Vianne Rocher Quotes

“I know all their favorites. It's a knack, a professional secret, like a fortune teller reading palms. My mother would have laughed at this waste of my skills, but I have no desire to probe farther into their lives than this. I do not want their secrets or their innermost thoughts. Nor do I want their fears or gratitude. A tame alchemist, she would have called me with kindly contempt, working domestic magic when I could have wielded marvels. But I like these people. I like their small and introverted concerns. I can read their eyes, their mouths, so easily- this one with its hint of bitterness will relish my zesty orange twists; this sweet-smiling one the soft-centered apricot hearts; this girl with the windblown hair will love the mendiants; this brisk, cheery woman the chocolate brazils. For Guillaume, the florentines, eaten neatly over a saucer in his tidy bachelor's house. Narcisse's appetite for double-chocolate truffles reveals the gentle heart beneath the gruff exterior. Caroline Clairmont will dream of cinder toffee tonight and wake hungry and irritable. And the children... Chocolate curls, white buttons with colored vermicelli, pain d'épices with gilded edging, marzipan fruits in their nests of ruffled paper, peanut brittle, clusters, cracknells, assorted misshapes in half-kilo boxes... I sell dreams, small comforts, sweet harmless temptations to bring down a multitude of saints crash-crash-crashing among the hazels and nougatines....”
― Joanne Harris, Chocolat

“This is an art I can enjoy. There is a kind of sorcery in all cooking; in the choosing of ingredients, the process of mixing, grating, melting, infusing, and flavoring, the recipes taken from ancient books, the traditional utensils- the pestle and mortar with which my mother made her incense turned to a more homely purpose, her spices and aromatics giving up their subtleties to a baser, more sensual magic. And it is partly the transience of it delights me; so much loving preparation, so much art and experience, put into a pleasure that can last only a moment, and which only a few will ever fully appreciate. My mother always viewed my interest with indulgent contempt. To her, food was no pleasure but a tiresome necessity to be worried over, a tax on the price of our freedom. I stole menus from restaurants and looked longingly into patisserie windows. I must have been ten years old- maybe older- before I first tasted real chocolate. But still the fascination endured. I carried recipes in my head like maps. All kinds of recipes: torn from abandoned magazines in busy railway stations, wheedled from people on the road, strange marriages of my own confection. Mother with her cards, her divinations, directed our mad course across Europe. Cookery cards anchored us, placed landmarks on the bleak borders. Paris smells of baking bread and croissants; Marseille of bouillabaisse and grilled garlic. Berlin was Eisbrei with sauerkraut and Kartoffelsalat, Rome was the ice cream I ate without paying in a tiny restaurant beside the river.”
― Joanne Harris, Chocolat

“Beware, Morgane. You thought I wasn't dangerous? That chocolate was too sweet, too soft to rival your ink and your needles? Chocolate is an ancient art. It comes from very far away. And under the softness, the sweetness- it waits. And it is bitter.”
― Joanne Harris, The Strawberry Thief

“I have cardamom castles, and mendiants, and coconut truffles, and green almond crisp. Or would you prefer a cornet-surprise, with all kinds of different chocolate shapes- eggs, and chickens, and rabbits, and ducks, and little presents for everyone?”
― Joanne Harris, The Strawberry Thief

“She buys only the best couverture, from a fair trade supplier down near Marseille, and pays for it all in cash. A dozen blocks of each kind, to begin with, she says; but I already know from her eager response that a dozen blocks will not be enough. She used to make all her own stock, so she tells me, and though I'll admit I didn't quite believe it at first, the way she has thrown herself back into the business tells me that she was not exaggerating.
The process is deft and peculiarly therapeutic to watch. First comes the melting and tempering of the raw couverture: the process that enables it to leave its crystalline state and take on the glossy, malleable form necessary to make the chocolate truffles. She does it all on a granite slab, spreading out the melted chocolate like silk and gathering it back toward her using a spatula. Then it goes back into the warm copper, the process to be repeated until she declares it done.
She rarely uses the sugar thermometer. She has been making chocolates for so long, she tells me, that she can simply sense when the correct temperature has been reached. I believe her; certainly over the past three days I have been watching her, she has never produced a less than flawless batch. During that time I have learned to observe with a critical eye: to check for streaks in the finished product; for the unappealing pale bloom that denotes incorrectly tempered chocolate; for the high gloss and sharp snap that are the indicators of good-quality work.”
― Joanne Harris, The Girl with No Shadow

“When the snow began to fall, Maman was working in the shop, making Easter chocolates. Rabbits and chickens and baskets of eggs. Mendiants and nougatines. Nipples of Venus, and apricot hearts, and bitter orange slices. All wrapped up in cellophane, and tied with colored ribbons, and packed in boxes and sachets and bags, ready to give for Easter.”
― Joanne Harris, The Strawberry Thief

