Red Wine

Sweet and mildly spicy roasted onions take steak to a new flavor level. Make a double batch of the onions (you can cover and refrigerate the extras for up to four days) and serve half with pork chops, such as Pork Chops with Herb Rub (page 196) or on open-face roast beef sandwiches. The steak needs to marinate for 8 hours, so be sure to plan accordingly.

This simple sauce has many applications: as a sauce for meat (page 54), as a pasta sauce, or as a soup base. Wood-roasting the peppers and onions adds great flavor. Returning them to the fire along with the wine and other ingredients adds a richness and depth to the sauce. use a red wine that has a lot of presence such as Zinfandel or Sangiovese. You can add other spices, such as a curry blend or chipotles in adobo, as you choose.

As a grilled-food guy, R. B. loves red Zinfandel and Côtes du Rhone. Mixed with fresh fruit and carbonation, these barbecue-friendly reds really come to life. Sweeten with sugar if you like.

Shanks slowly braised like these composed a winter Sunday lunch served to us in a linoleum-tiled card room snugged behind a bar on the edges of Potenza. The players were sent off precisely at one so that the cook might lay the oil-clothed tables with yellow linens and set them with blue and white china. The eight or ten tables were all reserved, as they were each Sunday, the only day when the improvised dining room was open. We had heard about the wonderful food and asked the signora if we might wait until the table of one of her fixed clients might become available. “Impossibile.” She laughed. “Questi tavoli non saranno liberi prima di mezzanotte.” “These tables will not be free before midnight.” She explained that after lunch, the pretty linens and china would be washed and tucked away to await next Sunday, leaving the gaming tables free for cardplaying throughout the afternoon and evening. When one booked a table, one booked it for lunch and endless rounds of briscola, the high-stakes action to which even the women were invited on Sundays. A lovely and entrepreneurial program, we thought, but what about our lunch? The sympathetic signora made room for us, tightening up the seating around a table for four, adding two more place settings and chairs. And so we dined with the priest and his mother and a retired fruitseller and his wife, all of whom spoke only in dialect while we bumped along in Italian. The encumbrance of language soon dissolved in the mists of the signora’s beautiful food. Plates of local, dried sausages and farmhouse cheeses, baskets of just-fried, bay-perfumed breads, a soup of bitter greens, great bowls of rough, handmade pasta sauced only with the rich liquors from braised lamb and dusted with pecorino and, finally, the whole, braised shanks of lamb themselves, sending up sublime perfumes of garlic and rosemary. And as sustaining as is the memory of the company and the food on that Sunday in Potenza, it is another scene that plays more sweetly in my mind. A sort of coming-of-age for me—it was there that I learned, fast and well, the secrets of briscola.

In the thirteenth century, when the Angevins reanchored their royal seat from Palermo to Napoli, the latter was illuminated, transformed, by the influx of a luxe new citizenry. Royals, nobles, and government bigwigs were followed by a cadre of the epoch’s great artists. Giotto and Petrarch and Boccaccio ensconced themselves in Napoli. And as they are wont to do, the masses, too, followed, hoping to stay warm, a little warmer even, inside the echoes of the city’s great, new noise. And as much as she did flourish then, also did the misery of her increase. In great part, Napoli starved under the reign of the French kings. While obscenely cinematic festivals were being staged inside the lustrous salons, the Napoletani waited outside each evening for the cooks to wallop out over the castle walls to them the viscera of the lords’ sheep and cows and pigs and goats. And from these mean stuffs did the women and men of Napoli invent their suppers. Among the dishes that became tradition during this time was zuppa di soffritto, a high-spiced potion made from the heart, spleen, and lungs of the pig and still prized by the Napoletani. Here follows a version of the good soup that asks for less exotic parts of the pig.

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.”

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.

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.

…in the manner of Ellisabetta. Abruzzesi women seem congenitally beatific. They endure, they temper, they are faithful to their own notion of life and betray none of the gnashing dramatics of those Italian women who seem to burlesque passion, who remain in pain eternal, fanned if only by the postino’s tardiness. The Abruzzesi are intrinsically more dignified than those. As wives and mothers, the Abruzzesi seem more revered than leaned upon. Not the archetypal massaia, farmwife, a woman of the Abruzzo historically worked the fields, made bricks, and piled them up into rude buildings with the same good sentiments with which she told fables to her children and suckled her baby. There are many stories, in fact, of women of the Abruzzo that I might tell you. I could tell you about Francesca Cipriani. Well into her seventies, slender, of fine bearing, her long, silver hair pinned up under a kerchief, she speaks eloquently of what it is to live in an isolated mountain village at the end of this millennium. She knows very well that hers is the last generation with the will to stay there inside the small rhythms of its solitude. She is of the village of Campotosto, long and still famed for its plump, rough-textured sausages. She is one of the last artigiani—artisans—who build, by hand, the mortadelline di Campotosto. We were hard put, though, to talk her into selling a few of them to us. She said that this last batch had not yet had time to age properly and that she simply would not sell them in their unfinished condition. We told her that we had a woodshed much like hers and that we lived, not so high up as she, but nevertheless, in the mountains and that we would promise to hang the little sausages there in our own crisp, cold, oak-scented air. She consented. As we were driving away, she raced after the car, counting on her fingers and calling to us, “Lasciatele appese fino al giorno di Pasqua e a quel punto saranno perfette”—“Leave them to hang until the day of Easter, at which point they will be perfect.” We did exactly as she said, taking Francesca’s mortadelline from the woodshed on Easter morning, slicing them thickly, and eating them with a soft, buttery pecorino bread for our Easter breakfast. And then I could tell you about Elisabetta. We found her in the countryside between Anversa and Cocullo. We saw a sign fixed to a tree, penned in a child’s hand, we thought, that read, LA VERA CUCINA ABRUZZESE. COME ERA UNA VOLTA. THE TRUE COOKING OF ABRUZZO. AS IT ONCE WAS. It was, after all, nearly noon, and the invitation was, indeed, irresistible. We pointed the car, as the sign’s arrow indicated, down the narrow, scraggly lane. We stopped in front of the only house. There was a puppy sitting among the weeds and wildflowers, a starched, white napkin laid before him like a tablecloth and beset with various little dishes. After wishing him a buon appetito, we turned to the door. Another sign, in the same child’s hand, invited us to ring the bell if we were hungry. We rang the bell. And there came Elisabetta. A rosy wool skier’s cap pulled low over her brow, her thin, tiny body swathed in long skirts—one piled over another for warmth—and scuffed black boots composed her costume, all of it ornament to her caffè-latte-colored skin and the great, gray sparklers she had for eyes. Elisabetta, now seventy, began her career as a restaurateur at sixty-one. She was just coming into her stride, she told us. Since we had arrived much too early for lunch, she sat us down in the kitchen in front of an old whisky bottle filled with cerise-colored wine and two tumblers. She puttered about, chopping and stirring and such, talking about her life, her adventures, how, when her then twenty-year-old son was sent to Sicilia for his military service, she went along. Because she feared the boy would miss her too much and because she feared, too, she migh...

