Chefs Famous Quotes

I’m famous for my Shepherd’s Pie. Here’s my recipe: lamb, potatoes, cheese, peas, paprika, and a wool-covered apron for the chef/shepherd/wolf-like politician to wear while serving the sheeple up.


Today, women in general are more likely to do housework than men—cooking and cleaning. But why is that? Is it because women are born with a cooking gene or because over years they have been socialized to see cooking as their role? I was going to say that perhaps women are born with a cooking gene until I remembered that the majority of famous cooks in the world—who are given the fancy title of “chef”—are men.

Lots of famous chefs today don’t look whacked, because they don’t work. They have a healthy glow and a clear complexion. There is blood in their cheeks. They haven’t got burns on their wrists and cuts on their hands.

A famous chef once observed that the restaurant business is a haven for people who don’t fit in anywhere else.

Chefs are magicians in white, accomplished at slight of hand.

In many ways, the work of a critic is easy. We risk very little, yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face is that, in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so. But there are times when a critic truly risks something, and that is in the discovery and defense of the new. The world is often unkind to new talent, new creations. The new needs friends. Last night, I experienced something new, an extraordinary meal from a singularly unexpected source. To say that both the meal and its maker have challenged my preconceptions about fine cooking is a gross understatement. They have rocked me to my core. In the past, I have made no secret of my disdain for Chef Gusteau's famous motto: "Anyone can cook." But I realize, only now do I truly understand what he meant. Not everyone can become a great artist, but a great artist can come from anywhere. It is difficult to imagine more humble origins than those of the genius now cooking at Gusteau's, who is, in this critic's opinion, nothing less than the finest chef in France. I will be returning to Gusteau's soon, hungry for more.

One day, aftyer my life is already over, a girls comes up to me at the back of the auditorium and says, “Are you the famous chef from Miele?” Every year that remains to me I will walk the streets of Beijing, of Seoul. I will look for a long, long time.

In many ways, the work of a critic is easy. We risk very little, yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face, is that in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so. But there are times when a critic truly risks something, and that is in the discovery and defense of the *new*. The world is often unkind to new talent, new creations. The new needs friends. Last night, I experienced something new: an extraordinary meal from a singularly unexpected source. To say that both the meal and its maker have challenged my preconceptions about fine cooking is a gross understatement. They have rocked me to my core. In the past, I have made no secret of my disdain for Chef Gusteau's famous motto, "Anyone can cook." But I realize, only now do I truly understand what he meant. Not everyone can become a great artist; but a great artist *can* come from *anywhere*. It is difficult to imagine more humble origins than those of the genius now cooking at Gusteau's, who is, in this critic's opinion, nothing less than the finest chef in France. I will be returning to Gusteau's soon, hungry for more.

Time seemed infinite, then. I begged famous chefs for the chance to learn from them. I entered competitions and placed in a few. I volunteered to work brunch, turn artichokes, clean the grease trap. I flung my body at all of it: the smoke and singe of the grill station, a duck’s breast split open like a geode, two hundred oysters shucked in the walk-in, sex in the walk-in, drunken rides around Paris

I should know, but I don't, so I have to ask,' said Maggie, 'what's the most famous thing you ever wrote?' 'It was about a funeral for a great French chef.' 'That sounds interesting.' 'All the great chefs in the world are there. It's a beautiful ceremony.' Trout was making this up as he went along. 'Just before the casket is closed, the mourners sprinkle parsley and paprika on the deceased.' So it goes.

But the launching had been a great success and now that the Space Hotel was safely in orbit, there was a tremendous hustle and bustle to send up the first guests. It was rumored that the President of the United States himself was going to be among the first to stay in the hotel, and of course there was a mad rush by all sorts of other people across the world to book rooms. Several kings and queens had cabled the White House in Washington for reservations, and a Texas millionaire called Orson Cart, who was about to marry a Hollywood starlet called Helen Highwater, was offering one hundred thousand dollars a day for the honeymoon suite. But you cannot send guests to a hotel unless there are lots of people there to look after them, and that explains why there was yet another interesting object orbiting the earth at that moment. This was the large Commuter Capsule containing the entire staff for Space Hotel “U.S.A.” There were managers, assistant managers, desk clerks, waitresses, bellhops, chambermaids, pastry chefs and hall porters. The capsule they were traveling in was manned by the three famous astronauts, Shuckworth, Shanks and Showler, all of them handsome, clever and brave. “In exactly one hour,” said Shuckworth,

My original intention with The 4-Hour Workweek (4HWW), The 4-Hour Body (4HB), and The 4-Hour Chef (4HC) was to create a trilogy themed after Ben Franklin’s famous quote: “Early to bed and early to rise, makes a man healthy, wealthy, and wise.” People constantly ask me, “What would you put in The 4-Hour Workweek if you were to write it again? How would you update it?” Ditto for 4HB and 4HC. Tools of Titans contains most of the answers for all three.

Working hard is important. But more effort does not necessarily yield more results. “Less but better” does. Ferran Adrià, arguably the world’s greatest chef, who has led El Bulli to become the world’s most famous restaurant, epitomizes the principle of “less but better” in at least two ways. First, his specialty is reducing traditional dishes to their absolute essence and then re-imagining them in ways people have never thought of before. Second, while El Bulli has somewhere in the range of 2 million requests for dinner reservations each year, it serves only fifty people per night and closes for six months of the year. In fact, at the time of writing, Ferran had stopped serving food altogether and had instead turned El Bulli into a full-time food laboratory of sorts where he was continuing to pursue nothing but the essence of his craft.1 Getting used to the idea of “less but better” may prove harder than it sounds, especially when we have been rewarded in the past for doing more … and more and more. Yet at a certain point, more effort causes our progress to plateau and even stall. It’s true that the idea of a direct correlation between results and effort is appealing. It seems fair. Yet research across many fields paints a very different picture. Most people have heard of the “Pareto Principle,” the idea, introduced as far back as the 1790s by Vilfredo Pareto, that 20 percent of our efforts produce 80 percent of results. Much later, in 1951, in his Quality-Control Handbook, Joseph Moses Juran, one of the fathers of the quality movement, expanded on this idea and called it “the Law of the Vital Few.”2 His observation was that you could massively improve the quality of a product by resolving a tiny fraction of the problems. He found a willing test audience for this idea in Japan, which at the time had developed a rather poor reputation for producing low-cost, low-quality goods. By adopting a process in which a high percentage of effort and attention was channeled toward improving just those few things that were truly vital, he made the phrase “made in Japan” take on a totally new meaning. And gradually, the quality revolution led to Japan’s rise as a global economic power.3

