Tart

Baked tarts can be frozen up to 3 weeks. Without thawing, reheat them in a 350°F oven for about 10 minutes. Instead of large tarts, you can make individual-size tartlets: Cut the pastry into eight 4-inch squares; bake for about 20 minutes.

Tarte Tatin is a French upside-down apple tart named for the two sisters who invented the dish. This version is topped with puff pastry and baked in a wood-fired oven or by indirect heat on a grill. It can be topped with slightly sweetened whipped cream, or better still with a frothy sabayon infused with an aromatic late-harvest Riesling. The sabayon is also terrific on its own or with berries. Choose a good baking or pie apple such as Gala, Pink Lady, Gravenstein, Braeburn, or Jonathan.

For those who love to make simple seasonal fruit desserts, making a rustic tart is one of the most enjoyable ways of creating a beautiful dessert. A proper dough is important, but the overall shape created for the actual tart is up to you. In this recipe for an Italian tart, the pears and apples are first roasted until lightly caramelized, which increases their flavor.

This is one of my favorite desserts. Dried apricots, almonds, and honey are the key sweet flavors of the Mediterranean. With a nod to Provence, we top it all with Lavender Crème Anglaise.

Bestriding the shoulders of the island’s western verges is the perfect borgo medievale (medieval village) of Erice, called so after he who was the mythical son of Venus, sired by the king of the ancient tribe of the Elimi. There is a fascination about the village, its apocryphal tales and its truths—gifts, one thinks, of the cults that once worshiped the gods of beauty and love there and carved into the village walls scripts still undecipherable. Limpid, sweet is its air, and from its sweeping lofts one sees Mt. Etna, her fury diffused in far-off mists. And there on a small piazza sits the pasticceria of Maria Grammatico, who fashions the most gorgeous, most delicious evidences of rustic Sicilian pastry. Many of Signora Grammatico’s formulas are borrowed from the epoch of the Ericina convent pastry-making—it, too, having once practiced a temperate rather than a Baroque style. This is a version of the celebrated Ericina ricotta pie.

In the late summer and early autumn, in the interior of the island, the great harvests of pumpkin and squash are preserved by the farmwives in varied fashion. Often the flesh is cooked down to a marmalade and sparked with candied oranges, or poached chunks of it are set to rest in a sweet vinegared brine. Too, thick slices of poached flesh are often rolled around in a sugary syrup and left to dry. Of a most luscious flavor, this candied pumpkin is sometimes used with dark rum and a handful of broken, bittersweet chocolate, to make a tart like the one we were served in the village of Milo. I was dazzled by it. But when I heard of the perplexing process by which the tart’s author had candied the pumpkin (she began by saying that I should gather fifty to sixty pumpkins), I was slightly shaken. I found, though, that simply roasting the flesh of a pumpkin or squash and then bathing it in caramelized sugar gives a flavor similar and perhaps even richer and requires far less drama.

Riso nero—black rice—is the dramatic name for a nursery dish offered to children as a light supper or as a sweet after a bit of broth or soup. It is most often just made with rice poached in milk that has been scented with cinnamon and mixed with a few shards of chocolate, the latter giving the dish its name as it melts and turns the rice a deep, dark color. Surely there are lovely similarities between it and pasta in nero della consolazione (page 118). Here I offer its comfort in a more adult version. The same prescriptions apply, though, as this is best presented after a light, reviving soup or, better, after no soup at all, so one can justify slipping one’s fork into the spiced, chocolate depths of a second or third piece of the sweet little pie.

A pastry reflecting the famous half-roasted, almond-stuffed, bay and anise-perfumed figs that Puglia exports to all of Europe, the ripe sensuality of it merits a true hunger, one not dulled by the prologue of some long, winy supper. Nibble only at a plate of fresh cheeses before it. Better, present it with no prelude at all.

A while ago, I’d heard from a friend about a tart made with oranges from the groves on the island of Capri, it, once an idyll and now mostly a tourist ruin just seventeen kilometers across the bay from Napoli. Specifically, it was the island’s village of Anacapri that was the scene of my friend’s tart story. She told me that the confection was barely sugared, so perfect were the oranges of its making. She said it was all of a cool cream in the mouth, each little bite of it a sensual, sweet/pungent explosion. She said that even the crust was scented with oranges, perhaps with some locally distilled liqueur of the fruit, and that, too, the crust gave up some soft breath of herb, like wild mint or rosemary. But where in Anacapri, I begged, never having seen the sweet in any pasticceria nor read of it on any menu nor found it perched on any dessert cart. Worse, everyone I asked about the tart shook their heads. “Non c’è una cosa del genere qui, signora.” “There is nothing of that sort here, madam.” This bantering betwixt my friend and I has endured several years. She insists that the tart, indeed, exists. I think it some citrusy half-dream of hers, a tart that should have been, perhaps, but one that never yet was, at least not in Anacapri. And so I baked it, hearing her gurglings and swoonings in my mind at every step. Though I’ve yet to make it for her—she living in Oregon while I’m here in Tuscany—I offer it here and tell you, humbly, of its goodness, of its simple sort of persuasiveness. I think it is the pastry I would make and share and eat on the last day of the world.

First, know that you are about to bake the earth’s most delectable prune tart. If you wish to make it with fresh plums, you must sugar them, according to their own sweetness and your own need to taste sugar rather than fresh fruit. The same adjustment is necessary should you use fresh apricots or nectarines or peaches. Then simply proceed with the recipe.

In so many American childhoods, cherry pie is a gloppy, cloying, Day-Glo affair. As a chef, I’m expected to disdain such things now, and, officially, I do. But I’ve always loved cherries. This Italian cherry and almond tart is everything a bad cherry pie is not: flaky, buttery, and sophisticated, with a filling the color of darkest rubies. But if someday, when cherries are long out of season, you happen to see in a corner booth at DuPar’s Coffee Shop someone who looks like me, wolfing down a slice of all-American diner pie, wearing dark sunglasses and a stain that looks suspiciously like Red Dye #40, well, keep it to yourself. Even chefs have fond memories of their misguided youth.

During my last year in high school, we were given 2 weeks off from classes for “senior projects.” While my peers pursued scuba diving, rock climbing, sailing, and photography, I headed to Ma Maison, the culinary pinnacle of Los Angeles, circa 1984. Being a girl in a French restaurant in 1984, I was led straight to the pastry kitchen. When I arrived, my fear of being in the way was quickly put to rest; the pastry chef had just been fired, and the sous-chef, Aisha, was running the show all alone. In no time at all, she had me making doughs, whipping mousses, and filling tart shells. Thrilled with my newfound pastry skills, I rushed home every day after work to re-create those desserts for my family. One of the first things I learned to make that spring was a classic lemon tart with a pâte sucrée crust. The first time I tried it at home, my chocoholic sister begged me to add some chocolate. I refused and stuck to the classic French recipe. But one day, when her birthday rolled around, I gave in to her suggestion. I melted some bittersweet chocolate, spread it over the baked crust, and waited for it to solidify. Nervously, I poured the warm lemon curd over and waited to see if it would work. It was the first time I’d ever deviated from a pastry recipe, and I was terrified I might ruin it. To Jessica’s delight (and mine, too), it was even better than the original. To this day, whenever this tart is on the Lucques menu, Jessica gloats, proud of our lemon-chocolate collaboration.