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April 26, 2004

Remember Rome?

We work. We live in this fantastic city ... but it costs so much to live in this fantastic city, so we have to work. We work late; we work weekends. We forget to enjoy our fantastic city, because we're too busy working. We work so hard to live in our city that we need to get away, if only for a little while. Because we live in the city, we have to work hard enough to save enough to leave the city. Just for a little while; we work to get away from work.

Remember Rome? Remember when we got away from our city, for a little while, and enjoyed someone else's? Remember walking the streets at night, past ancient ruins and their more modern similacra, looking for a place to get a glass of wine or a late dinner? Remember the abbachio arrosto at La Campana, the oldest restaurant in the Eternal City, just north of the Piazza Navona? Remeber thinking it was the most perfect piece of meat we'd ever tasted?

Remember how I dragged you, starving, through so many narrow streets, past so many crowded pizzerias, in search of three words in the window that would tell me it was safe to enter? Remember how I raced to snap a photo of our wood-oven pizza before you tore into it with your knife and fork? Remember the difference between that pizza and every other pizza you've ever eaten?

Remember Rome? Remember Florence? Remember the Osteria in Santa Croce with three different names, just up the block from Vivoli (remember the gelato?), where we worked our way up to an enormous bistecca alla fiorentina with a plate of tuscan crostini -- smooth, tender white beans; creamy liver paste; rich, salty lardo? Remember the first time you dipped cantuccini into a glass of vin santo?

Someday we'll go back. Someday we'll summon up those memories and strike out to make new ones. Until then, darling, we work.

March 28, 2004

Cibrèo Part IV

All good things must come to an end. So it was at Cibrèo. After an evening of new experiences and fascinating flavors, it was time for dessert. Lisa's a sucker for chocolate; she opted for a generally unremarkable pancake-like wedge of flourless chocolate cake.

I asked the hostess -- who had seen me taking photos and notes and decided I deserved some extra attention -- for a recommendation; she said her favorite dessert was this dried fruit and nut tart. Figs, dates, and prunes float alongside walnuts, almonds, hazelnuts, and pine nuts on a pillow of the gentlest whipped cream I've ever tasted - satiny, scented with vanilla, without any buttery clumps or air pockets. Honey drizzles the plate, smoothing out the unrefined sugars of this earthy closer.

The hostess asked if we wanted any drinks to go with our dessert. "Vin Santo!" I exclaimed, with pride in my knowledge of the local viniculture. The hostess shot me a sideways glance. I didn't know what I'd done wrong exactly, but she was looking at me as if I'd just asked her for a can of Bud Light. "Or... whatever you recommend," I added sheepishly.

She came back with a glass of Muffato della Sala, a Sauternes-style dessert wine from Umbria. It was more delicate and buttery than vin santo, without the sherry notes but with hints of summer fruits.

My understanding is that "muffato" translates roughly to "moldy", a reference to botrytis cinerea, the noble rot that makes dessert wine possible. I love dessert wine, and now thanks to Cibrèo I've discovered a new one. The day after our dinner, I went to an enoteca to pick up a few souvenirs. I got a 1997 Vin Santo del Chianti Classico, and a bottle of 2000 Muffato della Sala. The shop owner gave me a nod as he rang up my purchases. "You know your wine," he said.

"Not really." I told him. But I'm learning.

March 26, 2004

Cibrèo, Part III

When our waiter was rattling off our choices of entrées, we passed over the whole lamb's brain en papillote, and the poached calf's foot, though I was feeling adventurous. The waiter seemed to try to warn us against one dish, although the only adjectives he could muster were "intense" and "heavy." I interpreted his warning as an attempt to protect a valuable secret, and I asked him to tell me more about the dish. As he concluded his description, he warned me again that it was "very heavy." I chuckled inside; this waiter had obviously never been to America. When I ordered the dish, he asked if I was sure, and warned me again about its heaviness. I concluded that this wispy tri-lingual waiter was now daring me to eat the dish I had ordered, and I resolved that -- for the honor of myself, my onlooking girlfriend, and, yes, my country -- I had no choice but to face down Cibrèo's cappello di prete.