Most fish—like skate wing—naturally taper off and narrow at the outer edges and toward the tail. Which is fine for moving through the water. Not so good for even cooking. A chef or cook looks at that graceful decline and sees a piece of protein that will cook unevenly: will, when the center—or fattest part—is perfect, be overcooked at the edges. They see a piece of fish that does not look like you could charge $39 for it. Customers should understand that what they are paying for, in any restaurant situation, is not just what’s on the plate—but everything that’s not on the plate: all the bone, skin, fat, and waste product which the chef did pay for, by the pound. When Eric Ripert, for instance, pays $15 or $20 a pound for a piece of fish, you can be sure, the guy who sells it to him does not care that 70 percent of that fish is going in the garbage. It’s still the same price. Same principle applies to meat, poultry—or any other protein. The price of the protein on the market may be $10 per pound, but by the time you’re putting the cleaned, prepped piece of meat or fish on the plate, it can actually cost you $35 a pound. And that’s before paying the guy who cuts it for you. That disparity in purchase price and actual price becomes even more extreme at the top end of the dining spectrum. The famous French mantra of “Use Everything,” by which most chefs live, is not the operative phrase of a three-starred Michelin restaurant. Here, it’s “Use Only the Very Best.

In your light we see light. —Psalm 36:9 (NIV) ELENA ZELAYETA, BLIND CHEF Without warning at age thirty-six, Elena Zelayeta, pregnant with her second child, totally lost her sight. She had been the chef at a popular restaurant she and her husband owned. A sixty-seven-year-old widow now, she continued to prepare her famous Mexican dishes, marketing them with the help of her two sons, the younger of whom she’d never seen. Typical of San Francisco, it was raining when I arrived at her home. The door was opened by a very short, very broad woman with a smile like the sun. Well under five feet tall, “and wide as I am high,” she said, she led me on a fast-paced tour of the sizable house, ending in the kitchen, where pots bubbled and a frying pan sizzled. Was it possible that this woman who moved so swiftly and surely, who was now so unhesitatingly dishing up the meal she’d prepared for the two of us, really blind? She must see, dimly at least, the outlines of things. At the door to the dining room, Elena paused, half a dozen dishes balanced on her arms. “Is the light on?” she asked. No, she confirmed, not the faintest glimmer of light had she seen in thirty years. But she smiled as she said it. “I hear the rain,” she went on as she expertly carved the herb-crusted chicken, “and I’m sure it’s a gray day for the sighted. But for us blind folk, when we walk with God, the sun is always shining.” Let me walk in Your light, Lord, whatever the weather of the world. —Elizabeth Sherrill Digging Deeper: Ps 97:11; 1 Jn 1:5

He worked at a feverish pace. He experimented with all manner of pies: tortoises, eel, chicken, frog, mushroom, artichoke, apricot, cherry, and his favorite of all, a luscious strawberry pie. He made omelets, stuffed eggs, and poached eggs with rosemary over toast. There were soups galore: fennel, tortellini, Hungarian milk, millet, kohlrabi, pea, and his famous Venetian turnip soup, which this time he made with apples instead. He molded jelly into the shapes of the cardinali crests, colored with wine, carrot, and saffron. He delighted most in the moments when he worked with his favorite knife, carving and slicing roasted cockerel, peacock, capons, turtledoves, ortolans, blackbirds, partridges, pheasants, and wood grouse. Every slice of the knife gave him greater confidence and belief in his power to make the world his.

The chef stepped out of the kitchen for a chat with Aomame and noted that the wine would be on the house. “Sorry, it’s already been uncorked, and one tasting’s worth is gone. A customer complained about the taste yesterday and we gave him a new bottle, but in fact there is absolutely nothing wrong with this wine. The man is a famous politician who likes to think he’s a wine connoisseur, but he doesn’t know a damn thing about wine. He did it to show off. ‘I’m afraid this might have a slight edge,’ he says. We had to humor him. ‘Oh, yes, you may be right about that, sir. I’m sure the importer’s warehouse is at fault. I’ll bring another bottle right away. But bravo, sir! I don’t think another person in the country could have caught this!’ That was the best way to make everybody happy, as you can imagine. Now, I can’t say this too loudly, but we had to inflate the bill a little to cover our loss. He was on an expense account, after all. In any case, there’s no way a restaurant with our reputation could serve a returned bottle.

Sensuality is for you, not about you. It’s for you in a sense that you are allowed to indulge all of your senses and taste the goodness of this world and beyond. It’s also for you in a sense that you’re allowed to curate and express yourself in an authentic way (i.e. in the way you dress, communicate, live, love, play, etc.). However, sensuality is not ABOUT you, it’s about those to whom you were brought here to touch and inspire. It’s about the joy and pleasure you’re here to bring. You didn’t come here for yourself nor empty-handed, but you came here bearing special gifts. You were brought here to be a vessel of sensual innovation and a conveyor of heaven’s most deepest pleasures. Your passion is an indication of the sensual gift(s) you were endowed with before you made your grand entry into this world. Your divine mandate now is to exploit every sensual gift you have to the fullest whether it’s music, photography, boudoir or fashion modeling, etc. If you have a love for fashion, always dress impeccably well like my friend Kefilwe Mabote. If you have a love for good food and wine, create culinary experiences the world has never seen before like chef Heston Blumenthal whom I consider as one of the most eminent sensual innovators in the culinary field. Chef Heston has crafted the most sensually innovative culinary experience where each sense has been considered with unparalleled rigour. He believes that eating is a truly multi-sensory experience. This approach has not only led to innovative dishes like the famous bacon and egg ice cream, but also to playing sounds to diners through headphones, and dispersing evocative aromas with dry ice. Chef Heston is indeed a vessel of sensual innovation and a conveyor of heaven’s most deepest pleasures in his own right and field. So, what sensual gift(s) are you here to use? It doesn’t have to be a big thing. For instance, you may be a great home maker. That may be an area where you’re endowed with the most sensual innovative abilities than any other area in your life. You need to occupy and shine your light in that space, no matter how small it seems.

