Short, true accounts set largely in the kitchen and populated by rich, opinionated characters with formidable cooking skills.
Famularo’s (Viva La Cucina Italiana, 2012, etc.) debut memoir uses family recipes as a paean to the culture—and kitchens—that shaped his childhood.
The life of a first-generation Italian immigrant in New York City emerges slowly from this series of loosely connected vignettes, each providing another insight into the author. Sometimes the subject matter is light—the malapropisms of Famularo’s mother, the way she rolls and cuts her own pasta, or his brother’s choice of girlfriends. But this is no soppy memoir. It begins in the gap between the two world wars, following a loose chronology until Famularo and a friend trek to postwar Italy to visit his mother’s home village of Accettura, bearing gifts of chocolate, cigarettes and coffee. “I feel we forget about the food that grounds us,” Famularo writes. But it’s obvious that it’s not just the food that binds his family together, stretched as they are across both the East Coast and the ocean. It’s the process of making the meals—the love, the caring, the competition and the gossip that goes into it. Famularo’s sketches have no unifying plot or tension, but each stands on its own as a full chapter, punctuated by recipes—pleasant rambles through kitchens strewn with drying sausages, basements filled with jars of homemade tomato sauce and the iconic ethnic businesses found down the street. Through it all, eating is the family’s conduit to understanding and participating in the world around them. As Famularo writes of his father’s aunt, “As you entered her kitchen door, she would go to the ice-a-box, open the door slowly, dramatically, with a smile and say, ‘C’e tutta cosa—tutta’ (There is everything here—everything).” By sharing not only his family’s recipes, but the stories behind them, he invites readers into the fold.
Short, true accounts set largely in the kitchen and populated by rich, opinionated characters with formidable cooking skills.Pub Date: June 14, 2013
ISBN: 978-1479790715
Page Count: 354
Publisher: Xlibris
Review Posted Online: Oct. 10, 2013
Kirkus Reviews Issue: Nov. 15, 2013
Review Program: Kirkus Indie
BOOK REVIEW
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
BOOK REVIEW
BOOK REVIEW
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