Main

Prepare it with only mussels, with only clams, with various types of clams, make it for two of you or for all of you. Carry a great, steamy pot of it outdoors to a table set with candles and backlit by the moon on a cool, almost cold evening, everyone nuzzled in sweaters but still in shorts and sandals, hungry, tired, perhaps, happy. Serve it then, just the way it is offered in the tiny taverns and six-table houses that look to the sea between Amalfi and Positano.

When Napoleon lifted up his brother-in-law Joachim Murat to the throne of Napoli in the early nineteenth century, he wittingly rubbed the gastronomic culture of the city to a high French polish. As the governor of Paris, Murat fixed for himself a popular reputation as gourmand, having conducted the business of his offices more often than not midst the ever-sumptuous, sometimes not-meant-to-be-eaten bas-relief of his banqueting tables. And trailing Murat to Napoli marched legions of French chefs. The great toques were an outlandish platoon, striding about the city’s marketplaces and food shops like so many swells among the rabble and answering only to the title monsieur. The irreverent Napoletani soon punished the word into monzù. But even without the genuflection of the masses, the French masters left rich, culinary impress. In the embrace of their hyperbole, there was nothing too spangled, their dishes mostly unredeemed paroxysms of the baroque in both component and construction. And one of their glory dishes was the timballo—the drum—recalling the high-sided round or oval forms in which the chefs built great, towering pies, as much for table architecture as for their eventual service as dinner. One version of the timballo asked for a deep mold upholstered in sweet short pastry, layered with pasta stuffed with veal sweetbreads, layered with the livers of game and whole fat, musky truffles, all of it robed in a salsa besciamella—béchamel—spiced with cinnamon and nutmeg and cloves. The timballo was roofed then in more pastry, painted with egg wash and baked golden as amber. Here follows a version less awkward to make, less fantastic, perhaps, but no less sublime for its relative restraint. When preparing any one of the cinque brasati di carne con pomodori (page 67), increase the amount so that some might be saved, then used to flavor the timballo.

This illuminates the pervasive Napoletano mastery over vegetables, the charred, sweet flesh of the peppers invigorated by the brine of the capers and olives, excited by the potency of the garlic and the pecorino, all of it hushed, then, by the raisins and the bread.

This is the poorest of dishes for the days when the seas are as empty as one’s belly, when even the clams have forsaken one. Fashioned from seawater—sometimes bits of seaweed—a tomato or two, some fat, firm garlic, a dried red chile, and a thread of good oil or a spoonful of sweet, rendered pork fat, hoarded from an easier day.

An island off Napoli’s great bay is Ischia. Wild rabbits thrived there once and some still do for a while, before the clever Ischitani sack them, whipping them into old terra-cotta pots, flattering their dry, scant flesh into rosemaried silk.

This was and is still the dish every Napoletano wishes to come home to for Sunday lunch. There have been sonnets written to its lush sauce, to the perfumes of it curling down to the alleyways below, signaling that, at least for a day, all would be well for that family. The tomato, after its long, slow courting with the red wine, takes on a sort of rusted ebony tint, a beautiful rich color the Napoletani, with their keenness for flourish, are wont to call “black.”

Though the ancient origins of pasta are likely Egyptian, it was inside the eternal Saturnalia of fifteenth-century Napoli where the simple stuff began its story as an everyday comfort against the hungers of the southern Italian poor. Crafted and cooked and dispatched from painted wagons spirited through the city’s boisterous alleyways— they were exuberant vehicles of rescue enrobed in garlicky vapors, for nearly everyone could sport the price of a portion of il carrettiere’s belly-warming wares, hence thwarting the troll for yet a few more hours. Typically, il carrettiere prepared his long, thick cords of dried pasta by dragging them through a warmed coalescence of olive oil, ravishingly perfumed with garlic, oregano, and peperoncino. Should one have been so flush as to call for cacio, his dose would have been handsomely dusted with the piquant pecorino of Crotone in Calabria. The formula stayed safe through time, its solace radiating north and south, where still some one or another version of pasta all’ aglio, olio, e peperoncino prevails as cure for surfeit now as much as for want, but always, one hopes, with homage to il carrettiere. As rudimentary as this dish is, don’t mistake it for one whose elements might be collected without care. One needs crisp, sharp, juicy garlic and a fine extra-virgin oil. That little bottle in the cupboard with the blue or red top that is older than the Flood and smells only of dust is no longer oregano. And the pure, clean fire that comes from a small, whole dried chile pepper crushed between your thumb and fingers can rarely be had from flakes of them long-ago collected in jars.