Partridge was one of my favorite discoveries. During one early-morning exploration of Les Halles, Chef Bugnard stopped at a friend’s stall and, picking up a partridge, said, “Here you see a perdreau.” The generic name for partridge is perdrix, but a young roasting bird is a perdreau. He decided to demonstrate how to make the famous perdreau rôti sur canapé, a roast partridge on a crouton of its own chopped liver. Bending the tip end of the bird’s breastbone, he said, “Feel that. It bends a little at the end.” With some difficulty at first, because of the feathers, I felt the breastbone. It did indeed have about half an inch of flexibility at the tail end. The bird’s legs and feet were also subjected to Chef’s inspection: if there was a claw above the back of the heel, it was mature; youthful perdreaux have but a nubbin where the eventual claw will be, and their legs are not raddled by age. The feathers, too, tell something, since those of the young have a bit of white at the very tips. Picking up a mature partridge, a perdrix, he said, “When you feel a rigid bone from neck to tail, you have maturity.” A perdrix wants braising in cabbage, he said, and perdrix en chartreuse is the classic recipe.

Italian cuisine is the most famous and beloved cuisine in the world for a reason. Accessible, comforting, seemingly simple but endlessly delicious, it never disappoints, just as it seems to never change. It would be easy to give you, dear reader, a book filled with the al dente images of the Italy of your imagination. To pretend as if everything in this country is encased in amber. But Italian cuisine is not frozen in time. It's exposed to the same winds that blow food traditions in new directions every day. And now, more than at any time in recent or distant memory, those forces are stirring up change across the country that will forever alter the way Italy eats. That change starts here, in Rome, the capital of Italy, the cradle of Western civilization, a city that has been reinventing itself for three millennia- since, as legend has it, Romulus murdered his brother Remus and built the foundations of Rome atop the Palatine Hill. Here you'll find a legion of chefs and artisans working to redefine the pillars of Italian cuisine: pasta, pizza, espresso, gelato, the food that makes us non-Italians dream so ravenously of this country, that makes us wish we were Italians, and that stirs in the people of Italy no small amount of pride and pleasure.

Once upon a time I'd left Los Angeles and been swallowed down the throat of a life in which my sole loyalty was to my tongue. My belly. Myself. My mother called me selfish and so selfish I became. From nineteen to twenty-five I was a mouth, sating. For myself I made three-day braises and chose the most marbled meats, I played loose with butter and cream. My arteries were young, my life pooling before me, and I lapped, luxurious, from it. I drank, smoked, flew cheap red-eyes around Europe, I lived in thrilling shitholes, I found pills that made nights pass in a blink or expanded time to a soap bubble, floating, luminous, warm. Time seemed infinite, then. I begged famous chefs for the chance to learn from them. I entered competitions and placed in a few. I volunteered to work brunch, turn artichokes, clean the grease trap. I flung my body at all of it: the smoke and singe of the grill station, a duck's breast split open like a geode, two hundred oysters shucked in the walk-in, sex in the walk-in, drunken rides around Paris on a rickety motorcycle and no helmet, a white truffle I stole and shaved in secret over a bowl of Kraft mac n' cheese for me, just me, as my body strummed the high taut selfish song of youth. On my twenty-fifth birthday I served black-market fugu to my guests, the neurotoxin stinging sweetly on my lips as I waited to see if I would, by eating, die. At that age I believed I knew what death was: a thrill, like brushing by a friend who might become a lover.

Japan is obsessed with French pastry. Yes, I know everyone who has access to French pastry is obsessed with it, but in Tokyo they've taken it another level. When a patissier becomes sufficiently famous in Paris, they open a shop in Tokyo; the department store food halls feature Pierre Herme, Henri Charpentier, and Sadaharu Aoki, who was born in Tokyo but became famous for his Japanese-influenced pastries in Paris before opening shops in his hometown. And don't forget the famous Mister Donut, which I just made up. Our favorite French pastry shop is run by a Japanese chef, Terai Norihiko, who studied in France and Belgium and opened a small shop called Aigre-Douce, in the Mejiro neighborhood. Aigre-Douce is a pastry museum, the kind of place where everything looks too beautiful to eat. On her first couple of visits, Iris chose a gooey caramel brownie concoction, but she and Laurie soon sparred over the affections of Wallace, a round two-layer cake with lime cream atop chocolate, separated by a paper-thin square chocolate wafer. "Wallace is a one-woman man," said Laurie. Iris giggled in the way eight-year-olds do at anything that smacks of romance. We never figured out why they named a cake Wallace. I blame IKEA. I've always been more interested in chocolate than fruit desserts, but for some reason, perhaps because it was summer and the fruit desserts looked so good and I was not quite myself the whole month, I gravitated toward the blackberry and raspberry items, like a cup of raspberry puree with chantilly cream and a layer of sponge cake.

We start with a next-generation miso soup: Kyoto's famous sweet white miso whisked with dashi made from lobster shells, with large chunks of tender claw meat and wilted spinach bobbing on the soup's surface. The son takes a cube of topflight Wagyu off the grill, charred on the outside, rare in the center, and swaddles it with green onions and a scoop of melting sea urchin- a surf-and-turf to end all others. The father lays down a gorgeous ceramic plate with a poem painted on its surface. "From the sixteenth century," he tells us, then goes about constructing the dish with his son, piece by piece: First, a chunk of tilefish wrapped around a grilled matsutake mushroom stem. Then a thick triangle of grilled mushroom cap, plus another grilled stem the size of a D-sized battery, topped with mushroom miso. A pickled ginger shoot, a few tender soybeans, and the crowning touch, the tilefish skin, separated from its body and fried into a ripple wave of crunch. The rice course arrives in a small bamboo steamer. The young chef works quickly. He slices curtains of tuna belly from a massive, fat-streaked block, dips it briefly in house-made soy sauce, then lays it on the rice. Over the top he spoons a sauce of seaweed and crushed sesame seeds just as the tuna fat begins to melt into the grains below. A round of tempura comes next: a harvest moon of creamy pumpkin, a gold nugget of blowfish capped with a translucent daikon sauce, and finally a soft, custardy chunk of salmon liver, intensely fatty with a bitter edge, a flavor that I've never tasted before. The last savory course comes in a large ice block carved into the shape of a bowl. Inside, a nest of soba noodles tinted green with powdered matcha floating in a dashi charged with citrus and topped with a false quail egg, the white fashioned from grated daikon.

