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365 pages, Kindle Edition
First published January 1, 2015
Some of the best meals I've eaten in Italy have been cooked in small, ordinary kitchens on straightforward stoves using simple, basic equipment. I have also eaten some wonderful meals cooked in large kitchens equipped with every conceivable tool and appliance, and armies of pans. It's not that one is better than the other—good food can be prepared in either way, in either kitchen. However, it is the ordinary and simple that appeals to me, since it's more inclusive and uncomplicated, rather like the food itself. (p.26)
If Parmigiana reggiano is a smooth, sophisticated type with a history of art degree and a flat in Kensington, then pecorino romano is a bit of a rogue with an accent as thick as molasses, a great record collection, and plenty of charm. (p.40)
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Please note that my croquettes are wonky because, as everybody knows, very neat croquettes—like very neat people and houses—are suspicious. (p57)
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More often than not, bread is the first thing to arrive on the table, usually in a basket lined with a napkin, and the last thing to be removed. It is nourishment that predates pasta in Rome by centuries; an accompaniment; a utensil (when the dish permits, many Romans eat with a fork and a crust of bread); and the agent of the final swipe, or scarpetta, of most plates. Quite simply, a meal is unthinkable without bread. (p.67)
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In an ideal world we would have given a complimentary food mil, mouli, or passaverdura away with every copy of this book [...] A brilliantly simple, old-fashioned device [...] I'm not sure I've ever been in an Italian kitchen that didn't have one or three at hand. It does a job no other kitchen tool can: it purees cooked vegetables, fruit, legumes, fish, and other ingredients, separating out the skin, seeds, fibers, bones, and bits, the unwanted from the wanted. In fact, the action of the crank and the plate extracts flavour from the unwanted as well. [...] What's more, a food mill doesn't entirely break and blast down the texture of hte pulp as a blender or food processor would, but leaves it with the lively texture and distinct personality that's so desirable for Italian soups, sauces, and purees. [...] It is without a shadow of a doubt my favourite and most-used kitchen tool. (p.126)
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The recipe starts with patience, just a little, enough to fan the lentils out on a tray and scan them with your eyes, as there's almost always a tiny stone hiding, especially if you are using good lentils. It's a task that probably takes a minute at most but it's the kind of instruction that can make me disproportionately irritated, as in "I really don't have time to be fussing with that." (p.107)
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It's nine o-clock on a Tuesday morning and I've drunk too much coffee. The man in front of me, who must be in his late seventies and reminds me of my uncle Frank, slight and spritely with a cigarette pinched between thumb and index finger, is buying three etti (300 g) of tripe [...] To my right, a woman I recognized from teh pharmacy, and who seems undressed without her white coat, is buying liver and veal for spezzatino. [...] At the other end of the long counter, Mauro is serving a woman sausages and rib tips [...] As I wait in front of folds of tripe and dark red swathes of liver, the blows of the cleaver and slow grind of the meat grinder fill out the hiss and clatter of saucers from the bar nearby. Luca balances on the lip at the bottom of the counter. He peers through the glass, his breath leaving a tiny cloud, and whispers "meat." (p.167)~ ~ ~
Just the thought of preparing this dish makes me happy, not just because any dish that requires a glass of wine for the pan requires one for the cook, but because of hte roaring scent of garlic and rosemary rising up from the cutting board, the golden crust on the meat, the whoosh the wine makes as it hits the hot pan, and the warm scent that fills the kitchen as the dish bubbles away. (p.196)
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What if you don't live near a charming market in Italy, though, where cranberry beans in their pods and zucchini showing off their golden flowers roll into your arms? The answer, of course, is that it doesn't matter: you want the very best you can find, and what you can find will do. (p.196)
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At times, I have found myself paralyzed by kitchen advice, strong opinions, and come si fa (how to do something); or rather, non si fa, (how not to). I brought it upon myself, of course, by being eagure to learn, eager to be authentic—whatever that means—and eager to please. This was very much the case with green sauce, or salsa verde, until a good friend and even better cook reminded me that once you've listened to all the advice and tried and tested something, you must make the recipe your own. (p.268)
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Resembling a swollen hand, with stems like pointing fingers sprouting feathery fronds, fennel is related to anise but has none of its cousin's aggressive sharpness, but rather a clean, faintly licorice aroma. It's crisp, cool, and sweet, and one of my favourite vegetables. Mostly we eat it shaved very thinly and dressed with salt and oil, or if it is particularly succulent and sweet, more simply still, in fat wedges instead of fruit. (p.271)
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It's a simple and clever idea: pears are rubbed with butter (which is one of my favourite recipe instructions) (p.271)
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[A]s with almost all Italian culinary wisdom, even the simplest of recipes comes with the obligatory suggestion: practice. [...] When an Italian shares a recipe with you it's likely to be dotted with variables and gestures that suggest "some" or "to taste" or, bewilderingly, "enough". This is because they know and understand that ingredients [...] vary from kitchen to kitchen, from place to place, from season to season; that what may seem sweet to one person is not to another (p310)
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Before arriving in Italy I hadn't drunk coffee for several years, for several reasons, none of which are particularly interesting. I returned to coffee-drinking with a ristretto in a noisy bar near Napoli airport about an hour after I first landed. As the intense half-inch of dark liquid invaded every crevice of my palate and seeped into my system, I enjoyed a moment of caffeine ecstasy that I'm not sure will ever be repeated. (p.312)
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Ciambelline al vino are quintessentially Roman, and a good recipe in which to mention q.b. or quantobasta, which literally means "how much is enough?" —or, as Vincenzo puts it, "whatever you think is the right quantity." You find q.b. dotted liberally throughout Italian recipes, and the older your book or more southward-leaning your travels, the more you encounter it. It isn't a question, but an assumption that you know how much salt, pepper, flour, oil, wine, sugar, fennel seeds, and so on, is enough for the recipe in question, according to your preference. It's an assumption that you have good taste, good instincts, and/or that the recipe is good enough for you to make it again and again until q.b has become second nature. Unlike some recipes I've bookmarked, in which every ingredient is followed by q.b., this one has measurements of sorts. That is: a glass of wine (red, white, or fortified), a glass of extra-virgin olive oil, and a glass of sugar. The size of the glass, of course, is whatever you think is right. (p.346-347)