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Perhaps until the beginning of this century, there came always, in the severe mountains of the Abruzzo, a haunting desperation with the first days of May. Bankrupt of the thin stores conserved to abide the incompassionate winter—their handkerchief-sized patches of earth sown a few weeks before—the contadini (farmers) waited then for the land to give up its first nourishment. Often it came too late and many died. And even as time brought more mercy, these terrible days were remembered, the pain of them soothed by a simple ritual. The story says that on the first of May, sette fanciulle virtuose—seven young virgins— went from house to house in a village in the Marsica, the area that suffered most in the past, and begged whatever handful of the winter food that might remain in the larders. And, then, in the town’s square over a great fire in a cauldron, the fanciulle prepared a beautiful pottage to share with all the villagers, to bring them together, to warm them, to keep them safe. The potion was known as la virtù—the virtue. The soup is still made, ritualistically, faithfully, each first of May in many parts of the Abruzzo—most especially in the environs of Teramo, as well as in the Marsica—now more extravagantly, brightening the humble dried beans with spring’s new harvests. Employing even a handful or so of all the ingredients results in a great potful of the soup, assigning it thus as a festival dish. On some sweet day in May, invite twenty-nine or so good people and make the soup for them. The tail of a pig and one of his ears, though they are traditional to the soup, seem optional to me.

…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 is a substantial soup classically made from fresh fava beans and a dried sort of bean/pea hybrid called la cicerchia, whose taste and texture are very like that of the fava when it is dried. This version, asking only for the dried favas since la cicerchia is not readily found in America, yields a rich, smoky flavor that is wonderful against the comfort of the warm crunch of the bread.

The cooling green tint of the sauce, its reserved, sensual sort of piquancy, make this a pasta good for high-summer lunch or supper after insalata di cantalupo (see page 22).

Abbacchio, a long-ago Roman term for a newborn lamb, is the prescripted dish of Easter. And older than history is the innocent, rousing scent of it roasting with branches of wild rosemary, curling out from the kitchen doors of the trattorie in the Trastevere on Sundays in the spring, beckoning one to table together.

Here is a simple presentation of the components of Rome’s saltimbocca embroidered with spring peas and tomatoes.

Twenty kilometers from our home sits the bustling Latian village of Acquapendente. There we find our trustworthy pork butcher, our panificio di famiglia (family bakery), and the only shop between Rome and Florence where Erich can find the music of Astor Piazzola. Hence, Acquapendente is a sort of vortex for us. It is on early Friday mornings when it beckons us most plaintively, the day the market—the mercato—comes to town. It is a good-enough market at any time of the year, but steeled in late January fogs is how we like it best. From our home in San Casciano dei Bagni, higher up by four hundred feet and, in winter, sitting nearly always in crystal air, we descend the narrow, sloping road past the sheepfolds, past the ostrich farm, away from the new, gold sun, fresh from its rise, and into the thick, purply mists of the rough little place. Wrapped in our woolens we stroll the abundant tables of green-black Savoy cabbages and violet broccoli, baskets of potatoes and turnips unwashed of their Latian earth. Here and there are lit small, consoling charcoal fires in funny little tripod burners over which the farmers thaw their ungloved hands. Just outside the fray are the humbler posts, those that beg no rent, that are had for their predawn staking. The farmers, sober in the unpacified cold, unwrap their often meager stuffs—a basket of chestnuts, one of cauliflower, and once, a man, standing beside his little pile of pumpkins, held a brace of pheasant, still dripping their blood on the frozen ground, his booty from a predawn hunt—offering them at far lower prices than those asked by their more prosperous colleagues inside the village. It was there, too, at the Friday mercato in Acquapendente that a woman from Bolsena, who was selling just-ground chestnut flour, sat on the edge of her table and wrote out this most wonderful recipe. The smokiness of the chestnut flour enlarges upon the forest scents of the mushrooms, the whole combining into a sensual sort of rusticity. If chestnut flour is not to be found at your specialty store, substitute whole wheat or buckwheat flour and mix 3 ounces of canned, unsweetened chestnut puree with the mascarpone.

Baccalà is of ancient Roman favor. The methodology of its preservation was one cultivated during their campaigns in the north, where they learned to embalm a catch of the great, fat cod under unpounded crystals of sea salt, reviving it for meals both festive and humble. Stoccafisso differs from baccalà in its fundamental cure, as it, having no encounter with salt, is simply hung out to dry in the winds moaning up from the North Sea. In either case, once plumped in its renaissance bath of cold water, the cod flesh is tender and, when cooked gently, its flesh takes on an almost creamy texture. The yield of a correctly reconstituted and properly cooked fish, well conserved in either way, is quite the same. This is an unexpectedly delicate dish, the raisins foiling any saltiness that might linger in the fish, while the Cognac softens the acidity of the tomatoes.

Roman ox butchers, known as i vaccinari, have been attributed authorship for this most characteristic dish of la cucina povera romana. Honored as savvy, inventive cooks, the butchers were and are wont to pot up the most particularly toothsome nuggets plundered from the great beasts. The tail of an ox, though it surrenders inconsiderable flesh, is of the tenderest texture and most delicate savor to be gleaned from the whole hulk of him.

A patently rustic treatment of the prawns that presses us to a dramatic sort of dance in front of the flame as we toss the fat, handsome things about in the hot oil, their briny perfumes dissolving up in great vapors around our heads. A bottle of fine Cognac perched on the kitchen shelf seems an occurrence as common in Rome as is the one filled with the simple white wine from the hills just outside its gates. Here, the bottle is used to a fine end, scenting the seething, sputtering flesh of the prawns inside their bronzed, vermilion shells.