From Walt: The Grapes of Wrath, Les Misérables, To Kill a Mockingbird, Moby-Dick, The Ox-Bow Incident, A Tale of Two Cities, The Adventures of Huckleberry Finn, The Three Musketeers, Don Quixote (where your nickname came from), The Complete Works of William Shakespeare, and anything by Anton Chekhov. From Henry: Bury My Heart at Wounded Knee, Cheyenne Autumn, War and Peace, The Things They Carried, Catch-22, The Sun Also Rises, The Blessing Way, Beyond Good and Evil, The Teachings of Don Juan, Heart of Darkness, The Human Comedy, The Art of War. From Vic: Justine, Concrete Charlie: The Story of Philadelphia Football Legend Chuck Bednarik, Medea (you’ll love it; it’s got a great ending), The Kama Sutra, Henry and June, The Onion Field, Fear and Loathing in Las Vegas, Zorba the Greek, Madame Bovary, Richie Ashburn’s Phillies Trivia (fuck you, it’s a great book). From Ruby: The Holy Bible (New Testament), The Pilgrim’s Progress, Inferno, Paradise Lost, My Ántonia, The Scarlet Letter, Walden, Poems of Emily Dickinson, My Friend Flicka, Our Town. From Dorothy: The Gastronomical Me, The French Chef Cookbook (you don’t eat, you don’t read), Last Suppers: Famous Final Meals From Death Row, The Bonfire of the Vanities, The Scarlet Pimpernel, Something Fresh, The Sound and the Fury, The Maltese Falcon, Pride and Prejudice, Brides-head Revisited. From Lucian: Thirty Seconds over Tokyo, Band of Brothers, All Quiet on the Western Front, The Virginian, The Basque History of the World (so you can learn about your heritage you illiterate bastard), Hondo, Sackett, The Man Who Shot Liberty Valance, Bobby Fischer: My 60 Memorable Games, The Rise and Fall of the Third Reich, Quartered Safe Out Here. From Ferg: Riders of the Purple Sage, Kiss Me Deadly, Lonesome Dove, White Fang, A River Runs Through It (I saw the movie, but I heard the book was good, too), Kip Carey’s Official Wyoming Fishing Guide (sorry, kid, I couldn’t come up with ten but this ought to do).

I have been all over the world cooking and eating and training under extraordinary chefs. And the two food guys I would most like to go on a road trip with are Anthony Bourdain and Michael Ruhlmann, both of whom I have met, and who are genuinely awesome guys, hysterically funny and easy to be with. But as much as I want to be the Batgirl in that trio, I fear that I would be woefully unprepared. Because an essential part of the food experience that those two enjoy the most is stuff that, quite frankly, would make me ralph. I don't feel overly bad about the offal thing. After all, variety meats seem to be the one area that people can get a pass on. With the possible exception of foie gras, which I wish like heckfire I liked, but I simply cannot get behind it, and nothing is worse than the look on a fellow foodie's face when you pass on the pate. I do love tongue, and off cuts like oxtails and cheeks, but please, no innards. Blue or overly stinky cheeses, cannot do it. Not a fan of raw tomatoes or tomato juice- again I can eat them, but choose not to if I can help it. Ditto, raw onions of every variety (pickled is fine, and I cannot get enough of them cooked), but I bonded with Scott Conant at the James Beard Awards dinner, when we both went on a rant about the evils of raw onion. I know he is often sort of douchey on television, but he was nice to me, very funny, and the man makes the best freaking spaghetti in tomato sauce on the planet. I have issues with bell peppers. Green, red, yellow, white, purple, orange. Roasted or raw. Idk. If I eat them raw I burp them up for days, and cooked they smell to me like old armpit. I have an appreciation for many of the other pepper varieties, and cook with them, but the bell pepper? Not my friend. Spicy isn't so much a preference as a physical necessity. In addition to my chronic and severe gastric reflux, I also have no gallbladder. When my gallbladder and I divorced several years ago, it got custody of anything spicier than my own fairly mild chili, Emily's sesame noodles, and that plastic Velveeta-Ro-Tel dip that I probably shouldn't admit to liking. I'm allowed very occasional visitation rights, but only at my own risk. I like a gentle back-of-the-throat heat to things, but I'm never going to meet you for all-you-can-eat buffalo wings. Mayonnaise squicks me out, except as an ingredient in other things. Avocado's bland oiliness, okra's slickery slime, and don't even get me started on runny eggs. I know. It's mortifying.