These tiny black lentils are named for their resemblance to caviar.

Every chef has a love-hate dish, the dish that made it into the first review, the one that customers call ahead for, the dish, therefore, the chef will never be able to take off the menu. Short ribs are mine. I used to be tortured by them, but I’ve come to accept them as a permanent member of the Lucques family. The short-rib saga began one cool and rainy weekend when, inspired by the weather, I made them for a Sunday supper. The response was so overwhelming that I added them to our daily menu. When spring arrived and the city began to warm up, I replaced the short ribs with something lighter. That week, I went out to the dining room to say hello to a friend and was assaulted by diners at three different tables, who waved me over to find out (you guessed it) where the short ribs had gone. At first I was stubborn and refused to serve them in 90-degree weather. But I had a change of heart when I realized how much people loved them and how easily I could satisfy their craving. The short ribs went back on the menu and will probably remain there for all eternity.

My mother’s version of this juicy pan-fried steak came from her grease-marked kitchen bible, Mastering the Art of French Cooking, by Julia Child. The classic bistro sauce is made by sautéing minced shallots in the same pan as the steak, adding a generous amount of red wine, and finishing it with butter and parsley. Although I love the smoky flavor of the grill, nothing gives the meat a better crust than a very hot cast-iron pan. And if you’re planning on making a pan sauce, those crispy bits left behind by the steak will give it a deep, meaty flavor. But remember to get the pan super-hot and smoking before cooking the steaks. You might have to disconnect your smoke alarm temporarily, but it’s worth it.

This is our favorite sangria recipe—it involves a little more effort than the usual sangria, but its flavor is far more complex than just wine mixed with orange juice. It really should be enjoyed with food, preferably tapas and small plates. It is an excellent companion to cheese and fish as well.

Robert Krueger, our bar manager, discovered the New Yorker in a vintage copy of Booth’s cocktail book from the late 1930s. It is an offshoot of the New York Sour, with the addition of club soda. Think of it as a rye Collins with a float of red wine. The New Yorker is tall and fizzy, great for a hot day, and certainly stunning to look at. This cocktail is also a great culinary example of how substituting or adding one ingredient can drastically change the style and feel of a cocktail. The club soda changes the character from a simple sour into a long drink, which changes the perception of consumption by reducing the acidity and intensity in each sip. Whereas a Whiskey Sour is more a late-evening and cold-weather drink, the New Yorker tends to be more of a lazy-afternoon and summertime treat.

We discovered the New York Sour in the summer of 2003 while we were researching cocktails to put on the opening drink list for Keith McNally’s Schiller’s Liquor Bar on the Lower East Side. Visually inviting, this sour is deep yellow with a crimson band of red wine floating on top. The origin of the cocktail is shrouded in mystery, but it is certain that it was served at several New York City speakeasies in the late 1920s. It was no surprise to discover that this cocktail was New York’s Prohibition-era favorite, probably because the lemon juice, sugar, and wine camouflaged and successfully balanced the bad watered-down whiskey common in those days. It was the cool drink to have, and people who ordered it were “in the know.” Think of it as the Prohibition-era Cosmo—or any other status-symbol cocktail that clearly advertises itself in appearance. Made with better ingredients, the cocktail became a masterpiece of complex flavors and mouthfeel. A chef friend of ours once remarked that this drink is like sangria à la minute—and one of the few cocktails that can be successfully paired with a main course.

Stunning to look at, the Greenwich Sour is rich and frothy, with a band of red wine floating on top. It is a variation of a Prohibition classic, the New York Sour. The key difference between the two is that we have add an egg white in our take, a practice common throughout the history of making sours. Many people today are wary about consuming raw eggs for fear of salmonella. The risk of contamination is actually quite low and ca be reduced even more by using eggs from free-range chickens; add high-proof spirit to that, and the chances of getting sick are reduced to almost nothing. The egg white adds texture to the cocktail by trapping air and requires a very long hard shake to create the necessary consistency. Many bartenders will shake the egg white on its own first to begin this process. To give the Greenwich Sour its necessary backbone, it is important to use high-proof whiskey to cut through the sour body. The wine’s tannins add depth to the cocktail and complete its finish.

Poached pears always make a lovely dessert, but what makes this extra pleasing is the addition of glazed pecans.