Traditionally, the gatekeep of an apartment building in Napoli is a widow or a widower of a certain age, one of whose missions, as spiritual guardian of the palazzo, is to slot the mail—after fastidious palpating of its contents, lifting it to the light of the sun, trawling it for heretical intelligence, and generally shadowing the recipient’s movements by it, to diligently rouse, invent, and unbosom internal gossip. The good gatekeep only breaks from these industries to stir at or baste some one of his legendary little potions, all of which signal to the tenants as they cross the threshold what will be the old watchdog’s supper.

It was not often,that one was plump enough in the purse to buy a kilo or so of meat from the butcher, carry it home, and cook it up into some luscious, soulful dish. When fortune placed in one’s purse a few centesimi more than were necessary for subsistence, one sought out the carnacottaro (an itinerant seller of cooked meat).

Insalata di Pesce Dove il Mare Non C’è (A Salad of Fish in a Place where there is no Sea). Though the Teramani, in truth, live not so far from the sea, their cuisine is one of the interior, of the highlands, with sea fish playing an insignificant part. And so when we were served this divine little salad in a backstreet osteria in Teramo, it proved a light, breezy surprise for an early spring lunch. When we asked the old chef why he had made such an unexpected dish, he answered that sometimes, even in a place where there is no sea, one can have a desire to eat some good, bracing, and briny-tasting fish.

Another dish often prepared for the panarda (page 50), the sausages are rubbed with olio santo, wrapped in Savoy cabbage leaves, and grilled over wood. Because lamb fat can give up an aggressive, even disagreeable, flavor, overpowering the savor of the lamb itself, pork fat is recommended to keep the sausages full of juices and to support their intricate spicing.

II Gran Sasso is the highest peak of the Apennines, surging up from the sea, a beast longer than twenty miles, a great-winged harpy, petrified, iced in flight and leaving only a slender shelf of coastal plain in its wake. And hitched halfway up its magnificence sits the medieval fastness of Santo Stefano di Sessanio. One meets few of its two hundred folk on a Wednesday evening’s sunset walk through its catacombs and labyrinths, peering into the unbarred doors of abandoned houses that spirit up invention and half-light musings. Inside the bar—there is always a bar—a Medici crest embellishing its door, the briscola squad is hard at play. Curious at what could bring us forty-five hundred feet up into the January cold that afternoon, we told them we were looking for lentils. Sometimes I can still hear their laughing. But they found us some lentils, the last of that year’s harvest, they told us, and they convinced us to stay the evening, the night, in a little locanda, an inn, closed for the season but of which one of them was the owner. Of course we stayed and of course we cooked and ate the beautiful black lentils that looked so like a great bowlful of glossy jet beads and of course we drank beautiful wine. And afterward we slept close by the fire. Though it is hardly traditional to adorn this humble soup with cream, when our host offered it with the willowy dollops melting into its warmth, it tasted like a dish as old as the mountains’ secrets. And I would never again eat it any other way. The ennobling of the soup with saffron is common in many dishes of the region but only for these last half a hundred years. Fields of crocus have flourished, though, for centuries in the peculiar micro-climate of the high plains of Navelli and Civitaretenga, since a curious village monk, when sojourning in Spain, folded a fistful of their dried seeds in his handkerchief and tucked them in a prayer book. The monk sowed the seeds first in the monastery gardens, and when the flowers bloomed and he harvested their pistils according to the rites he learned in Spain, he and his brothers planted whole fields of the sweet flowers, desiring to use the saffron as a pharmaceutical and as a colorant for ceremonial vestments. Still, the old monk’s is the only saffron cultivated in Italy.