Spaghetti alla puttanesca is typically made with tomatoes, olives, anchovies, capers, and garlic. It means, literally, "spaghetti in the style of a prostitute." It is a sloppy dish, the tomatoes and oil making the spaghetti lubricated and slippery. It is the sort of sauce that demands you slurp the noodles Goodfellas style, staining your cheeks with flecks of orange and red. It is very salty and very tangy and altogether very strong; after a small plate, you feel like you've had a visceral and significant experience. There are varying accounts as to when and how the dish originated- but the most likely explanation is that it became popular in the mid-twentieth century. The first documented mention of it is in Raffaele La Capria's 1961 novel, Ferito a Morte. According to the Italian Pasta Makers Union, spaghetti alla puttanesca was a very popular dish throughout the sixties, but its exact genesis is not quite known. Sandro Petti, a famous Napoli chef and co-owner of Ischian restaurant Rangio Fellone, claims to be its creator. Near closing time one evening, a group of customers sat at one of his tables and demanded to be served a meal. Running low on ingredients, Petti told them he didn't have enough to make anything, but they insisted. They were tired, and they were hungry, and they wanted pasta. "Facci una puttanata qualsiasi!" they cried. "Make any kind of garbage!" The late-night eater is not usually the most discerning. Petti raided the kitchen, finding four tomatoes, two olives, and a jar of capers, the base of the now-famous spaghetti dish; he included it on his menu the next day under the name spaghetti alla puttanesca. Others have their own origin myths. But the most common theory is that it was a quick, satisfying dish that the working girls of Naples could knock up with just a few key ingredients found at the back of the fridge- after a long and unforgiving night. As with all dishes containing tomatoes, there are lots of variations in technique. Some use a combination of tinned and fresh tomatoes, while others opt for a squirt of puree. Some require specifically cherry or plum tomatoes, while others go for a smooth, premade pasta. Many suggest that a teaspoon of sugar will "open up the flavor," though that has never really worked for me. I prefer fresh, chopped, and very ripe, cooked for a really long time. Tomatoes always take longer to cook than you think they will- I rarely go for anything less than an hour. This will make the sauce stronger, thicker, and less watery. Most recipes include onions, but I prefer to infuse the oil with onions, frying them until brown, then chucking them out. I like a little kick in most things, but especially in pasta, so I usually go for a generous dousing of chili flakes. I crush three or four cloves of garlic into the oil, then add any extras. The classic is olives, anchovies, and capers, though sometimes I add a handful of fresh spinach, which nicely soaks up any excess water- and the strange, metallic taste of cooked spinach adds an interesting extra dimension. The sauce is naturally quite salty, but I like to add a pinch of sea or Himalayan salt, too, which gives it a slightly more buttery taste, as opposed to the sharp, acrid salt of olives and anchovies. I once made this for a vegetarian friend, substituting braised tofu for anchovies. Usually a solid fish replacement, braised tofu is more like tuna than anchovy, so it was a mistake for puttanesca. It gave the dish an unpleasant solidity and heft. You want a fish that slips and melts into the pasta, not one that dominates it. In terms of garnishing, I go for dried oregano or fresh basil (never fresh oregano or dried basil) and a modest sprinkle of cheese. Oh, and I always use spaghetti. Not fettuccine. Not penne. Not farfalle. Not rigatoni. Not even linguine. Always spaghetti.

Sung was a land which was famous far and wide, simply because it was so often and so richly insulted. However, there was one visitor, more excitable than most, who developed a positive passion for criticizing the place. Unfortunately, the pursuit of this hobby soon lead him to take leave of the truth. This unkind traveler once claimed that the king of Sung, the notable Skan Askander, was a derelict glutton with a monster for a son and a slug for a daughter. This was unkind to the daughter. While she was no great beauty, she was definitely not a slug. After all, slugs do not have arms and legs - and besides, slugs do not grow to that size. There was a grain of truth in the traveler's statement, in as much as the son was a regrettable young man. However, soon afterwards, the son was accidentally drowned when he made the mistake of falling into a swamp with his hands and feet tied together and a knife sticking out of his back. This tragedy did not encourage the traveler to extend his sympathies to the family. Instead, he invented fresh accusations. This wayfarer, an ignorant tourist if ever there was one, claimed that the king had leprosy. This was false. The king merely had a well-developed case of boils. The man with the evil mouth was guilty of a further malignant slander when he stated that King Skan Askander was a cannibal. This was untrue. While it must be admitted that the king once ate one of his wives, he did not do it intentionally; the whole disgraceful episode was the fault of the chef, who was a drunkard, and who was subsequently severely reprimanded. .The question of the governance, and indeed, the very existence of the 'kingdom of Sung' is one that is worth pursuing in detail, before dealing with the traveler's other allegations. It is true that there was a king, his being Skan Askander, and that some of his ancestors had been absolute rulers of considerable power. It is also true that the king's chief swineherd, who doubled as royal cartographer, drew bold, confident maps proclaiming that borders of the realm. Furthermore, the king could pass laws, sign death warrants, issue currency, declare war or amuse himself by inventing new taxes. And what he could do, he did. "We are a king who knows how to be king," said the king. And certainly, anyone wishing to dispute his right to use of the imperial 'we' would have had to contend with the fact that there was enough of him, in girth, bulk, and substance, to provide the makings of four or five ordinary people, flesh, bones and all. He was an imposing figure, "very imposing", one of his brides is alleged to have said, shortly before the accident in which she suffocated. "We live in a palace," said the king. "Not in a tent like Khmar, the chief milkmaid of Tameran, or in a draughty pile of stones like Comedo of Estar." . . .From Prince Comedo came the following tart rejoinder: "Unlike yours, my floors are not made of milk-white marble. However, unlike yours, my floors are not knee-deep in pigsh*t." . . .Receiving that Note, Skan Askander placed it by his commode, where it would be handy for future royal use. Much later, and to his great surprise, he received a communication from the Lord Emperor Khmar, the undisputed master of most of the continent of Tameran. The fact that Sung had come to the attention of Khmar was, to say the least, ominous. Khmar had this to say: "Your words have been reported. In due course, they will be remembered against you." The king of Sung, terrified, endured the sudden onset of an attack of diarrhea that had nothing to do with the figs he had been eating. His latest bride, seeing his acute distress, made the most of her opportunity, and vigorously counselled him to commit suicide. Knowing Khmar's reputation, he was tempted - but finally, to her great disappointment, declined. Nevertheless, he lived in fear; he had no way of knowing that he was simply the victim of one of Khmar's little jokes.

Mirchi, I cannot lie to you,” Rahul said, grinning. “On my side of the hall there were five hundred women in only half-clothes—like they forgot to put on the bottom half before they left the house!” “Aaagh, where was I?” said Mirchi. “Tell me. Anyone famous?” “Everyone famous! A Bollywood party. Some of the stars were in the VIP area, behind a rope, but John Abraham came out to near where I was. He had this thick black coat, and he was smoking cigarettes right in front of me. And Bipasha was supposedly there, but I couldn’t be sure it was really her or just some other item girl, because if the manager sees you looking at the guests, he’ll fire you, take your whole pay—they told us that twenty times before the party started, like we were weak in the head. You have to focus on the tables and the rug. Then when you see a dirty plate or a napkin you have to snatch it and take it to the trash bin in the back. Oh, that room was looking nice. First we laid this thick white carpet—you stepped on it and sank right down. Then they lit white candles and made it dark like a disco, and on this one table the chef put two huge dolphins made out of flavored ice. One dolphin had cherries for eyes—” “Bastard, forget the fish, tell me about the girls,” Mirchi protested. “They want you to look when they dress like that.

Seattle’s famous Dahlia Lounge, on Fourth Avenue near the Columbia Building, an iconic Seattle restaurant with a memorable neon sign of a chef holding a strung-up fish.

