5 Ingredients or Fewer

There is a simple sort of glory about handmade scamorza (a semifresh cow’s milk cheese very much like mozzarella) charred over a wood fire, all plumped, swollen, its skin blistered black and gold and barely able to contain its little paunch of seething cream. Anointed with olio santo and taken with oven-toasted bread, it can make for a fine little supper, a sublime one, even, if the cheese is genuine.

Should there be, one day in your life, both a handful of still-warm-from-the-tree ripe figs and the juice-dripping flesh of a melon, go quickly to find leaves of mint, some good green olive oil, and the juice of a lemon to make this little salad. Use only flawless components and arrange them for someone wonderful with whom to rhapsodize over it. You might, then, need heady, appropriate conversation. You could choose to speak of Platina—one Bartolomeo Sacchi—the Vatican librarian and author, in 1475, of Platine de Honestate Voluptate. The work’s argument concerns the history of Roman cuisine and was the first officially published cookbook since those written during the Republic. Or you might want to chatter a bit about Cantalupo in Sabina—the Singing Wolf of the Sabines—once a papal garden property outside the Roman walls where a strain of tiny, orange-fleshed melons were cultivated, they, no doubt, being the precursors to those we call cantaloupe. Perhaps you might choose not to speak at all, thus distracting nothing from the sweet little figs.

From the somber mountain village of Amatrice in the Abruzzo—one of the areas from which have emigrated, to other regions of Italy and throughout the world, many cooks and chefs—was born the famous pasta all’ Amatriciana, prepared faithfully by the pilgrim cooks wherever they go. One evening in Rome, an Abruzzese cook asked if he might offer a different pasta to us, the one most nostalgic for him. What he presented was, indeed, pasta all’ Amatriciana, simply made without tomatoes. In dialect, its name contracts into gricia.

It was nearly eleven on Saturday and Fernando was standing under the open roof in the rain, tender, silvered glissades of it plashing quietly, as it has for two thousand years, onto the black and white marble of the temple floor. He, not minding, stood directly in the puddle, its depths caressing the tops of his shoes, looking up at the sky like a child in wonder, the water settling in fine mists on his cheeks and eyelids. He turned fifty that morning in the Pantheon. His spiritual birthday thus celebrated, he pronounced that his carnal festival was to be solemnized in not less than six of his preferred ostarie/trattorie/ristoranti. Fernando wanted to eat artichokes. More, he wanted an artichoke crawl—a critical journey up and down the vicoli (narrow streets), an earnest search for great, golden-green, crisped Roman roses—as many of them as he might vanquish in a day and its evening in a half dozen genuine houses—we were in search of the one perfect carciofo alla giudia. Ten years ago, I might have propelled him into the arms of the trattoria da Giggetto, when I was still convinced of the authenticity of its cooking. Sidled up as it is to the edge of the Portico d’Ottavia, perhaps it was only the taberna’s majestic old neighbor that wooed me. Fernando had his own ideas. At midday, we made quick aperitivi e antipasti visits to Arancio d’Oro in Via Monte d’Oro and La Campana in Vicolo della Campana, taking only one or two artichokes and a glass of white wine. We would settle in at Agata e Romeo in Via Carlo Alberto for a proper lunch that would start with another of the little beauties. The evening’s gallop would open at Tram Tram in Via dei Reti before a stint at Il Dito e la Luna in Via dei Sabelli, where we would crunch on more fried thistles. Our palates veneered in stainless steel, our bellies convulsing, plumped, we brushed sea salt and crisp freckles from our lips and our chests and stepped at last inside the dimmed sanctum of Piperno in Via Monte dei Cenci. Murmuring something to our waiter about not having much appetite, he assured us that he would carry to us only those plates that could titillate a dead man. He started us with a salad of puntarelle—a thick-bladed wild grass collected in the Alban hills— glossed in sauce of anchovies. Then came the misty comfort of stracciatella, chicken broth scribbled with a paste of egg and pecorino. Expert by now, able to whiff their very presence from twenty meters, we knew then the artichokes were only moments away. He set them down, clucking over their beauty, assuring us their salty vaporousness would coax our hunger. He was right. We continued with la coda alla vaccinara—oxtail stew—abbacchio—roast suckling lamb—a few crumbles of a hard, piquant pecorino pepato—peppered pecorino—a soft brown pear, and sealed it all with a great fluff of roasted chestnut mousse that we ate with small silver spoons.

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

This potato and bacon gratin was created by Rob Chalmers, a chef de cuisine at Lucques who had a great love of food and a big Boston attitude to go along with it. When he first told me about this gratin, I thought he was joking. That much fat in one pan might put even me over the edge. But lo and behold, bacon, potatoes, and cream really do taste good together!

This recipe was perfected by Brian Wolff, our lovably obsessive-compulsive chef de cuisine at Lucques. He developed it using our cornmeal of choice from Bob’s Red Mill. If you’re using a different polenta, the cooking time and quantities of water might be a little different. The most important thing to learn from this recipe is the technique. Keep adding a little water at a time throughout the cooking process. There are only a few ingredients, so the cook makes all the difference. Watch carefully, and let the polenta tell you when it needs more water. And most of all, stir, stir, stir!

When I was growing up, my dad and I had an ongoing asparagus arrangement: I would cut off the tips of my asparagus spears and trade them for his ends. While most asparagus eaters like the tender tips best, to this day I still prefer the fibrous-textured stalk and would happily swap tips for ends if anyone offered. In this simple first course, asparagus is grilled, then layered with prosciutto and dressed with mustard cream. I hope it’s delicious enough to disappear before your guests have a chance to debate which end is better.

The stated purpose of my junior year abroad was to study at the famous London School of Economics, but the first thing I did when I got to England was land a part-time job at the Roux brothers’ (also famous) restaurant, Le Mazarin. Of all the challenges of living abroad, I never thought I’d have a problem finding something decent to eat. Boy, was I wrong. While the food we served guests at Le Mazarin was topnotch, staff meals were a different story. Stripped chicken carcasses, limp vegetable trimmings, and, if we were lucky, a box of just-add-water mashed-potato flakes were the components of just about every meal. The rest of London wasn’t offering many great options either at that time. Fish and chips and heavy pub fare dominated the food scene in the late eighties, before Britain’s culinary renaissance. The one thing I found worth eating (and could afford on the £10 a week my job paid) was scones with clotted cream and strawberries. And that’s exactly what I ate, for 6 straight months. After so many meals of strawberries and cream, it’s a wonder that I still love that combination. Panna cotta (“cooked cream”), a silken, eggless Italian custard, is an easy-to-make complement to perfectly ripe berries. I’ve added crème fraîche to the traditional recipe to balance the strawberries’ sweetness with some tang. You can make the panna cotta in individual ramekins and unmold them just before serving or make it in a large gratin dish and spoon it out at the table family-style.