...in the style of Nereto. An old Longobard town in the north of Abruzzo’s province of Teramo, Nereto grows walnuts and breeds turkeys. And when the turkeys grow fat on the walnuts, their just-dressed flesh, roasted with aromatics, indeed tastes of the sweet, smoky nuts. A classic dish for Christmas there, I fix it for our Tuscan version of Thanksgiving. And because our local turkeys, as is likely the case with yours, do not feed on walnuts, I gift the bird with a luscious paste of them smoothed under the skin of its breast. I like the Neretese-inspired turkey infinitely better than the more famous tacchino alla Canzanese, turkey in the manner of Canzano, which typically asks that the bird be relieved of his bones and poached with a calf’s foot and knuckle, then cooled and presented in its jellied broth.

The raffinatezza—refinement—of the food of Teramo is legendary. And the Teramani propose that it was, indeed, among them that crepes—called crespelle or scrippelle in dialect—were first fashioned. It was much later, they say, that their delicate, eggy secrets traveled to France via the gastronomic exchange during the epoch of the Bourbons. Often one finds the scrippelle plumped with a stuffing of mushrooms or a truffled paste of some sort, then gratinéed. Sometimes, they are composed into a timballo—a lovely molded cake, its layers spread with savory filling. Though they are luscious and a genuine part of the culinary heritage of the region, these fall too far, for me, from the ingenuousness of la cucina Abruzzese. The following, though, is a version of scrippelle that is more homespun, the one we eat always at a lovely Teramana osteria called Sotto le Stelle, Under the Stars. Our ritual is this. At about eight o’clock, we stop by at the Bar Centrale (the place most intelligently furnished with the splendid labels and vintages of Italian and French wines in all of Italy south of Rome, all of it accomplished with Abruzzese grace and humility by a man called Marcello Perpentuini). There we chat with Marcello and take an aperitivo. A bit before nine, Marcello telephones Antonio, the restaurant’s owner, orders a bottle of wine for us and tells him we’re on our way. We walk the few blocks through the quiet streets of Teramo to the little restaurant. Our wine has been opened, some lush plate of local salame and fresh, sweet pecorino laid on our table with warm breads, and, perhaps best of all, someone back in the kitchen is making our scrippelle.

La Coscia della Sposa (The Bride’s Thigh). Once upon a time, the panarda was a rustic sort of feast hosted by a farmer for his neighbors and friends, for his tribe. A feast whose substance was bread and lard—pane e lardo—the words meshed, dialectically, as panarda. Lard was a precious comestible, a potent winter fuel that could keep a body whole up there in the mountains. Thus, if a family had a pig to slaughter, it was a family blessed. And if this family was wont to share its sainted beast, even if only the herb-scented renderings of his fat spread on a trencher of honest bread, it was a festival cheered. Time and greater plenty swelled the proportions of the panarda, it growing into a flushed reveling, a Pantagruelian episode staged by one who desired to give thanks for some plague disarmed, some spiritual wound soothed. The panarda became a gastronomic pageant, a devout rite of Christendom quickened with mystical invocations—a duality, then and now, with which the Abruzzesi are at their ease. A wake, a wedding, a generous harvest, an homage—all these became motives to unfurl the festival, to illuminate, throughout its thirty courses, the inextinguishable Abruzzese ebullience. So fraught is the feast with the host’s honor and the honor of his forebears that guests at his panarda must take to heart the intricacies of the culture into which they have entered. He who does not is imperiled. Stories are recounted of one or another unwitting stranger, who, by the twenty-fifth or twenty-eighth plate, begged his leave from the table. It was then that the barrels of primitive muskets were leaned against the temple of the blunderer, these inspiring, pell-mell, the rediscovery of his appetite. Still, today, when one sits at a panarda table, one is bound to partake of any and all that is set before him. To this, I make personal testimony. Our induction into the rites of the panarda was at a country wedding near the city of L’Aquila, its thirty-two courses presented to nearly two hundred celebrants. Here follow the two dishes I loved best, the first for its straightforward symbolism and display of the ticklish Abruzzese humor, the second for its pure, seminal goodness.