Even when she was a girl, the kitchen was a source of pride and power. A separate vestibule off the main room, it cocooned her in glorious aromas. She had proven herself a skillful and painstaking chef, famous in the family for yaprach that tickled the tongue with notes of tomato, lemon and dried sumac. Shmuel and her half brothers teased that Miryam's date-sized yaprach were tiny, like her. Miryam didn't mind the ribbing; she rolled grape leaves at half their usual size precisely so that her family would recognize them as hers, rather than her stepmother's or her aunts'.

4/20, CANNABIS DAY, APRIL 20 420 FARMERS’ MARKET RISOTTO Recipe from Chef Herb Celebrate the bounty of a new growing season with a dish that’s perfectly in season on April 20. Better known as 4/20, the once unremarkable date has slowly evolved into a new high holiday, set aside by stoners of all stripes to celebrate the herb among like-minded friends. The celebration’s origins are humble in nature: It was simply the time of day when four friends (dubbed “The Waldos”) met to share a joint each day in San Rafael, California. Little did they know that they were beginning a new ceremony that would unite potheads worldwide! Every day at 4:20 p.m., you can light up a joint in solidarity with other pot-lovers in your time zone. It’s a tradition that has caught on, and today, there are huge 4/20 parties and festivals in many cities, including famous gatherings of students in Boulder and Santa Cruz. An Italian rice stew, risotto is dense, rich, and intensely satisfying—perfect cannabis comfort cuisine. This risotto uses the freshest spring ingredients for a variation in texture and bright colors that stimulate the senses. Visit your local farmers’ market around April 20, when the bounty of tender new vegetables is beginning to be harvested after the long, dreary winter. As for tracking down the secret ingredient, you’ll have to find another kind of farmer entirely. STONES 4 4 tablespoons THC olive oil (see recipe) 1 medium leek, white part only, cleaned and finely chopped ½ cup sliced mushrooms 1 small carrot, grated ½ cup sugar snap peas, ends trimmed ½ cup asparagus spears, woody ends removed, cut into 1-inch-long pieces Freshly ground pepper 3½ cups low-sodium chicken broth ¼ cup California dry white wine Olive oil cooking spray 1 cup arborio rice 1 tablespoon minced fresh flat-leaf parsley ¼ cup freshly grated Parmesan cheese Salt 1. In a nonstick skillet, heat 2 tablespoons of the THC olive oil over medium-low heat. Add leek and sauté until wilted, about 5 minutes. Stir in mushrooms and continue to cook, stirring, for 2 minutes. Add carrot, sugar snap peas, and asparagus. Continue to cook, stirring, for another minute. Remove from heat, season with pepper, and set aside. 2. In a medium saucepan over high heat, bring broth and wine to a boil. Reduce heat and keep broth mixture at a slow simmer. 3. In a large pot that has been lightly coated with cooking spray, heat the remaining 2 tablespoons THC olive oil over medium heat. Add rice and stir well until all the grains of rice are coated. Pour in ½ cup of the hot broth and stir, using a wooden spoon, until all liquid is absorbed. Continue adding the broth ½ cup at a time, making sure the rice has absorbed the broth before adding more, reserving ¼ cup of broth for the vegetables. 4. Combine ¼ cup of the broth with the reserved vegetables. Once all broth has been added to the risotto and absorbed, add the vegetable mixture and continue to cook over low heat for 2 minutes. Rice should have a very creamy consistency. Remove from heat and stir in parsley, Parmesan, and salt to taste. Stir well to combine.

Cardinal Giuseppe Mezzofanti, born 1774, was called “the Devil” on many occasions. The charming Italian could speak at least 39 languages and, by some accounts, had been tested in 72. As arguably the world’s most famous hyperpolyglot, he was also systematic.

Some vampire literature is accurate, particularly concerning garlic. Vampire hunters have relied on it for centuries. Emeril LaGasse is not just a famous television chef, but also a modern Van Helsing whose obsession with garlic and pork fat is legendary. Not that bacon kills vampires. What a travesty that would be. --“Vampire Foibles,” Dexter Bloodgood’s Survival Guide for Modern Vampires, 19th Edition

The front desk man is a spy for a famous French chef, hoping to stealing the pastry recipes of the shop down the street. And the lovely shop girl who just delivered a box of-- what is most certainly-- pastries is his secret accomplice. The note she passed him while blushing has a recipe for the perfect croissant.

Onion Soup Gratinée YIELD: 4 SERVINGS ONE OF MY greatest treats when working in Paris was to go with my fellow chefs and commis to les Halles, the big market of Paris that spreads through many streets of the Châtelet neighborhood. The excitement in the streets and cafés started a little before 3:00 A.M. and ended around 7:00 or 8:00 A.M. Our nocturnal forays would, more often than not, finish at Le Pied de Cochon (The Pig’s Foot), the quintessential night brasserie of les Halles. There, large, vociferous butchers in bloody aprons would rub shoulders with tuxedoed and elegantly evening-gowned Parisians stopping by for late-night Champagne and a meal after the opera or the theater. The restaurant was famous for its onion-cheese gratinée; it was one of the best in Paris, and hundreds of bowls of it were served every night. For this recipe, you will need four onion soup bowls, each with a capacity of about 12 ounces and, preferably, with a lip or rim around the edge that the cheese topping will stick to as it melts to form a beautiful crust on top of the soup. 2 tablespoons unsalted butter 3 onions (about 12 ounces), cut into thin slices About 7 cups good-quality chicken stock, or a mixture of chicken and beef stock About ½ teaspoon salt, more or less, depending on the saltiness of the stock ½ teaspoon freshly ground black pepper 16 slices of baguette, each cut about ⅜ inch thick About 3 cups grated Swiss cheese, preferably Gruyère, Comté, or Emmenthaler (about 10 ounces) Melt the butter in a saucepan, and sauté the sliced onions in the butter over medium to high heat for about 8 minutes, or until lightly browned. Add the stock, salt, and pepper, and boil gently for 15 minutes. Meanwhile, preheat the oven to 400 degrees. Arrange the bread slices in a single layer on a tray, and bake them for 8 to 10 minutes, or until they are nicely browned. Divide the toast among the bowls, and sprinkle ¼ cup of cheese into each bowl. When the stock and onions have cooked for 15 minutes, pour the soup into the bowls, filling each to the top. Sprinkle on the remainder of the cheese, dividing it among the bowls and taking care not to push it down into the liquid. Press the cheese around the rim or lip of the bowls, so it adheres there as it cooks and the crust does not fall into the liquid. Arrange the soup bowls on a baking sheet, and bake for 35 to 45 minutes, or until a glorious brown, rich crust has developed on top. Serve hot right out of the oven.

