In her first book, Guardian Cook editor Holland salutes classic dishes from a few dozen different countries.
Much more than a cookbook, this hybrid narrative combines recipes, pantry lists, kitchen essentials, literary references, history, geography, and personal reflections on 40 culinary traditions around the globe. Holland hopes to stimulate readers’ sensory curiosity and enliven their taste buds, and her book serves as a starting point for learning about the ingredients, flavors, and highlights of various cuisines, in addition to common recipes from each country or region—e.g., tapenade from Provence, cottage pie from the U.K., kimchi from Korea, tabbouleh from the Levant, and dulce de leche from Argentina. The author focuses on cuisines from a range of regions throughout the world—Europe, the Middle East, Asia, Africa, and the Americas—and she demystifies common food-prep strategies and pantry lists. For example, if you are considering an Ethiopian dinner, you should stock up on chickpeas, peanuts, and red lentils. If you’re thinking of serving guests an Iranian meal, you will need rose water, saffron, yogurt, dried limes, cumin, and kidney beans. Holland introduces each country or region with an essay explaining how culture, history, and politics have combined to make each place and its foods unique. Weaving in her personal “culinary interests and experiences” from her travels and encounters with “talented chefs, food experts and writers, from whom I’ve taken inspiration and practical tips in equal measure,” the author delivers consistently absorbing reading. Throughout, literary references abound. Holland begins each section with a quote from a writer identified in some way with the country, adding another layer of interest to the narrative. For those hungry for more tidbits, Holland includes helpful footnotes and a reading list for additional exploration.
A culinary adventure that delights on many levels and leaves readers hungering for more.
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").
Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)