The "Priest's Hat" (also referred to as the "Pope's Hat") is a triangular pork sausage, wrapped in sheets of pork fat to hold its shape, and poached in broth for four hours. When it's done, the fat wrapper is removed and shredded, and served alongside the sliced sausage. Picchi pairs this porcine powerhouse with a little tart of Mostarda di Cremona - a mustard-glazed candied fruit concoction - on a base of cheese custard.

I mentioned before that Picchi likes to hit you with sweet, salty, and fatty sensations all at once; well this dish is all that in spades. The hostess walked by the table at one point and asked whether I was eating the meat and the tart together. "You have to!" she chastized me. So I did. And then nearly fell out of my chair.

The mostarda, aside from being sweet, has subtle acidic and spicy notes; it's the perfect foil for the fatty sausage (and the ribbons of pork fat that were disturbingly easy to eat). The sausage itself was also a bit sweet and unbelievably moist, permeated throughout with the gentle broth it had been cooked in. But the genius of this dish is the cheese custard at the bottom of the tart. Part fat, part water, slightly sour, slightly sweet, somewhat rich, somewhat light: the cheese was the bridge that tied the dish together. It was the medium through which all the flavors on the plate were gathered at full force and sent slamming headlong onto the palate, where they lingered with a lazy, mouth-filling contentedness. I couldn't believe it. I actually laughed out loud.

Lisa ordered a dish that had a very intricate description, but which was essentially eggplant parmigiana. Lisa loves eggplant parmigiana. She sometimes gets it on a sandwich, for lunch. Now she can never do that again.

The typical deli-counter incarnation of eggplant parmigiana has more in common with sodden cardboard than with Picchi's creation. How he controls the eggplant's texture -- rendering it tender but not mushy -- while avoiding the bitterness that so often creeps in to an eggplant's cooked flesh, I only wish I knew. Poor Lisa. The eggplant is ruined for her, and I'm powerless to bring it back.

March 25, 2004

Cibrèo Part II

Once the amuses are done some slightly larger plates appear: not quite appetizers, but too large to swallow in a single bite. These cold dishes can be nursed until your first course arrives, and provide ample entertainment in the interim. The cold tripe salad, dressed in olive oil and lemon juice with pepper flakes and herbs, was a fortuitous way to introduce Lisa to the world of offal. The tripe has been cooked long enough to remove any offensive organ flavor, and served cold it lacks the squishy texture that reminds you you're eating guts.


The other starter was a cold tomato aspic. Lisa was confused, but couldn't stop eating it: "It's like eating spaghetti sauce!" she said, with not inconsiderable amazement. Actually, it's more like spaghetti sauce jello. But the texture works; it becomes a gentle way of holding the flavor of slow-cooked tomatoes in place long enough for you to fully appreciate it.

Soon after we finished our starters, the first course arrived. Lisa ordered a ricotta flan, which came with a meat ragout similar to a bolognese sauce. The flan was remarkable; I think if it had been cooked even one second less it would collapse. Fortunately the cooking was stopped at precisely the right time, and the custard melted like butter on the tongue. A sprinkling of parmesan and a drizzle of melted butter rounded out the dish, but were used with such moderation that it came across as anything but greasy. It was a simple juxtaposition of intense, rich flavors.

I went with an old standby, white polenta with butter and parmesan. The polenta was creamy, faintly grainy, and punctuated here and there with tiny capers and flecks of herbs. But against the bold flavors elsewhere on the menu, this dish didn't really stand up. It's gentle, and comforting in an innocuous kind of way. But I came to Cibrèo to be shaken up, and the mildness of white corn, even augmented with splashes of dairy fireworks, just didn't do the job. It was time to bring on the big guns.

March 24, 2004

Cibrèo Part I

Cibrèo
8 r Via A. Del Verrocchio
Firenze, IT
055 234 11 00

When Lisa and I decided to go to Italy, there was only one restaurant I knew I wanted to visit. I've been reading about it for years; it has as much foodie buzz as any restaurant in Italy, if not more. Last time I came to Florence it was closed for the August holiday, but this time I was determined to get a table. The restaurant is Cibrèo, and the first thing I did when we got to Florence was make a reservation.

