Simple Cooking

Demeter, the goddess of grain, hallowed by i siculi—the warrior tribe that inhabited the island before the Greeks—was all of resplendence, even to the high crown formed from her flaxen braids. It was she who illuminated the magic of sowing seeds beneath the earth and then protecting them, feeding them, and growing them up into ripeness. The tribe’s harvests grew ever more abundantly, the goddess conjuring the sun and the rain and the breezes on their behalf, they honoring her with great bonfires under the full moon’s light and ritual offerings of bread and wine. The island was Elysium, uninterrupted. And then, heaving himself up through a rent in the earth’s crust, Pluto stole Demeter’s daughter, Persephone, as plunder for his abyss. Demeter screeched and mourned and cast Sicilia into darkness. There was nothing to nourish her tribe save the tears Demeter cried down from the heavens. So clamorously did the goddess petition him that Pluto succumbed, vowing riddance to the child as much as to her shrewish mother. He would liberate Persephone. Only then, though, did Pluto take note that Persephone had cut in two a pomegranate, and that she sat slaking her child’s thirst on its juices and its glistening, rosy seeds—a blunder. He howled up at her mother that Persephone had devoured the sacred seeds of fertility, and for this sin he must halve his promise. Just as she had broken the fruit, Persephone would be liberated for only six months of every year. And, as penance, she must, each year and everlastingly, stay six months in the shades of Hades. And so it was that Demeter heralded the sun and the rain and raised up the wheat, thick and golden, from May through October, when Persephone was at her side, leaving the island barren and under an impotent sun from November until April—her half-mourning an allegory of the seasons, of life and of death. In the early springtime, one can see still the great roaring fires lit by Sicilian wheat farmers and whole villages in dance and song, invoking the gods’ promise to keep safe their newly sown fields. Only now, old, sweet Demeter, pagan that she was, has been supplanted by St. Joseph, her powers having been ferried over into his realm. Not so long after a woman in Palermo had told us this story of Demeter, we were staying awhile in Enna, an interior agricultural city. One evening, the man who served our supper of rough-cut semolina pasta with a mutton sauce and thick chops of pork, oven-roasted with wild onions, dispatched to our table his mother—a fine country cook—with the sad news that she’d had not a moment to put together some rustic little tart or other that day. There would be no sweet. Unless, of course, she murmured, we’d like a pomegranate with un cucchiaino di zabaglione—a small spoonful of custard. We agreed. What she brought forth to us on an old plate of cranberry-colored glass were two pomegranates that seemed to be broken rather than cut in two, their crimson juices spilling out from the jagged shells with tiny coffee spoons plunged into the hearts of seeds. Two diminutive porcelain pitchers of some winy custard were laid beside the plate. We were urged to pour the custard over, into the pomegranates. Sweet but not quite sweet against the tart, peppery seeds, the sauce was the color of ambered muscadine, its scent that of crushed violets. It was a plate quietly, achingly beautiful to see and to eat. Later, when we asked her son if we might give our thanks to his mother for the fine supper and, especially, for the pomegranates, he told us that she’d gone upstairs to bed. Thinking to write our thanks in a little note, I asked him, “What is her name?” “Mia madre si chiama Demetra,” said the man. “My mother is called Demeter.” Startled, dazed even, for a moment, the story of Demeter came racing to mind. Thinking the note unnecessary, all we said w...

Cutlets or chops of veal are pressed with oregano, garlic, and bread crumbs, then sautéed or grilled and proffered throughout the island as the fish-phobic’s Sicilian supper. One is likely to be presented with a fibrous little cutlet that makes one long to be supping somewhere else. This version, though, inspired by Osteria ai Cascinari in Palermo, begs the rubbing of a good, thick chop with a paste of herbs before giving it a quilt of crumbs mixed with pecorino and sesame seeds and, finally, a brief sauté and a splash of white wine. It makes for a fine dish, especially when accompanied with a bit of pesto di pistacchi e olive (page 193).

