Saturday, August 5, 2017

the dabney, D.C.



Wednesday, June 28, 2017

pepita pesto (alliteration!)


Pour over roasted carrots for bliss, pictured above; but I also plan on slathering it on roasted salmon and tossing with fresh kale for lunch tomorrow. And I could also imagine eating a bowl of it with a spoon.

In a food processor, or however else you work your pesto magic:

1 cup pepitas, toasted and cooled
1 1/2 cup kale
1 clove garlic
Rind and juice of a lemon
1/4 cup olive oil
Kosher salt

(taken with respect and admiration from Naturally Ella)

Saturday, April 29, 2017

Gertrude Stein, "Roastbeef"

ROASTBEEF. 

In the inside there is sleeping, in the outside there is reddening, in the morning there is meaning, in the evening there is feeling. In the evening there is feeling. In feeling anything is resting, in feeling anything is mounting, in feeling there is resignation, in feeling there is recognition, in feeling there is recurrence and entirely mistaken there is pinching. All the standards have steamers and all the curtains have bed linen and all the yellow has discrimination and all the circle has circling. This makes sand. 

Very well. Certainly the length is thinner and the rest, the round rest has a longer summer. To shine, why not shine, to shine, to station, to enlarge, to hurry the measure all this means nothing if there is singing, if there is singing then there is the resumption. 

The change the dirt, not to change dirt means that there is no beefsteak and not to have that is no obstruction, it is so easy to exchange meaning, it is so easy to see the difference. The difference is that a plain resource is not entangled with thickness and it does not mean that thickness shows such cutting, it does mean that a meadow is useful and a cow absurd. It does not mean that there are tears, it does not mean that exudation is cumbersome, it means no more than a memory, a choice and a reëstablishment, it means more than any escape from a surrounding extra. All the time that there is use there is use and any time there is a surface there is a surface, and every time there is an exception there is an exception and every time there is a division there is a dividing. Any time there is a surface there is a surface and every time there is a suggestion there is a suggestion and every time there is silence there is silence and every time that is languid there is that there then and not oftener, not always, not particular, tender and changing and external and central and surrounded and singular and simple and the same and the surface and the circle and the shine and the succor and the white and the same and the better and the red and the same and the centre and the yellow and the tender and the better, and altogether. 

(from Tender Buttons, 1914)

Tuesday, March 21, 2017

Como agua para chocolate (on mole and melancholia)



The idea that we can use cooking to transmit an intangible thing is not a novel one. I'm thinking of Laura Esquivel's Como agua para chocolate (Like Water for Chocolate)—the book is practically required reading if you're any kind of Latin American—, in which Tita is cruelly forbidden from marrying the man she loves, Pedro, as part of a family tradition in which the youngest daughter must remain unmarried and commit her life to caring for her mother. In a desperate effort to stay close to Tita, Pedro decides to marry one of her sisters, and as luck would cruelly have it Tita is responsible for baking their wedding cake. This is, as you can imagine, a harrowing experience. Tita's heartache overwhelms her, and in what has become the most memorable passage from the book (and scene from the not terrible film adaptation), her inconsolable tears make their way into the batter, and the wedding guests become impossibly lovesick at their first taste of the cake. This is pure magical realism: it seems possible enough (though still unlikely) that someone's salty tears could spoil raw batter, but could they be charged with sorrow and make us sick with longing? Can grief withstand the heat of an oven, can it be licked off a spoon, can it lead to such collective katabasis as experienced by Pedro's unsuspecting guests?

Mole has hundreds of ingredients, many different chiles and crazy things like fresh epazote leaves which I like to pretend don't exist in the United States to keep the magic going, which is in full disclosure why I have not (yet) attempted to make it myself. But I have learned that if you can get your hands on mole in Mexico (not just from Mexico) it is as good as homemade. In fact, I enjoy this distance between myself and the multitudinously concocted mole. I imagine it being imbued with a kind of unrivaled Aztec wisdom in the same way Tita's cake is teeming with melancholia. 

There are as many stories about mole's origins as the dish has ingredients, and they are not all pre-hispanic. In one of these legends, a cook is asked to prepare a grand banquet for his diocese's visiting archbishop. Nervous at the prospect of a man so close to God sitting at his table, he trips and knocks all the ingredients in his kitchen into the simmering pot: chiles, cacao, spices, and more. This late in the game, he can only resort to the heavens, and kneels down to pray that the meal will turn out somewhat edible. The result of this holy episode in the kitchen is a satisfied archbishop and the birth of mole.

To my relief, I do not regularly summon the divine or weep for love as I cook, but I do believe wholly in the transmission, the role of cook as messenger of a moment or feeling, even if fleeting. Tita was born in the kitchen, and she lives and loves there too. For those of us who cook not just to eat or to feed but to create, to escape, or to become more real, she represents the inevitable way in which we bring our emotions to the kitchen. If "every portrait that is painted with feeling is a portrait of the artist, not of the sitter," the same rule applies to food. When we are at our most vulnerable and open as we cook, our sensitivities translate very viscerally to the final dish, like in Esquivel's text. I don't think that's too romantic, is it?