Cibrèo, named for a classic Tuscan peasant stew made from chicken gizzards, is tucked away in a dark corner of the neighborhood of Santa Croce, where in my experience most of Florence's gastronomic treats are to be found. The ebullient chef-proprietor, Fabio Picchi, looks like a cross between Santa Claus and Rasputin, and over the past twenty years he and his wife have built a mini-empire of gastronomy in Florence, including the restaurant, a smaller trattoria, a café, and a gourmet shop. It's said that every morning purveyors from around the region bring their very best products to Picchi's door for his personal inspection. In my mind's eye the scene somewhat resembles a feudal ritual of vassals bringing tribute to their manor lord. The best of the best is selected by the chef and served in the restaurant that same night. The purveyors know that their products are in good hands; Picchi is world-renowned as the mad genius of Tuscan cuisine.

Diners in search of the perfect plate of pasta should steer clear of Cibrèo; Picchi does not serve any. What he does serve depends entirely on which ingredients have met his rigorous standards, and as a result Cibrèo has no written menu. Instead, a member of the wait staff sits down at your table when you arrive to explain to you - in Italian, French, or English - what the chef has prepared on that particular evening. A runner may dash from the kitchen to notify your waiter that a particular dish has been finished; he will apologize to you as he crosses the item off his crib sheet.

Once you have placed your order, a parade of amuses begins to arrive. There is a variation on the classic Tuscan crostini with liver paste, on a precious little square of untoasted white bread. An equally precious square of herbed cheese gratin accompanies it, as does a plate of hand-sliced prosciutto. One last crostini arrived a moment later; a toast square topped with melted cheese studded with bits of candied fruits. This is one of Picchi's favorite tricks, to deliver the magical trinity of fat, salt, and sugar in a single bite. When these three elements - each of which we have an instinctive craving for - are combined in perfect balance, you will always be left wanting more. This technique not lost on the best chefs: David Waltuck uses it in his prosciutto, fig, and foie gras pinwheel amuses at Chanterelle. Picchi is a bit more mischievous, but his alchemy gets it right every time.

March 23, 2004

Pizza Pizza


At the western end of the Campo de' Fiori, a bakery marked with the sign "Forno" (Italian for "oven") draws a crowd of Romans cruising through the piazza for a quick snack. The snack of choice is pizza bianca: golden, crunchy, chewy flatbread slathered in olive oil.




Jeffrey Steingarten wrote about this place, its bakers, and the pizza they produce in six-foot-long slabs in an 800-degree wood-fired oven, in his second book. I won't presume to add to his insight or compete with his prose, but I don't think I have to. After all, a picture's worth a thousand words.



March 22, 2004

The Fat of the Land, Part III


Another day, another, city, another world-class market. The daily market in the Campo de' Fiori in Rome, unlike its more modern counterpart in Florence, has been held in the same place, in much the same way, for centuries. The piazza's name, meaning "field of flowers," belies a bloody past: during the days of the Inquisition, it served as a venue for public execution of heretics. The brooding 19th-century statue of Giordano Bruno, burned at the stake here in 1600, hovers over the piazza like a vengeful ghost, reminding passers-by of the excesses of Church history. Today the market is a testament to a different kind of excess: the delirious bounty of the world's finest ingredients.

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romefish.jpgThe market here is smaller than the one in Florence, and not as dependent on local items. But you can still find treasures like these ridiculously long-stemmed artichokes here. It's a lighthearted market with a great sense of humor. On one end a rotund chain-smoker who looks twenty years older than he probably is demonstrates cheap vegetable garnishing tools for German tourists; on another end a playful fishmonger has built an homage to Darwinism out of his wares.

Walking past one of the larger fruit stalls, something in the corner of my vision caught my attention. I did a double-take, then a triple-take, then walked back to the box that had drawn my eye. "This can't be right," I thought. "What is this doing in Rome?" But there I was, holding it in my hand. "Che cosa è?" I asked the vendor, recalling my first lesson of Berlitz's Italian. "Mangosteen," he replied, "da Colombia."

