A perfect guide to bringing home the traditional and unique flavors of Italy.



A delicious journey through central and southern Italy through recipes.

In this sequel to The Italian Farmer's Table (2009), Scialabba and Pellegrino chronicle their travels to more than 30 farms and share the best recipes from each, using only what that farm produces. "We were deeply moved by the simplicity of cooking with ingredients grown and raised out the kitchen door," they write. “There was something that we connected with, that just seemed real and felt right about washing dirt off freshly picked vegetables, or noting the vibrant orange color of the free-range egg yolks we were using to make fresh pasta." At the beginning the authors provide basic recipes for pasta and crepes, and they include a charming history of the farm, how the family came to agritourism and, of course, the specialties of each house—usually at least one appetizer, entree and dessert. Home chefs can start with a beet carpaccio with pickled onions from Tuscany, move on to polenta with pork and sausage sauce from Umbria and finish with a poached pear and ricotta mousse tart from Basilicata. Some of the mouthwatering recipes are fairly simple, such as the farfalle with zucchini and mussels from Apulia, but others will take time, such as the chicken lasagna from the Michetti Convent in Abruzzo. Scialabba and Pellegrino also make adaptations for home chefs—e.g., replacing quail for Sardinia's indigenous partridges—and they include instructions on where to find wild boar in American and the contact information for all of the farms, among other points of reference.

A perfect guide to bringing home the traditional and unique flavors of Italy.

Pub Date: April 3, 2012

ISBN: 978-0-7627-7082-3

Page Count: 336

Publisher: Lyons Press

Review Posted Online: March 5, 2012

Kirkus Reviews Issue: March 15, 2012

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Possibly inspired by the letters Cleary has received as a children's author, this begins with second-grader Leigh Botts' misspelled fan letter to Mr. Henshaw, whose fictitious book itself derives from the old take-off title Forty Ways W. Amuse a Dog. Soon Leigh is in sixth grade and bombarding his still-favorite author with a list of questions to be answered and returned by "next Friday," the day his author report is due. Leigh is disgruntled when Mr. Henshaw's answer comes late, and accompanied by a set of questions for Leigh to answer. He threatens not to, but as "Mom keeps nagging me about your dumb old questions" he finally gets the job done—and through his answers Mr. Henshaw and readers learn that Leigh considers himself "the mediumest boy in school," that his parents have split up, and that he dreams of his truck-driver dad driving him to school "hauling a forty-foot reefer, which would make his outfit add up to eighteen wheels altogether. . . . I guess I wouldn't seem so medium then." Soon Mr. Henshaw recommends keeping a diary (at least partly to get Leigh off his own back) and so the real letters to Mr. Henshaw taper off, with "pretend," unmailed letters (the diary) taking over. . . until Leigh can write "I don't have to pretend to write to Mr. Henshaw anymore. I have learned to say what I think on a piece of paper." Meanwhile Mr. Henshaw offers writing tips, and Leigh, struggling with a story for a school contest, concludes "I think you're right. Maybe I am not ready to write a story." Instead he writes a "true story" about a truck haul with his father in Leigh's real past, and this wins praise from "a real live author" Leigh meets through the school program. Mr. Henshaw has also advised that "a character in a story should solve a problem or change in some way," a standard juvenile-fiction dictum which Cleary herself applies modestly by having Leigh solve his disappearing lunch problem with a burglar-alarmed lunch box—and, more seriously, come to recognize and accept that his father can't be counted on. All of this, in Leigh's simple words, is capably and unobtrusively structured as well as valid and realistic. From the writing tips to the divorced-kid blues, however, it tends to substitute prevailing wisdom for the little jolts of recognition that made the Ramona books so rewarding.

Pub Date: Aug. 22, 1983

ISBN: 143511096X

Page Count: 133

Publisher: Morrow/HarperCollins

Review Posted Online: Oct. 16, 2011

Kirkus Reviews Issue: Aug. 1, 1983

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This early reader is an excellent introduction to the March on Washington in 1963 and the important role in the march played by Martin Luther King Jr. Ruffin gives the book a good, dramatic start: “August 28, 1963. It is a hot summer day in Washington, D.C. More than 250,00 people are pouring into the city.” They have come to protest the treatment of African-Americans here in the US. With stirring original artwork mixed with photographs of the events (and the segregationist policies in the South, such as separate drinking fountains and entrances to public buildings), Ruffin writes of how an end to slavery didn’t mark true equality and that these rights had to be fought for—through marches and sit-ins and words, particularly those of Dr. King, and particularly on that fateful day in Washington. Within a year the Civil Rights Act of 1964 had been passed: “It does not change everything. But it is a beginning.” Lots of visual cues will help new readers through the fairly simple text, but it is the power of the story that will keep them turning the pages. (Easy reader. 6-8)

Pub Date: Jan. 1, 2001

ISBN: 0-448-42421-5

Page Count: 48

Publisher: Grosset & Dunlap

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Dec. 1, 2000

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