"The moment they took their first bite of the cake, everyone was flooded with a great wave of longing. Even Pedro, usually so proper, was having trouble holding back his tears. Mama Elena, who hadn't shed a single tear over her husband's death, was sobbing silently. But the weeping was just the first symptom of a strange intoxication - an acute attack of pain and frustration - that seized the guests and scattered them across the patio and the grounds and in the bathrooms, all of them wailing over lost love." 
                                            — Laura Esquivel, Like Water For Chocolate

"Una inmensa nostalgia se adueñaba de todos los presentes en cuanto le daban el primer bocado al pastel. Inclusive Pedro, siempre tan propio, hacía un esfuerzo tremendo por contener las lágrimas. Y Mamá Elena, que ni cuando su esposo murió había derramado una infeliz lágrima, lloraba silenciosamente. Y eso no fue todo, el llanto fue el primer síntoma de una intoxicación rara que tenía algo que ver con una gran melancolía y frustración que hizo presa de todos los invitados y los hizo terminar en el patio, los corrales y los baños añorando cada uno al amor de su vida." 
— Laura Esquivel, Como agua para chocolate


Saturday, December 17, 2016

if you love someone, make them parsnip soup



The ethics of blogging seem to be such that one must either overshare, enumerate each dirty or extraneous detail, confide in the reader...or say nothing at all, exercise restraint, an idyllic picture of a self shielded by screen, dotted with catch phrases and hashtags. When it comes to writing about love, that thing that requires a nice expanse of gray area to roam and roll around in so that it can express itself properly, this polarity is especially constraining. Hence my hesitance to address love, much more my personal love, here on this platform that is so unequivocally a blog. I don't want to cheapen anything with banality in the name of the sacred reader's comfort, but I also don't want to turn my soul inside out and make anyone squirm. 

All that said, I could not write about this perfectly tiny bowl of parsnip soup (to be refilled many times over), a deceptively simple, exquisitely delicate dish, without mentioning that it is a food made for love, and that I made it for mine. Not like an aphrodisiac, but I swear - it is heart warming. Carrots and parsnips are both root vegetables, so they share enough that they're interesting to each other, but the gingery spice of parsnips is unlike the carrot's fresh and pure sweetness. In this recipe, they simmer cozily together for an hour in some broth. The final pureed soup takes no cream (although I added a generous glug of olive oil, in the name of love), and is sprinkled with the crispiest parsnip chips, a discovery for the ages. In all its easy lightness, it is sophisticated and feels extravagant even on the weekend. Much like those never ending conversations. 

Also, it would be nice with some focaccia, which gives your lover or friend or in-between something to do (hint hint, if you're reading this?)

Carrot-Parsnip Soup With Parsnip Chips (recipe from NYT

2 tablespoons olive oil, divided
2 ½ cups chopped yellow onion
3 cups coarsely chopped parsnip (about 1 pound)
3 cups water
2 ½ cups coarsely chopped carrot (about 1 pound)
2 (14-ounce) cans fat-free, less-sodium vegetable broth
¼ teaspoon salt
¼ teaspoon freshly ground black pepper
½ cup parsnip, cut into 1/8 inch slices
1 tablespoon chopped fresh chives

Heat 1 teaspoon oil in a Dutch oven over medium heat. Add the onion, and cook 10 minutes or until tender, stirring occasionally. Add chopped parsnip, water, carrot and broth; bring to a boil. Reduce heat, and simmer 50 minutes or until vegetables are tender. Remove from heat; let stand 5 minutes. Place half of carrot mixture in a blender; process until smooth. Pour pureed carrot mixture in a large bowl. Repeat procedure with remaining carrot mixture. Stir in salt and pepper. Heat remaining 5 teaspoons oil in a small saucepan over medium-high heat. Add parsnip slices; cook 5 minutes or until lightly browned, turning occasionally. Drain on paper towels. Sprinkle parsnip chips and chives over soup.

Monday, September 5, 2016

guacamole rústico


My stepfather is Mexican, which means that I have long witnessed with equal parts confusion and amusement as traditional Argentine dishes prepared by my mother have been slathered in chipotle or rolled up in corn tortillas (bonus points for the fact that my first name, Valentina, is also the name of a hot sauce.) "Asado"—the word we use for barbecue in Argentina—has always somehow managed to get away with little to no variations, maybe because it's slightly futile, I find, to improve an already majestic piece of properly grilled meat. Although chimichurri, but I digress.

The real exchange of ideas happens around the issue of contorni, or the various combinations of vegetables we stare at as we consume red meat for hours. It is notable how passively everyone accepts anything that goes on the grill (blood sausage is just that, a sausage filled with blood), but the saintliest of leafy dishes incites heated debate: my stepdad hates arugula, my mom can't eat corn (?), my uncle has a theory that cilantro tastes just like these little green stink bugs that buzz around the Pampas on warm nights, and everyone agrees that guacamole, a crowdpleaser, prematurely fills everyone up with chips.

This last point brings me to what we've now coined guacamole rústico, a salad I've devised for our long nights of asado consisting quite simply of the ingredients that make up guacamole coarsely chopped into a salad rather than smashed into the sultry dip we know and love. Here I've sprinkled it with parsley instead of cilantro to accommodate my uncle's totally forgivable caprice—the salad format somehow permits a deviation from the model—and sliced peaches on top, because I'm in denial about summer ending. In essence, this is an absurdly simple and beautiful thing that I love to prepare, probably because it is unconventional, colorful, and well-intentioned like my sometimes particular, largely carnivorous relatives.

ingredients for salad
  • shallots, thinly sliced or finely chopped
  • tomatoes, coarsely chopped
  • avocados, sliced 
  • peaches, sliced more or less like the avocados (they don't have to be perfectly ripe)
  • parsley or cilantro, depending on your uncle, finely chopped
  • generous squeezes of many limes, olive oil, fresh pepper, and sea salt (optional: chili flakes, balsamic.)


Sunday, July 10, 2016

the colors of summer






(1) roasted pears, kalamata olives, green beans, and bebe potatoes + shallots, dijon, rosemary
(2) strawberry summer cake, in a pinch, adapted just slightly from smittenkitchen (here.)

© valentina citadina Maira Gall.