It was true, then. I held in my hand the queen of all fruits, the legendary mangosteen. Mangosteens are native to southeast Asia, and the South American transplants are supposedly of inferior quality. But it is said that Queen Victoria offered a knighthood to anyone who could bring her just one of these fruits, so even a poor example is bound to have something to recommend it. What's more, mangosteens are illegal in the United States (owing to fears of exotic parasites), so this may have been my only chance, ever, to try one. I believe the fruitseller charged me four Euros; I would have given him forty.

I imposed on the fruitseller for the use of his knife, and he cut through the thick, hard husk of the mangosteen to expose the eerily white segments of the fruit inside. On tasting it I could tell that this was probably not the best mangosteen in the world - it was slightly bruised, slightly desiccated - but I could also tell that it was unlike any other fruit I had ever eaten. Its creamy flesh is scented with white roses and wildflowers, and its juice is a perfect balance of the faintest hints of sweetness and tartness. I immediately wanted another, but couldn't justify it even to myself, let alone to Lisa, who was already itching to continue our sightseeing. Still, this discovery left me with an odd sense of accomplishment, of having something truly unique - if not particularly Italian - to show for my travels: I came, I saw, I ate a mangosteen.

March 18, 2004

The Fat of the Land, Part II

Of course, there's more in the butcher stalls of the Mercato Centrale than just severed heads. In fact, most of the flying creatures in the market still have their heads attached. This means the ducks still have their tongues, and the cocks their combs, either one of which could form the foundation for a classic recipe few Americans will ever hear of, let alone taste.

There are also mounds of un-decapitated fish and scampi here. Scampi, not to be confused with a pile of rubbery, garlicky shrimp in a pool of bubbling margarine at the Olive Garden, is the plural of scampo, the Italian word for a certain type of mediterranean shellfish that is something between a shrimp and a langoustine. I can't really find an anaolgy for a head on the baby squid and octopus you'll find here, but I'm sure if there were one, the fishmongers would make a point of leaving it on.

Lest you think the Mercato Centrale is all about gross-out animal parts, it also has magnificent produce stands, salumerie, cheese cases, winesellers, and dried fruit and nut sellers. Some of these items are local, some regional, some come from elsewhere in Italy. Among the most impressive displays: these bouquets of purple artichokes, the crowning jewel of the produce stand.

The Fat of the Land, Part I

In the Florentine neighborhood of San Lorenzo, the streets are cluttered with rickety booths where industrious locals peddle everything from kitschy souvenirs to hand-painted porcelain, counterfeit jeans to fine leather, silk scarves to silkscreened t-shirts. Rising above the fray on one side of the bazaar is the Church of San Lorenzo, the parish church of the mighty House of Medici, whose tombs in an adjoining chapel are adorned with the androgynous marble figures of Dawn and Night carved by Michelangelo to watch over his patrons' bones. Just around the corner from this monument of death, another monument rises, a far more modern affair of stone and wrought-iron, a giant hall erected to the life of Tuscany and its greatest living legacy: its food.

The Mercato Centrale is painted in lively greens and reds, like a Christmas present begging to be discovered. It is open every day but Sunday, from 7 am to 2 pm, and during those hours it is packed with bounty of the Tuscan countryside: produce, cheeses, fresh and cured meats, fresh seafood, and wine. My unabashed carnivorousness, having been tested in the alleys of Manhattan's Chinatown, reveled in the butchery of the Mercato Centrale. It is the season of the spring lamb in Italy, when in the run-up to Easter milk-fed lambs of just a few weeks age are slaughtered for their incomparably tender meat. So special are these animals that the Italians have a separate word for them; while lamb is simply agnello, a baby lamb is abbacchio (from abbattere, meaning to butcher). A whole abbacchio is probably only slightly larger in total volume than your Thanksgiving Turkey, and may even have less edible flesh. But they are such a prize, the butchers of Florence display them proudly.