“This morning it was sunny and bright, and Maman was making Easter things. There were eggs, and hens, and rabbits, and ducks, all in different sizes and varieties of chocolate, and Maman was decorating them with gold leaf, and hundreds and thousands, and sugar roses and candied fruit. Later she'll wrap them in cellophane, like fabulous bunches of flowers, each tied with a long curly ribbon of a different color, and put them all on shelves at the back, as part of her annual Easter display.”
― Joanne Harris, The Strawberry Thief

“I remember when Vianne Rocher first moved into town all those years ago. That window, papered in orange and gold, just like a Chinese lantern. That scent of spices, and incense smoke, like something from the Arabian Nights. So many things have changed since then: now Vianne and I are almost friends. But how I resented that little shop, with its brightly colored awning, and the scent of vanilla and allspice and the bitter rasp of raw cacao drifting out into the air. How I longed to step in, to taste the wares in those glass cases! Now, I tell myself, I could. But though I do not fast for Lent, chocolate still seems one indulgence too far.”
― Joanne Harris, The Strawberry Thief

“Working with chocolate always helps me find the calm centre of my life. It has been with me for so long; nothing here can surprise me. This afternoon I am making pralines, and the little pan of chocolate is almost ready on the burner.
I like to make these pralines by hand. I use a ceramic container over a shallow copper pan: an unwieldy, old-fashioned method, perhaps, but the beans demand special treatment. They have traveled far, and deserve the whole of my attention. Today I am using couverture made from the Criollo bean: its taste is subtle, deceptive; more complex than the stronger flavors of the Forastero; less unpredictable than the hybrid Trinitario. Most of my customers will not know that I am using this rarest of cacao beans; but I prefer it, even though it may be more expensive. The tree is susceptible to disease: the yield is disappointingly low; but the species dates back to the time of the Aztecs, the Olmecs, the Maya. The hybrid Trinitario has all but wiped it out, and yet there are still some suppliers who deal in the ancient currency.
Nowadays I can usually tell where a bean was grown, as well as its species. These come from South America, from a small, organic farm. But for all my skill, I have never seen a flower from the Theobroma cacao tree, which only blooms for a single day, like something in a fairytale. I have seen photographs, of course. In them, the cacao blossom looks something like a passionflower: five-petaled and waxy, but small, like a tomato plant, and without that green and urgent scent. Cacao blossoms are scentless; keeping their spirit inside a pod roughly the shape of a human heart. Today I can feel that heart beating: a quickening inside the copper pan that will soon release a secret.
Half a degree more of heat, and the chocolate will be ready. A filter of steam rises palely from the glossy surface. Half a degree, and the chocolate will be at its most tender and pliant.”
― Joanne Harris, The Strawberry Thief

“First, the whole milk in a copper pan, heated not quite to boiling-point. Then, the spices: nutmeg and clove, with a couple of fresh bird's-eye chilies, broken in half to release the heat. Three minutes for the chilies to infuse: then add a double handful of chopped dark chocolate pieces- not powder, but the chocolate that I use for my pralines- and stir until the chocolate melts. Muscovado sugar, to taste: then bring back to simmering-point and serve straightaway in a china cup, with a langue de chat on the side.”
― Joanne Harris, The Strawberry Thief

“I put a handful of Criollo beans into the grinder. Their scent is very far from sweet. I can smell oud, and sandalwood, and the dark scents of cumin and ambergris. Seductive, yet faintly unsavory, like a beautiful woman with unwashed hair.
A moment in the grinder, and the beans are ready to use. Their volatile essence fills the air, freed from one form into another. The Maya tattooed their bodies, you know, in order to placate the wind. No, not the wind. The gods. The gods.
I add hot water to the beans and allow them time to percolate. Unlike coffee beans, they release an oily kind of residue. Then I add nutmeg, cardamom and chili to make the drink that the Aztecs called xocoatl- bitter water. That bitterness is what I need.”
― Joanne Harris, The Strawberry Thief

“Do you want some help?" said Anouk, watching me bring out the big glass jars of raisins and cherries and sprinkles and nuts to decorate the mendiants.
I smiled. "Of course. My favorites."
It has been a long time since Anouk wanted to help me make chocolates. Now she does, as a child might play with her favorite toys for one last time before putting them aside for ever. Almonds, candied lemon peel, fat black cherries, green cardamom, and a sprinkle of edible gold to highlight the rich dark chocolate. Once sold by travelers door-to-door, these are kings and queens of the road, gilded, glossy and glorious.
"I made mine into faces," she said.
I smiled at her. "You always did.”
― Joanne Harris, The Strawberry Thief

“Now, what about that chocolate?"
It is my recipe, and yet it is not quite familiar. A little less sugar, a little more vanilla, or cardamom, or maybe turmeric. In any case, it is sweet and good, and it smells of other places, of wonderful things to discover. But it also smells of home; of the scent of fig leaves in the sun, and Armande's peaches cooking. It smells of moonlight on the Tannes, and the scent of Roux's tattooed skin against mine. It smells of the past and the future, and suddenly I realize that I am no longer afraid of anything that future may bring. The hole in the world has somehow been filled. I am whole again, and free.”
― Joanne Harris, The Strawberry Thief