quite rich” without apology. The vegetables aren’t penance; they’re architecture. Schneider frames balance as sequencing, not substitution. You don’t have to purge pleasure from the meal; you can manage it by pacing the palate. That’s why “something like that” lands so well: it’s casual, almost tossed off, yet it opens a door to improvisation and taste rather than rigid technique.
Contextually, this is the sensibility of a writer who thinks in edits. The first course is negative space, a palate set to zero, so richness arrives as intention instead of accident.
Quote Details
| Topic | Cooking |
|---|---|
| Source | Help us find the source |
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