Lamb is not the only specialty of the Florentine butcher. My search for pigs' feet would have gone much more smoothly here. You will find no fussy pre-marinated pork loins here; pigs are about more than just chops and roasts. No part of the pig is wasted:

In this picture you can find the hearts, ears, kidneys, livers, lungs, feet, stomachs, tails, and knuckles of pigs: parts that in America would never find their way to a grocer's meat case. If looking on these viscera disgusts you, consider the assembly-line animal husbandry that gave you your last porkchop: bringing millions of animals into being only to live miserable lives and then have much of their bodies discarded. You can tell that these butchers knew their animals - or at least the farmers who raised them - in life as well as they know them in death. I can only imagine that this fellow was happier than most American hogs before he met with the knife.

March 17, 2004

Bar None

Walking down the narrow, cobbled streets of Rome, you're suddenly stricken with a twinge of hunger. Looking up, you see one of the many indistinguishable signs hanging off the facades of the city's ancient buildings:

BAR

Entering through the open door, you're greeted with a hearty "Buon Giorno!" from the exuberant young woman behind the bar. She smiles patiently as you mangle her native language in an effort to extract from her a pastry, a panino, or a pizza. And when you have completed your order, she extends a hand toward one of the two tiny tables in the back corner of the bar: "Prego," she says, offering you the best seats in the house.

Stop right there, gringo. This barrista is not your friend. And if you take her up on her offer, you will have tripled the cost of your meal.

The urban Italian bar cum tobacconist cum coffee shop cum deli counter is an utterly foreign concept to most tourists, especially Americans. You will find a bar on almost every corner in Rome, and each one offers a veritable cornucopia of convenience foods. You can get a glass of white wine at 8:00 a.m. You might order a bus ticket and a pack of cigarettes with your morning cappucino. A refrigerated glass case protects an array of breakfast pastries -- more on those in a future post -- alongside stacks of ready-to-press panini and pre-baked pizzas waiting to be reheated.

Underlying the Roman bar experience is a cultural aesthetic of dining that is at once alien and familiar to the urban American. Italians tend to do their best eating at night, over a well-laid table, amongst family and friends, over the course of several hours. During the day -- and especially on weekdays -- meals tend to be hurried and spare. The best pizzerias aren't open until the dinner hour, and lunch at most other restaurants is largely designed for tourists needing a break from sightseeing (a prix-fixe lunch is referred to as a menu turistiche, to give you some idea). An Italian breakfast, if taken at all, generally consists of just a cappucino, perhaps with a pastry on the side (again, more on that another day). If you're doing as the Romans do, your daytime meals will typically be brutish and short, albeit not necessarily nasty.

The American rat race would seem to amply prepare us for this experience. How many of us take lunch seriously anymore? We're used to grabbing a slice or a sandwich on the fly, eating at our desks, and being through with the whole affair in twenty minutes or less. Breakfast usually consists of two cups of coffee -- one at home and one at the office. What about the Roman bar experience can possibly surprise us?

Back to the outstretched hand of our barrista. It's the chairs. A Roman bar has a marble counter at which the typical Roman will stand while nursing a coffee, a glass of wine, or a breakfast pastry. The panini and pizza are generally taken to go. But you spend your whole life eating on the run, and that's frankly why you needed a vacation in the first place. The barrista knows this. That's why she doesn't tell you that the prices listed above the counter and in the glass case are bar prices. For the privilege of dining al tavolo -- at table -- you must pay table prices, which typically range from double to triple the bar rate, not including your American-sized tip. But hey, you aren't really going to begrudge this friendly native a few extra euros if it means you'll be more comfortable during your vacation, right? Call it price discrimination if you will, but I detect the mark of the invisible hand, which I can't rightly fault.

Besides, even table prices at a Roman bar are fairly reasonable -- or they would be if the dollar had any buying power these days. And some establishments refer to themselves both as bars and "cafés," blurring the boundary between bar and restaurant, offering a selection of antipasti, salads, even pastas and entrees at comfortable -- and often outdoor -- tables. Slices of proscuitto crudo, bresaola, and salami; a nugget of mozzarella di bufala; a half-liter carafe of the house red: these are the types of commodities that don't depend on kitchen preparation, and can be found at lots of the larger bar-cafés. And since Rome's best restaurants tend to be tucked away in its hidden back alleys, even the snobbiest foodie may be willing to pay for ambience: the bars of Rome always seem to have the best views.

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