Something is simmering wildly throughout the American South. Every time I look around, I see bold new expressions of Southern cuisine waving a proud flag. Every time I look around, I see bold new expressions of Southern cuisine waving a proud flag. And this expression of food has captured people’s attention, because it is the story not only of Southern cuisine, but also of America’s identity. In my short time as a professional chef, I have seen the spotlight pass over every cuisine, from French to Italian to Japanese to Spanish, from nouvelle to comfort to molecular. However, what is happening now in the American South is not part of a trend: It is a culinary movement that is looking inward, not outward, for its inspiration. Every innovation that moves it forward also pulls along with it a memory of something in the past. As Faulkner famously said: "The past is never dead. It’s not even past.

run by ExaminerOnline and its sister outlets was about influencers (whatever they were), TV personalities, actors, famous chefs, stand-up comics, outlandish artists, fashion designers, athletes, musicians, the rich . . . basically any manner of celebrity, provided they were hugely popular or sexy or had either spoken up for a good cause (LGBTQ and animals were winners) or misbehaved in a tasty, but misdemeanorly way.

In many ways, the work of a critic is easy. We risk very little, yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face is that, in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so. But there are times when a critic truly risks something, and that is in the discovery and defense of the new. The world is often unkind to new talent, new creations. The new needs friends. Last night, I experienced something new, an extraordinary meal from a singularly unexpected source. To say that both the meal and its maker have challenged my preconceptions about fine cooking is a gross understatement. They have rocked me to my core. In the past, I have made no secret of my disdain for Chef Gusteau's famous motto: 'Anyone can cook.' But I realize, only now do I truly understand what he meant. Not everyone can become a great artist, but a great artist can come from anywhere. It is difficult to imagine more humble origins than those of the genius now cooking at Gusteau's, who is, in this critic's opinion, nothing less than the finest chef in France. I will be returning to Gusteau's soon, hungry for more.

Martin Luther King, Jr., famously remarked that “justice too long delayed is justice denied.” Learning

In many ways, the work of a critic is easy. We risk very little, yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face, is that in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so. But there are times when a critic truly risks something, and that is in the discovery and defense of the *new*. The world is often unkind to new talent, new creations. The new needs friends. Last night, I experienced something new: an extraordinary meal from a singularly unexpected source. To say that both the meal and its maker have challenged my preconceptions about fine cooking is a gross understatement. They have rocked me to my core. In the past, I have made no secret of my disdain for Chef Gusteau's famous motto, "Anyone can cook." But I realize, only now do I truly understand what he meant. Not everyone can become a great artist; but a great artist *can* come from *anywhere*. It is difficult to imagine more humble origins than those of the genius now cooking at Gusteau's, who is, in this critic's opinion, nothing less than the finest chef in France. I will be returning to Gusteau's soon, hungry for more.

Dialogue Should Move the Story Forward, Provide Information, or Enhance Characterization, Unless You’re Really Witty The best dialogue can do all three. This is a rule that’s often broken by great writers, but before you can get away with breaking it, you have to understand why it exists. Recently, I reread one of my first stories. I thought it would be fun to reread, but I was disappointed in much of the dialogue. In the middle of a scene, my heroine Mildred and the housekeeper broke into an exchange about what my heroine wanted for dinner. I think they were the only two people in the world who cared about it. Readers never even got to see them eat this dinner, and the exchange had no point. It didn’t advance the plot, and it told us nothing about Mildred except that she hated sour beef and dumplings. But let’s say you’re writing a romantic mystery where several people are poisoned by arsenic in the sour beef and dumplings. Suddenly that exchange becomes crucial because the reader knows Mildred was spared because she didn’t like the dish — does this mean the killer poisoned that dish because he didn’t want her to die? Or let’s say the point of the scene is that Mildred’s late father is a famous chef whose specialty was sour beef and dumplings, and Mildred confesses that no longer eats this dish because it brings back too many memories. Now the scene tells us something about Mildred’s personality, not just about her food intake. It wouldn’t take much work to use this exchange to move the plot forward while telling us something about Mildred and sharing the information about the food she likes. Are you a witty author? Are you sure? If so, then you can get away with writing dialogue that doesn’t advance the plot, doesn’t tell us anything about the character, and doesn’t provide information to the reader. But even if you can get away with it, why should you do this? Even the most sparkling dialogue won’t help your story if it’s completely empty of anything but wit.

The stainless-steel mold gives the cheese its disc shape, about ten inches thick and two feet in diameter. But the mold serves another increasingly important function, as an anticounterfeiting measure. The molds are specially produced by the Consorzio Parmigiano-Reggiano, an independent and self-regulating industry group funded by fees levied on cheese producers. Carefully tracked and numbered, molds are supplied only to licensed and inspected dairies, and each is lined with Braille-like needles that crate a pinpoint pattern instantly recognizable to foodies, spelling out the name of the cheese over and over again in a pattern forever imprinted on its rind. A similar raised-pin mold made of plastic is slipped between the steel and the cheese to permanently number the rind of every lot so that any wheel can be traced back to a particular dairy and day of origin. Like a tattoo, these numbers and the words Parmigiano-Reggiano become part of the skin. Later in its life, because counterfeiting the King of Cheeses has become a global pastime, this will be augmented with security holograms... One night, friends came to town and invited Alice out to dinner at celebrity chef Mario Batali's vaunted flagship Italian eatery, Babbo. As Alice told me this story, at one point during their meal, the waiter displayed a grater and a large wedge of cheese with great flourish, asking her if she wanted Parmigiano-Reggiano on her pasta. She did not say yes. She did not say no. Instead Alice looked at the cheese and asked, "Are you sure that's Parmigiano-Reggiano?" Her replied with certainty, "Yes." "You're sure?" "Yes." She then asked to see the cheese. The waiter panicked, mumbled some excuse, and fled into the kitchen. He returned a few minutes later with a different and much smaller chunk of cheese, which he handed over for examination. The new speck was old, dry, and long past its useful shelf-life, but it was real Parmigiano-Reggiano, evidenced by the pin-dot pattern. "The first one was Grana Padano," she explained. "I could clearly read the rind. They must have gone searching through all the drawers in the kitchen in a panic until they found this forgotten crumb of Parmigiano-Reggiano." Alice Fixx was the wrong person to try this kind of bait and switch on, but she is the exception, and I wonder how many other expense-account diners swallowed a cheaper substitute. This occurred at one of the most famous and expensive Italian eateries in the country. What do you think happens at other restaurants?

