Rice & Grains

Historically the Napoletani have been able and brilliant friggitori—fryers of food. Until only a few years past and sometimes, still, in the quarters of the poor, the very air was thick with the scents of food being crisped to a light gold in boiling oil. The humble kiosks of the friggitori, traditionally wagons fitted with cauldrons, were wheeled about the dank alleyways, the friggitori wailing out the worth of their salty wares, promising them to be “nuvole ricoperte d’un manto dorato”—“clouds mantled in gold.” Sometimes, the offering was a nugget of simple bread dough stretched out and fried, then dusted in sea salt and anointed with oil, other times there might be little croquettes of rice and cheese or fritters of broccoli or artichokes. Often, though, the friggitori brought forth lusciously crunchy half-moons of dough plumped with mozzarella and known as panzarotti. Our favorite kiosk sits, still, in front of the Pizzeria Bellini, just down the street from the Accademia delle Belli Arti in Via Costantinopoli, a tiny quiver of space where one can stand, at nine in the morning, even, to bite at hot, too hot, savories while listening to two violins, a viola, a violoncello, and a Baroque guitar working through Boccherini. Here follows a version of panzarotti made from course dough rolled thin, laid with mozzarella, pecorino, and bits of salty meat or tomato or anchovy, folded over and cast into whorls of bubbling oil.

The town of Scanno is bedded quaintly on a valley floor near the tortuous Gole del Sagittario—a mountain road called the “Throat of Sagittarius,” on the fringes of the Parco Nazionale degli Abruzzi, a national park and nature reserve. Bespeaking eloquently its Late Renaissance and Baroque past, its little streets and alleyways are warmed by artisans working in gold and silver and lacemakers with their small wooden hoops. The women—many of them, rather than only an archaic few—toddle through the enchanted tableau of the old village on Sundays garbed in long black skirts that rustle their arrival, their hair swept up in gorgeous and ornate headdresses of lace and velvet, their arms comforted in black woolen capes. Theirs is no quaint, historic burlesque. They are wearing the clothes that please them, that are faithful to their images of themselves, that honor their heritage. They are at their ease. A poetically costumed nonna (grandmother) admonishes her young grandson—in jeans and a T-shirt, his hair falling in soft brown curls below his shoulders—to be neither late nor in a hurry for Sunday dinner before she disappears through the small, humble portal of her home. Scanno, if one watches her carefully, will give view to a life inviolate. And these are her traditional biscuits, all chewy and full of spiced Renaissance perfumes and savors, lovely with good red wine, especially when it’s warmed and spiced with pepper and cloves, or, in summer, a little goblet of sweet, iced moscato.

…in the manner of Ellisabetta. Abruzzesi women seem congenitally beatific. They endure, they temper, they are faithful to their own notion of life and betray none of the gnashing dramatics of those Italian women who seem to burlesque passion, who remain in pain eternal, fanned if only by the postino’s tardiness. The Abruzzesi are intrinsically more dignified than those. As wives and mothers, the Abruzzesi seem more revered than leaned upon. Not the archetypal massaia, farmwife, a woman of the Abruzzo historically worked the fields, made bricks, and piled them up into rude buildings with the same good sentiments with which she told fables to her children and suckled her baby. There are many stories, in fact, of women of the Abruzzo that I might tell you. I could tell you about Francesca Cipriani. Well into her seventies, slender, of fine bearing, her long, silver hair pinned up under a kerchief, she speaks eloquently of what it is to live in an isolated mountain village at the end of this millennium. She knows very well that hers is the last generation with the will to stay there inside the small rhythms of its solitude. She is of the village of Campotosto, long and still famed for its plump, rough-textured sausages. She is one of the last artigiani—artisans—who build, by hand, the mortadelline di Campotosto. We were hard put, though, to talk her into selling a few of them to us. She said that this last batch had not yet had time to age properly and that she simply would not sell them in their unfinished condition. We told her that we had a woodshed much like hers and that we lived, not so high up as she, but nevertheless, in the mountains and that we would promise to hang the little sausages there in our own crisp, cold, oak-scented air. She consented. As we were driving away, she raced after the car, counting on her fingers and calling to us, “Lasciatele appese fino al giorno di Pasqua e a quel punto saranno perfette”—“Leave them to hang until the day of Easter, at which point they will be perfect.” We did exactly as she said, taking Francesca’s mortadelline from the woodshed on Easter morning, slicing them thickly, and eating them with a soft, buttery pecorino bread for our Easter breakfast. And then I could tell you about Elisabetta. We found her in the countryside between Anversa and Cocullo. We saw a sign fixed to a tree, penned in a child’s hand, we thought, that read, LA VERA CUCINA ABRUZZESE. COME ERA UNA VOLTA. THE TRUE COOKING OF ABRUZZO. AS IT ONCE WAS. It was, after all, nearly noon, and the invitation was, indeed, irresistible. We pointed the car, as the sign’s arrow indicated, down the narrow, scraggly lane. We stopped in front of the only house. There was a puppy sitting among the weeds and wildflowers, a starched, white napkin laid before him like a tablecloth and beset with various little dishes. After wishing him a buon appetito, we turned to the door. Another sign, in the same child’s hand, invited us to ring the bell if we were hungry. We rang the bell. And there came Elisabetta. A rosy wool skier’s cap pulled low over her brow, her thin, tiny body swathed in long skirts—one piled over another for warmth—and scuffed black boots composed her costume, all of it ornament to her caffè-latte-colored skin and the great, gray sparklers she had for eyes. Elisabetta, now seventy, began her career as a restaurateur at sixty-one. She was just coming into her stride, she told us. Since we had arrived much too early for lunch, she sat us down in the kitchen in front of an old whisky bottle filled with cerise-colored wine and two tumblers. She puttered about, chopping and stirring and such, talking about her life, her adventures, how, when her then twenty-year-old son was sent to Sicilia for his military service, she went along. Because she feared the boy would miss her too much and because she feared, too, she migh...

