Success and Failure

Last Friday with The Dear Leader (confusion to her enemies) off diving, and Sternest Critic starting his new job, I had the house to myself with my last commission in hand despatched to the editor the previous day. Being 84.7 per cent retired is enjoyable, or at least it is for those of us with some resources financial and personal. I'd not want every day to myself, but the occasional one is a rare treat. Naturally I chose to spend the majority of it in the kitchen.


Of late I've been baking a lot of bread, in fact I haven't bought a loaf for I'd guess three weeks. I got fed up with either tasteless dross or stupidly expensive 'artisan' offerings (that may not be very artisan). With the freezer stocked there was no need for standard stuff, so I opted to go the more exotic route and try two of Ursula Ferrigno's Italian recipes for richer loaves. One succeeded, one failed - my fault not hers.


The success was an egg-enriched flatbread, flavoured with vanilla extract (not essence, crude oil derivatives don't tempt me) and as I lacked one stipulated ingredient, with rosewater. It rose nicely, came out golden and with a pleasing texture between chewy and soft, and was very tasty. The failure was fig bread, a bit like a pannetone. It was a salutary lesson in not just following the instructions, but thinking them through. It came out claggy, far too dense at the bottom, because I used some home-made figs soaked in alcohol, but still included the juice of three oranges the recipe included for wetting dried figs. It has actually improved over the days, probably drying out a bit, and toasting helps, but I'm annoyed at not seeing the problem coming.


You live and learn. I will give the fig bread another go, maybe near Christmas. The flatbread, and others in the same vein, will appear on our table shortly. Anna del Conte's book on Northern Italian cooking features a savoury one with walnuts and rosemary; Ursula Ferrigno has others that intrigue. I've improvised my own with spare dough, baked with loads of fried onions and some herbs on top, Not that I'm obsessing, but I'm about to re-read Elizabeth David's huge tome on English bread and yeast cookery with an eye to making some enriched breads and rolls of more local heritage. We're lucky that filler-upper bread is not a major component of our diet, but good bread - from the smell as it bakes to the taste as you get outside it - can be such a joy.

Ribbons on a Bashed up Pair of Jeans

My Christmas reading of Anna del Conte's tome on Northern Italian cookery has helped add a few new standards to my repertoire. One of these is such a simple way of making roast vegetables a bit more interesting and a lot more appealing to the eye than normal, and I've made it twice in the last fortnight, once more or less to her instructions, once tarted up a bit.


Her dish uses courgette, potato, aubergine and red pepper, all of them cut and sliced into neat pieces then laid in stripes on a bed of finely chopped onions, with a few blobs of passata on the onions then on the upper veg. With seasoning and a drizzle of olive oil it is quickly prepared, then left to cook - it doesn't even need the recommended occasional basting at a pinch - at 160C for 90 minutes it comes out looking colourful, smelling appetising, and giving cook and diner alike a feeling of virtue. I won't buy courgettes in winter, and had no decent spuds to hand, so my version used aubergine, red peppers, and sweet potato.


The second effort a week or more on used the same vegetables, but I couldn't leave well alone, so added a dividing strip of green chili rings, a load of garlic cloves peeled but whole, and another dividing strip of cherry toms. It worked again, but was not as satisfying as the original, simpler dish. Sometimes embellishments work, sometimes they don't. These didn't: the tomatoes - strange given the passata that's part of the original - jarred, and the chili felt out of place. The garlic, sweet and tender, fared best of the three additions. But overall it felt like I'd added ribbons to a pair of comfortably worn in jeans.


Cooking, domestic and professional, should be about trying things, making changes here and there. I dislike those interminable arguments about the one true recipe for xyz, where departure from someone's fixed idea of what's right is deemed heretical... Paella is one example where such debate seems particularly fatuous, given there are many regional and local variations, and the Valencian original began as a peasant dish where people used - and still use - what they had/have to hand. And Paella, like that roast veg idea, invites experiment. That said there are limits: I'm no fan of  'fusion' cookery, partly because it can seem false, forced, and worse, arch. So the bad boy/girl chef who uses AdC's idea and introduces coconut milk, curry spice and guavas won't get my applause. That would be like ripping big holes in the knees of those old jeans, and who'd be daft enough to do that?

What Makes a Good Cookery Book?

Mentioning yesterday Anna del Conte's book The Classic Food of Northern Italy got me thinking about what actually makes a good cookery book. 

I have a bad feeling that photography is for many a decisive factor. The bookshops are full of glossy tomes illustrated with images that make the mouth water. But having once looked at the sexy pictures, do people cook from these books? Do they learn anything from them other than how a finished dish, well lit, oiled to glisten, on carefully chosen crockery and perched on perfect furniture, will look? Or do they go to restaurants where such ideally plated dishes can be obtained?

A few years ago I wrote a piece for Lovefood about cookbooks I wouldn't be without. It was easy to choose most of them, as I just went to the shelves and selected the most beaten up, sauce stained, fat splashed volumes. Jane Grigson's Vegetable Book, Alan Davidson's North Atlantic Seafood, Elizabeth David's French Provincial Cookery and HFW's work on meat caught the attention first. Backs broken or even missing; dog-eared pages; forgotten bookmarks poking out; the occasional loose page. The first three of those books have at most pencil drawings; the fourth has some good images, but is text heavy. So I want text.

Food, and food writing, should also at its best and most worthwhile be an exploration of cultures. Davidson and David both do that with great learning, one focusing on a single country (but several cuisines and cultures); the other covering pretty much every country with an Atlantic coastline. As a read David's book is hard to better, full of anecdote, history and literary links, the fruit of half a lifetime's experience. I want to be entertained and educated by a good food book. I want it to be so packed with information that new discoveries are made - noticed - every time the pages are dipped into.

It may seem high falutin', but a bit of philosophical reflection doesn't go amiss either. So HFW scores highly - all his work explores morality and ethics around food, no bad thing. 

Of course, they should also make me want to cook and eat. I still return to all four of those volumes (less so the meat one, given The Dear Leader's (hail the Dear Leader) meatless diet now) for inspiration and for guidance. 

In the end, I guess, a good food book is one that endures - not a beginner's guide to some fad; not all teeth and no knickers as my late mother would have said (I am thinking of two celebrity cooks/chefs when writing those words, one male, one female). They should be destined for the bedside table and the kitchen table, not the coffee table.