The war years ended the depression, but brought on many other stressful problems, such as living in a country that was at war with my parents’ homeland. Life changed, and with so many men being drafted into the military, jobs at last became available. By this time, my father was beyond the age of compulsory military service and fortunately found employment as a cook in midtown Manhattan. My parents sold the burdensome delicatessen and bought a house at nearby 25 Nelson Avenue. For years thereafter, my father worked at the then-famous Lindy’s Restaurant on Broadway in New York City. Starting as a cook, he was soon elevated to Night Chef. Eventually he became the Sous Chef and later the Head Chef at the well-known restaurant. It was a long commute into the city by both bus and train, but his steady employment, gratefully, brought in a sustaining income. Fuel and food were rationed during the war years, so there were times when he brought home meaty bones, supposedly for our dog “Putzy,” which instead wound up in our soup pot, which of course we shared with our dog. Most people we knew were poor and struggling to make ends meet, but since everyone was in the same boat, we took our lifestyle in stride. Things were still difficult, but we had shelter and food. I guess you might say we were luckier than most.

was going to say that perhaps women are born with a cooking gene until I remembered that the majority of famous cooks in the world—who are given the fancy title of “chef”—are men.

Boys and girls are undeniably different biologically, but socialization exaggerates the differences, and then starts a self-fulfilling process. Take cooking, for example. Today, women in general are more likely to do housework than men – cooking and cleaning. But why is that? Is it because women are born with a cooking gene or because over the years they have been socialized to see cooking as their role? I was going to say that perhaps women are born with a cooking gene until I remembered that the majority of famous cooks in the world – who are given the fancy title of ‘chef’ – are men.

Martin Luther King, Jr., famously remarked that “justice too long delayed is justice denied.” Learning is similar—

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Lucullus placed a live fish in a glass jar in front of every diner at his table. The better the death, the better the meal would taste. Catherine de Medici brought her cooks to France when she married, and those cooks brought sherbet and custard and cream puffs, artichokes and onion soup, and the idea of roasting birds with oranges. As well as cooks, she brought embroidery and handkerchiefs, perfumes and lingerie, silverware and glassware and the idea that gathering around a table was something to be done thoughtfully. In essence, she brought being French to France. Everything started somewhere else. She thought of Tim's note: write to me. He didn't want to hear about Lucullus and Catherine de Medici; but she loved her old tomes and the things unearthed there, the ballast they lent, the safety of information. She spread her notebooks open across the table. There was a recipe for roasted locusts from ancient Egypt, and on the facing page, her own memory of the first thing she ever cooked, the curry sauce and Anne's chocolate.

recently famous son of an even better known TV chef.

Now, I famously hate salad bars. I don’t like buffets (unless I’m standing on the serving side: buffets are like free money for cost-conscious chefs). When I see food sitting out, exposed to the elements, I see food dying. I see a big open petri dish that every passing serial sneezer can feel free to drool on and fondle with spittle-flecked fingers. I see food not held at ideal temperature, food rotated (or not) by person or persons unknown, left to fester in the open air unprotected from the passing fancies of the general public.

All of the Kobe beef sold in this country, by chefs famous and anonymous, in ten-dollar sliders or three-hundred-dollar steaks, was fake, all of it, end of story.

New transport systems meant that diet ceased to be regionally based, and by 1900, thanks to the emergence of the processing industry, canning and refrigeration, food became international.’3 This coincided with the Victorian craze for celebrity expatriate chefs who balanced a flair for novel recipes and publicity, including Louis Eustache Ude, chef de cuisine of Crockford’s from 1827 to 1838, and his successor from 1838 to 1840, Charles Elmé Francatelli. Yet it was the celebrated Alexis Soyer at the Reform Club who would become the most famous Clubland chef.

All of the Kobe beef sold in this country, by chefs famous and anonymous, in ten-dollar sliders or three-hundred-dollar steaks, was fake, all of it, end of story. Every single restaurant and store purporting to sell Kobe beef—or any Japanese beef—was lying, including some of the country’s best-known chefs.

In my heart, I believe that I am a passionate and intuitive cook who could make a five-course meal without even looking at a recipe. I feel I have the flash and charismatic personality of a famous chef, the fiery tenacity of Gordon Ramsay, and the soulful sexuality of Tom Colicchio. The problem is that I lack all basic skill. For instance, my dad had to come over to show me how to turn my oven on. It is sad when your hopes and your abilities do not line up. I

My father was a renowned chef, who had learned his trade as an apprentice in Europe. During the depression with work hard to find, he accepted employment at Mafia run speakeasies “The Top Hat” and the “Gay Haven,” along with some other similar places, were roughshod, working class nightclubs in Union City, New Jersey, that hosted top performers. Ultimately, being recognized for his abilities, my father was offered the position of “Sous Chef” at the famous Lindy’s Restaurant in New York City, referred to as “Mindy’s” in Damon Runyon’s Broadway play “Guys and Dolls.” Being a loyal employee, he worked at Lindy’s for over three decades until his retirement. Union City, New Jersey, now has the second largest Cuban population concentration in the United States. But in earlier times it was known for having the rowdy “Hudson Burlesque,” as well as gathering places at the “Transfer Station,” where “men of means” could connect with “ladies of the night” and buy them a drink at one of the classy watering holes, such as the “Key Hole Bar and Grill.” I guess that it all came under the heading of “Entertainment.

5SupernormalASIAN$$ MAP GOOGLE MAP Drawing on his years spent in Shanghai and Hong Kong, chef Andrew McConnell presents a creative selection of pan-Asian sharing dishes, from dumplings to raw seafood to slow-cooked Sichuan lamb. Even if you don't dine in, stop by for his now-famous takeaway New England lobster roll. No dinner bookings, so get here early to put your name on the list.