On the curve of Palermo’s Via Papireto, just before the entrance to il mercato delle pulci—the flea market—there sits a watermelon stand and a hand-wrought sign: ICED, SWEET WATERMELON, DAY AND NIGHT. We passed the little place several times each day on our excursions through the great honkings and snarlings of the city traffic. Drawn by its promise, we meant always to stop but never found quite the right convergence of appetite, time, and space in which to park the car. But one Saturday evening, after a long, winy dinner and a dry search for a still-open gelateria, we thought to soothe ourselves with a visit to the watermelon man. Though it was well after midnight, he was there, waiting midst the walls of precisely laid, smooth-skinned fruit, his old Arab eyes illuminated by festoons of pink and green lights. He bid us sit at his one and only tiny, oilcloth-covered table, tucked in the corner farthest from the street. Speaking only in smiles—it was hardly necessary to tell him what we desired—we watched as he chose a melon from those he kept in a basin of iced water and then cleaved it open with a single heft of some ancient tool. Each half he stuck with fork and spoon and, resting the juice-dripping melons on wooden boards, he presented them. He brought a little tin plate in which we might deposit the seeds and two beautifully ironed kitchen-towel napkins. The red flesh was crisp under our spoons and each new excavation brought up a yet sweeter, colder mouthful of it. We ate slowly under the pink and green lights, finally resting our spoons against the great, hollowed shells, triumphant, certain we’d spent well that hour of our lives, certain, too, how perfect, how divine was that food. Lacking a faithful watermelon man, here follows a way to work with a well-ripened, even if not exquisitely fleshed, melon. Perfumed with cinnamon and studded with bitter chocolate and pistachios, it is the traditional ice of ferragosto—the official high summer Italian festival. The gelo is best eaten long after midnight.

A rather sad and barren bit of sand in a Mediterranean archipelago 17 kilometers off the coast of Trapani and 120 kilometers from the brow of North Africa, the island of Favignana is the last of the tonnare—tuna fishing ports—in Sicilia. And it is Gioachino Cataldo who is il rais—“the king,” in Arab dialect—of the rite of la mattanza— the ritual slaughtering of migrating tuna practiced first by the Phoenicians and later by the Saracens. La mattanza remains the most powerful spiritual ceremony in the life of the islanders, as it has for a thousand years. And from then until now, its writs are these. Fifteen huge wooden, black-varnished, motorless, sail-less boats are tugged out into the formation of a great quadrangle around the muciara—the boat of il rais that sits at the square’s center. Ten kilometers of net are laid in the form of a pouch into which the tuna swim. The great fish migrate from the Atlantic through the Straits of Gibralter to spawn, the Mediterranean being warmer and saltier and, hence, a kinder ambience for reproduction. As the pouch—called the camera della morte, the death chamber—becomes full, il rais gives the command to his fifty-seven soldiers to lift the net. The men bear up the nets by hand, hoisting them and the tuna up to a height at which the fish can be speared and hauled up into the bellies of the boats. The rite remains Arab to its core. Arab are the songs that the tonnaroti—those fishermen who hunt only tuna—sing as they wait for the nets to fill, as are the incantations they chant as they are heaving up the fish and, finally, Arab are the screams the tonnaroti scream as they kill them. We saw them take two hundred tuna in two hours—the fish averaging about seventy kilograms. Those the tonnaroti did not keep for themselves were ferried to Marsala for processing. A black-bearded colossus is Gioachino, his face crinkled by the Mediterranean sun, his enormous hands scraggy as an unsharp blade, of a family who, for twelve generations, has birthed men chosen by the Favignanesi to be il rais. The islanders bequeath the post on merit. The credentials, said Favignana’s mayor, are: courage, skill, strength, dignity, and honor. And it is the king himself who determines the duration of his reign. Gioachino told us he would remain il rais “finchè le mie forze mi sosterranno”—“while my forces remain uninjured.” In these last ninety-eight years, Gioachino is only the eighth rais of Favignana. This is the simple way he cooked tuna for us, the way he thinks it best. He always uses flesh from the female fish—hence, tunnina—for its more delicate savor, he told us. Il rais harvested the capers for the fish in his garden while we sipped at cold moscato.

One departs Italy—and the European continent—for the journey to Sicilia through the narrow Straits of Messina. The city is an unlovely place, the ravages and wrecks of her face so corrected that she seems benign, with few of her old graces. Snugged inside the tumult of her port sit a few humble houses still dispatching, to the fishermen and the local citizenry, the stews and broths from the old tomes. And it was at one table there where we ate a most luscious rendition of swordfish. A dish typical of Messina, and now of the whole island, it seems, this one was extraordinary for the rich elements of its stuffing, but more for the divine splash of Malvasia in its little sauce.

Glorious Selinunte was raised up seven centuries before Christ and named by the Greeks after the wild, celerylike plant selinon, which then blanketed its riparian hills that fell to the sea. For us, the rests at Selinunte, more than any of the other Greek evidences, are the masterworks transcendent on Sicilia. There one can enter the great temples rather than stay, dutifully, achingly, behind a cordon. Hence, the temples there seem more familiar. One can remain, for a while, in the company of the old gods, to see the light change or to watch four chestnut horses, a newly foaled colt, and a fat, fluffy-haired donkey roaming over the fallow of broken marbles as though it were some ordinary meadow. One can eavesdrop on the discourse between two white doves until the silence comes—piano, pianissimo, save only the whisperings of wings. Some of the people we met who live in Castelvetrano, near Selinunte, spoke to us of a soup they remembered their grandmothers and aunts having made from a selinon-like plant that grew along the coast. They remembered it being smooth and cold, with a strong, almost bitter sort of celery flavor. Alas, neither selinon nor other wild grasses of its ilk are to be found. But prompted by our friends’ taste memories and our own sweet keepsakes of Selinunte, we fashioned this satiny, soothing soup to be offered on the warmest of days.