The Abruzzesi have long feasted on wild rabbit and hare. The formula for their preparation traditionally employed some version of al coccio—the braising of the rabbit in a terra-cotta pot. They might first brown it in olive oil with garlic, then cook it quietly with rosemary in white wine, perhaps enriching the dish with a dose of tomato conserve and finishing it with a handful of stoned olives. The peasants typically cooked rabbit in this mode, as it was a carne secca—a dry flesh— and hence deemed inappropriate for roasting. But in the late fifteenth and sixteenth centuries, the brigade of serfs who cooked in the castles and villas of the nobility in the province of Pescara soon learned from their masters that all it took was a blanket of some sort—a quilt of buttery crust, a rasher or two of fat prosciutto or pancetta, even a few leaves of cabbage would do—to keep the scant juices of the little beast from becoming vapors in the heat of a wood oven.

Agnello Piccino, Piccino, Picciò (Delicate, more Delicate, The most Delicate Lamb of all). Just outside the village of Campo di Giove—Field of Jove—southeast of Sulmona, there lives and works a butcher who is also a chef of sorts, roasting and braising, as he does, some of his wares in a great, old stone bread oven that sits behind his pristinely stuccoed shop. His clients come sometimes to buy their lunch or their supper still warm and fragrant, readied for the table. Though it was achingly cold on that February morning when first we came upon the butcher at work in his outdoor kitchen, we joined the long, decorously kept line that wound its way from his ovens down the country road. We offered our good-days to the mostly women in whose midst we now stood, women typically Abruzzese, with serene, high-boned faces. They carried their pots and casseroles in sacks or against a hip and, when they felt our interest, they talked to us a bit about the dishes for which the old butcher was celebrated. Mutton braised overnight with tomatoes and onions and red wine; pork braised with bay leaf and garlic and peperoncino in Trebbiano d’Abruzzo; tripe and pancetta with tomatoes and yet more peperoncino; kid roasted with centerbe (an artisanly distilled liqueur made with mountain herbs). Long and reverent was their litany, but when one of them spoke of his agnello da latte—of suckling lamb that he braised only with butter in a sealed copper pot—there came a swift agreement that it was his piatto prelibato—his dish of greatest refinement and delicacy. As the gods would have it that day, the butcher had not prepared agnello da latte but intinglio di agnello allo zafferano (page 47), which, when it came our turn, he packaged for us in a little plastic tub and on which we later lunched in the car with the motor running. It was luscious. We returned in the afternoon, forsaking the day’s program, to beg its formula and to know when the mythical angello da latte might be forthcoming. Il macellaio, the butcher, shook his head on both counts. The suckling lamb in the sealed casserole he prepared only when he found lambs of just the right plumpness and age whose mothers fed only on certain grasses. He turned to the next question. “Una ricetta è una questione di cuore, signora mia; è molto personale,” he said. “A recipe is a thing of the heart, my lady; it is most personal.” I simply looked at him, neither beseechingly nor with delusion, and proceeded to tell him how I thought it had been accomplished. I spoke for a long time, I suppose, he never interrupting even as clients accumulated around his cold white cases. I sealed my discourse by asking why he’d used imported saffron rather than the milder one harvested locally up near Navelli. By now, he was laughing, mostly at my accent, I thought, which is distinctly Northern and often unpleasant to southern ears. At a point much later, after we knew each other longer, he confessed it was only my determinazione—determination—that had made him laugh. The butcher, at least with words, never told me if my understanding of his beautiful lamb stew was correct, but each time I make the dish, I know that the pungent, melting result is a fine tribute to him. And so, when Campo di Giove sits even remotely on our route, we visit, happy to see our friend and hoping to find agnello da latte. We are always a day too late, a week too early. Someday our timing will be divine. Curiously enough, though, the butcher, without my asking for it, one day told me its formula.