If you’ve never had grilled duck breasts, you’re in for a revelatory surprise. The contrasts are striking: the smoke of the grill against the richness of the duck fat, the juicy meat capped by crispy skin. At the restaurant, we buy Liberty Farms breasts (see Sources), which I have found superior to others in taste and texture. They raise a variety of duck called Pekin, a smaller, more compact bird (a single breast is perfect for one person) with a brighter, more delicate flavor and feel. You may have more luck finding Muscovy duck breasts, which are heftier, more steaklike. If you use Muscovy, you’ll only need four breasts to feed six people. Grilling duck breasts requires some attention. The fat from under the skin will inevitably drip into the fire, causing flare-ups, which can blacken the breasts if you’re not careful. If a flare-up occurs, use tongs to snatch the breasts off the grill for a few seconds, then return them once the flames have subsided. You may need to move them around the grill almost continuously as the fat renders out. The reward for this vigilance, however, is perfection—crisp golden brown skin and plump, succulent meat. An easier option is to sauté them in a cast-iron pan over medium-low heat, still skin side down, taking your time to render the fat from under the skin. Once the skin is crisp, which can take longer than you might expect, turn the breast over and cook a few more minutes, until medium-rare.

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.

Savory is possibly the most underappreciated herb in this country. I fell in love with it many years back when I was cooking in France. There, it’s used in the traditional seasoning mix herbes de Provence and added to all types of stews, ragoûts, and sauces. Its aroma—earthy, slightly sweet, and a little bit peppery—reminds me of the brush-covered hillsides where we played growing up. Winter savory, summer savory’s seasonal opposite, is more robust in flavor but would be a fine substitute in this recipe. If you can’t find either of the savories, substitute a combination of equal amounts of thyme, rosemary, and mint. This isn’t a difficult dish to make, but it does require some last-minute multitasking. Have your prepared ingredients—or, as we say in the kitchen, your mise en place—ready to go. Be sure that your herbs are chopped, the vinaigrette is made, the crème fraîche is mixed, and your seasonings are in reach. This dish is a great way to initiate the unconverted to the Church of the Fava Bean. The potatoes and favas are mashed together with butter and finished with pea shoots and a vibrant Meyer lemon salsa. The seared halibut goes on top with a dollop of savory crème fraîche.

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.

Spaghetti carbonara was one of the simpler dishes in my dad’s weekend repertoire, and it was by far my all-time favorite thing to make with him. After chopping the bacon, snipping the parsley, and grating the cheese, my sister and I would stand back and watch the grand master perform the final act. As he whisked the eggs and tossed in the piping-hot noodles, we marveled at the transformation of our seemingly simple and innocent ingredients into a magnificent bowl of indulgence. It all happened in a matter of seconds; unlike his laborious stews, which took hours to make, this meal was all about instant gratification. In the spring, I stray from tradition and add lots of sweet peas and pea shoots to Dad’s original formula. The shape of orecchiette pasta suits this dish well; the “little ears” capture the sauce inside, ensuring plenty of flavor in every bite. If you can’t find orecchiette, use spaghetti or penne.

Black cod, despite its name, is not a true cod. Its other names—sablefish and butterfish—suit it better: its texture is as silky as sable, its flavor as rich as butter. I love the Japanese pairing of black cod and miso, but in this recipe, black cod gets a French treatment, a smothering with hazelnut brown butter. Ask your fishmonger where the black cod is from. It’s overfished in California and Oregon so look for black cod from Alaska, where the commercial fishing is better regulated. Black cod has a single row of bones that is very difficult to remove when the fish is raw. You can ask your fishmonger to remove the bones or cut them out yourself before cooking. Or just cook the fish bones and all; it’s easy to spot them and eat around them.

The colored beets and bright green arugula in this dish make for a visually stunning presentation. The sweet roasted beets marinated in lemon vinaigrette play off the pure white fish and horseradish cream. Look for a few different types of beets, such as golden beets and Chioggia beets, and dress them separately, so the dark ones don’t bleed their juices onto the lighter ones. In the spring, you could make this dish with wild salmon. And to make a more hearty meal, serve some beluga lentils on the side (see page 331).

I associate chestnuts with winter scenes that while I live in Southern California exist only in my imagination: snuggling up by the fireplace while the snow falls lightly and chestnuts roast on that proverbial open fire. One Christmas Eve, after a few hot toddies and with visions of chestnuts dancing in my head, I revisited my family’s traditional stuffing, determined to make my winter chestnut obsession a reality. For me, the stuffing, not the turkey or roast beef, has always been the highlight of holiday feasts. In fact, when I was a kid, one of my big culinary promotions was when I finally got to take charge of the stuffing. For the first time, my mom gave me carte blanche with the spice cabinet. I pillaged her Spice Island jars and doctored up the Pepperidge Farm box mix, experimenting with how to make things taste better. Now, as a chef, I’ve learned that seasoning is one of the keys to making all things, stuffing included, taste their best. Good stuffing starts with a great loaf of bread, torn into croutons, tossed with a generous amount of olive oil, and baked until crispy on the outside and soft in the center. Then I add lots of onion, pancetta, rosemary, fennel, chile, thyme, lemon zest—and chestnuts, of course. The biggest mistake people make at home is underseasoning their stuffing. Don’t be afraid to spice it up with plenty of vegetables, herbs, and seasonings. And remember to taste as you go.