Harvests from the great, silent fields of sun-bronzed wheat result in more bread than pasta for la tavola siciliana, yet there is a trio of pasta dishes that is cooked throughout the island. One of them dresses pasta in eggplant and tomatoes perfumed with wild mint and basil, the whole dusted with grated, salted ewe’s milk ricotta. Called often pasta alla Norma in celebration of Catanian son Vincenzo Bellini it can be a gorgeous dish. Then there is pasta chi vrocculi arriminati—dialect for a dish that calls for a paste of cauliflower and salt anchovies studded with raisins and pine nuts. Although it is luscious, it cannot compete with the glories of the island’s pasta con le sarde. A dish full of extravagant Arab timbres, it employs fresh, sweet sardines, salt anchovies, wild fennel, and a splash of saffroned tomato. One presents the pasta cool, as though heat would be violence against its sensuousness. Wild fennel grows abundantly on the lower shanks of Sicily’s mountains and, too, along the craggy paths of some of her islands. I used to collect wild fennel along the banks of the Sacramento River and I’ve heard tell of great clumps of its yellow lace heads bobbing along country roads in America’s Northeast. Now I find it a few kilometers from our home in thickets against the pasture fences along the Via Cassia on the road to Rome. Though the scent and the savor of cultivated fennel is sweeter, it behaves well in collaboration with these other elements and yields a still-sumptuous dish.

Once used only to bake the fanciful soldiers on horseback given to children on the festival of San Martino, the short, buttery dough, in less fantastical shapes and forms, is a daily offering now in every pasticceria, luscious even with the slurring of its namesake.

Raised up seven hundred years before Christ on the Mar Ionio, the resplendence of Sybaris eclipsed Athens. Tenanted by unredeemed voluptuaries who roasted songbirds, wove cloth from gold, slept upon rose petals, and indulged every hunger, even their appetite for peace, these Sybarites vanished, as if by some peevish smite from the gods. All that remains is a farming village of sweet, sleepy folk who roast lamb with lemons. Still, I think theirs is a dish upon which an old Sybarite could smile.

Here, the Calabrian fashions a rough paste of flour, sea salt, and water and perhaps an egg and a spoonful of oil, rolling it out thin and cutting it into wide, uneven ribbons, calling it maccarruni i casa—maccheroni made at home. It is married to a well-made sauce flavored with some precious trimmings of pork and left to braise and plump in its liquors. The whole offering, pasta, meat, and sauce, is carried to table and eaten, one hopes, with the lush hunger it deserves. Here one uses a good piece rather than a few trimmings of pork. One might choose an acquisition from a good pasta shop or specialty grocery or make the good maccheroni alla mugnaia (page 37) for this dish.

A dish a hunter might prepare for his family even if his sack holds only a few birds, the quail are pan-roasted, pasta is added to its good liquors, the whole roasted in the oven, and carried to table as a piatto unico—one-dish meal.

It is fitting that on a most divine jot of the Tyrrhenian coast, on a promontory between the limpid gulfs of Sant’ Eufemia and Goia Tauro, there would glint the small, golden precinct of Tropea. Fitting, too, that there in its rich, black fields would be raised up Italy’s sweetest onions, and that they be long and oval like great lavender pearls. One peels them and sets to, with knife and fork, a dish of sea salt, a pepper grinder, and a tiny jug of beautiful oil, a perfect lunch with bread and wine. Too, we saw the folk of Tropea simply fold back their papery skins and eat them raw, out of hand, layer by layer, like a magical violet fruit. Sometimes, one finds them all softened, smoothed into a delectable potion made of garlic and bay leaves and white wine. Evident in its resemblances to French cousins, the soup of Tropea, though, is a minestra strepitosa—a magnificent soup—say the Calabrian cooks, belittling the goodness of the French soup. Here follows a version that softens the garlic, caramelizing it into sweetness with the slow cooking of the onions, before the illumination of the soup with red wine and grappa and the finishing of it with pecorino and a heavy dusting of fresh pepper.

So unlike the exquisitely wrought sweetmeats of other southern pasticcerie, pastry in Basilicata is often in the form of some rustic fried fritter, its batter honey-sweetened and studded with raisins or nuts. The most luscious version, though, is the one that asks for ricotta and dark rum. We found them being made in a small shop with an even smaller selling counter on a little street off the Via Pretoria, just before one reaches Piazza Mario Pagano in Potenza. On more than one iced winter’s morning have we stood outside its doors and waited for the sugar-dusted, crisp-crusted warmth of them.