This recipe was perfected by Brian Wolff, our lovably obsessive-compulsive chef de cuisine at Lucques. He developed it using our cornmeal of choice from Bob’s Red Mill. If you’re using a different polenta, the cooking time and quantities of water might be a little different. The most important thing to learn from this recipe is the technique. Keep adding a little water at a time throughout the cooking process. There are only a few ingredients, so the cook makes all the difference. Watch carefully, and let the polenta tell you when it needs more water. And most of all, stir, stir, stir!

White asparagus, ramps, and morels are the caviar, foie gras, and truffles of the vegetable world. Simply sautéing them together in brown butter and serving them with creamy polenta is one of my favorite ways to enjoy these edible trophies of spring.

Braised meats are ideal for any large gathering because much of the work can be done the day before. In my opinion, braises actually taste better when the flavors have had time to meld and develop. And in the braising process, not only have you cooked the meat, you’ve also created a sauce. Osso buco is a classic braised dish of northern Italy, usually garnished with gremolata, a popular condiment made of minced lemon zest, parsley, and garlic. That’s fine in the winter, but in spring, I like to add two of my favorite spring ingredients: peas and pea shoots. It’s a brighter rendition of the traditional preparation. The risotto, perfumed with saffron, is the perfect starch for spooning up with the braising juices. I’m usually pro-cheese, but in the case of this risotto I find myself torn. Though the Parmesan gives the risotto richness, without it the dish is a little lighter and “more of the season.” You decide.

People think risotto is a super-rich dish, made with tons of butter. But when it is made properly, the richness comes from the starchy rice and the stock. To make perfect risotto, really pay attention to what’s happening in the pan. As the risotto cooks, stir it with a wooden spoon in rhythmic movements that go across the bottom and around the sides of the pan. The rice should be constantly bubbling, drinking up the liquid as it cooks.

I stole the marinade in this recipe from my husband. That strange combination of ingredients—toasted bay leaves, coriander, white pepper, honey, and sherry—lends an exotic and aromatic quality to the squab. Farro, Kabocha squash, and cavolo nero are three of my favorite things on earth, so in this dish, I just give in, sautéing them all together into a slightly labor-intensive but super-delicious “stir-fry.” I could eat it for lunch (or dinner!) every day. Embellished with a jewellike pomegranate salsa, this dish is a foray into the Near East.

When you live in Southern California it’s hard not to be influenced by the spicy, vibrant flavors of Mexican food. People might imagine chefs spending their few and precious nights out wining and dining on five-course meals, but in reality you’re far more likely to find me at the sushi bar, Korean barbecue house, or my favorite taqueria. This spiced pork stew satisfies my cravings for the spicy, robust flavors of ethnic food. I start with some of the Mexican spices I love so much—cumin, cayenne, coriander, and chile—tossing them with chunks of fatty and flavorful pork shoulder and braising it into this succulent pork stew. Pork shoulder is one of my favorite cuts to cook with. As an added bonus, it’s one of the few meats that are still pretty inexpensive. People go crazy for this tender, slow-cooked pork bathed in its own spicy sauce, but don’t worry—it’s so impressive, they’ll never know you did it on the cheap.

Shell beans are a big part of late summer and early fall in our kitchen. If you happen to come by Lucques on a slow night when they’re in season, you’ll see runners, cooks, and dishwashers gathered around huge piles of shell beans, shucking, shucking, shucking. For me, shucking provides a much-needed period when my hands can do the work and my brain takes a little time off. Don’t worry, shell beans for six won’t require a crew of shuckers.

This dish was inspired by an old Julia Child recipe that my mom used to make when I was a kid. Lots of stewed onions are bound with a tiny bit of Arborio rice, like a very loose risotto in which the onion, rather than the rice, is the key player. Finished with Gruyère and a touch of cream, it’s great with grilled lamb, rabbit, and even braised beef.

This dish was inspired by a trip to Tunisia a few years ago. I fell in love with the Tunisian cooks’ use of spices and the bowls of harissa served with every meal. What surprised me most was the use of caraway, which I had always thought of as an Eastern European spice. For this Tunisian-flavored stew, I season the lamb shoulder overnight with caraway, coriander, chiles, cayenne, and paprika, and then braise it in an aromatic broth with cinnamon and allspice. For a traditional braise I usually deglaze with wine, but in keeping with Muslim prohibitions common in Tunisia, I refrain and substitute lemon juice, which also adds a bright, acidic note to the stew.

This grilled pork confit evolved one night when I was making a staff meal at Lucques. I salvaged the leftover ends and trimmings from the day’s pork confit, crisped them in my favorite cast-iron pan, and ran to the walk-in to see what produce I could find to add to the dish. When I got back to the stove, I noticed half the meat was missing. Looking around, I saw that all the cooks had their heads down, suspiciously quiet. Half of my staff meal had disappeared, but I couldn’t be angry. Who can resist succulent pork, hot and crispy, out of the pan? Something so irresistible deserved to be shared with the outside world, so I put this staff meal on the menu!

To make this exotic green rice, simmer basmati rice in a broth of mint, chives, parsley, and cilantro perfumed with sautéed red onion, fennel, and fennel seeds. When you prepare the herbs, don’t waste too much time on fastidious herb-picking. They all get puréed into an emerald green broth, so no one will ever know if you cheated a little and left some of the stems on.