During the sovereignty of Byzantium over southern Italy in the tenth century, it was in the workshops of Catanzaro that the silks that emblazoned the courts of Costantinopoli were loomed and crafted and tinged. Thus it was that from these handiworks, humble Catanzaro, its cheek brushing close upon the Ionian, lived its few lustrous moments after the glory days of Magna Graecia. But save the lacy Oriental architecture raised up by the Byzantines, nothing of the comforts of that epoch endured. And so Catanzaro, as did all of Calabria, pressed on in the severest of lives. And when, late in the 1700s, an earthquake felled the city, its fierceness left but dust. Reborn then, Catanzaro is now all of eighteenth-century alleyways, the parishes of the people insinuating upon the palaces of the nobles, the whole formed of a crooked, good-natured charm. And everywhere—round each curve and set into the arms of every angle wait the beloved putiche—the taverns—of the workingmen. Small, dark-wooded dens are they, wrapped in sharp, grapy vapors breathed up from the fat, brown barrels of gaglioppo (a local red wine) over these past hundreds of years. Traditionally le putiche were the dispensaries of only three balms—honest red wine, compassion, and a hellaciously spiced mash made from the viscera of pork, veal, lamb, or goat, sometimes from baccalà, the flesh braised in tomatoes and wine with peperoncini then cradled in a leaf of soft, flat, chewy bread, folded and devoured out of hand. And these morzeddu—dialectically, morsels—made the breakfast, the later morning’s merendina—snack—a consolingly juicy partner throughout the day and evening with stout doses of purply wine. Sadly, there seems of late a flurry of gentrification among the putiche, the work of those who would sophisticate them into whitewashed osterie with wine lists and menus translated into English and German. The cooks, too occupied with carpaccio and tiramisù, no longer make morzeddu. Even the compassion has perished. Enough of the old and crusty taverns endure, though, their comforts unfaded, at least for a bit longer. Here follows a version of morzeddu made with lamb—its shoulder rather than its spleen or its lungs—and a fine terra-cotta pot of the mash and a basket of warm breads are the rustic stuff with which to open an outdoor feast while some other meat or fish might be roasting on the fire.

Unlike the ricotta forte of Puglia, prepared laboriously, asking that the fresh cheese be left to drain off its opaline waters and to acidify, the dry cheese to then be kneaded, worked each third or fourth day for at least two months until it takes on a burnt ivory sort of color and its perfumes come up stinging, pungent, this version is prepared in moments. Yielding a condiment less punishing in its aromas, the Calabrian ricotta forte is still of an assertive and keen savor, which when smoothed over warm, crusty bread, glorifies the richness of spiced sausages and salame presented as antipasto. A few dollops of it, thinned with drops of pasta cooking water and tossed with bucatini or spaghetti, make a fine dish. Tucked away in a crock in the refrigerator for a week or so, the vigor of ricotta forte ripens and intensifies.

Horace, born Quinto Flacco of freed Roman slaves in the sleepy village of Venosa in the north of Basilicata, was educated in Rome and Athens in philosophy and literature and trained as a soldier. It was his poverty, though, that piqued him to write verse. A satirist, a classicist, a romantic, Horace was also a dyspeptic. He sought cures from alchemists and magicians. He journeyed to Chiusi (an Etruscan town in Umbria, fifteen kilometers from our home) to sit his ailing bones in icy, sulfurous baths. But it was this soup of dried peas and leeks, a food of his childhood, to which he paid homage in his works as his only cure. The folk of Venosa present, having little else to claim, make the soup in every osteria and taverna, each cook armed with at least one trucco—trick—that makes his soup the one and only true one. Here follows mine, its only trucco its artlessness.

Soppressato is a dried sausage of large, oval shape, refined texture, and vivid spice, the masterwork of the salumieri lucani. This sausage is a fundamental offering on the Lucanian table and its goodness is often celebrated, imitated—in longer, more slender shapes—in all the regions of Italy, under the all-encompassing name of luganica/luganega, after Lucania. Here follows a recipe for a fresh sausage that embraces the flavors and perfumes of the traditional salsicce of Lucania.

A sort of Lucanian stone soup, this is from Basilicata’s long repertoire of dishes built from almost nothing at all. Once the sustenance of shepherds who could concoct the dish with a handful of wild grasses and the simple stores they carried, too, it was often the family supper of the contadini—the farmers—whose ascetic lives asked that each bit of bread nourish them. I offer it here as balm, a pastoral sort of medicine, one of the thousand historical, wizened prescripts known to soothe and sustain.