of course you can

This article was originally written for Guardian Cook and published on Friday 31st October 2014.

It wasn’t exactly a tut, more a click of the tongue. I heard it after I asked my Roman butcher if he would put a sausage through the mincer with the beef as I was making meatballs. I know the sound well. It means no. My Sicilian partner Vincenzo makes it so often it has been demoted from irritating to ordinary. As the mincer growled like a dog with indigestion, I turned to see where the tut had come from, and found a signora in her late sixties wearing a purple cardigan, now looking at me shaking her head. ‘Non si mette la salsiccia nelle polpette cara’ ‘You don’t put sausage in meatballs, dear.’

A few years earlier this would have made me upset, or cross and then frustrated as I searched for the words in Italian to defend myself and my sausage. These days I am used to impertinent opinions about food, I even like them, and was just about to voice my own opinion when another, much older woman, did it for me. ‘Certo, puoi mettere le salsicce nelle polpette cara’.’ ‘Of course you can put sausage in meatballs, dear’ She said this turning to the butcher who was wrapping the meat in red and white paper, and then to the couple behind her, herding people into the discussion at just after nine on a Tuesday morning in front of a butcher’s stall on Testaccio market.

When you ask an Italian about meatballs, or they are simply offering you an opinion, one thing is (almost always) certain; that their mother, their grandmother, their aunt or their great aunt made the best polpette. Beyond that, there will be some idiosyncratic opinion as to how exactly they should be made, or cooked, or eaten. In Vincenzo’s family it was Nonna Sara who made the best polpette in tomato sauce in the village, a fact no doubt helped by the fact she was the wife of a tomato farmer. The whole family knows the recipe well; ground beef, bread soaked in milk, grated pecorino, chopped parsley and an egg, moulded, rested, fried and then poached in lots of tomato sauce,

Nobody though, even uncle Liborio who is a chef, is able to make them like taste quite like the polpette Sara made when they were growing up. Which makes sense! Can we ever truly replicate the tastes of our childhood? Making Nonna’s meatballs is just like me trying to re-create my grandma’s Lancashire tattie hash. I come extremely close, but can never truly recreate it, because I can never re-create the comforting, steamy atmosphere of my grandparents living room on a Tuesday night eating tea while watching Johns Craven’s news round.

Back to the meatballs. Having settled upon your ingredients, which in my case are ground beef, the controversial sausage or ground pork, bread soaked in milk (essential addition I think, a giving a nice bready plumpness) parsley, mint (if I have it), a flick of nutmeg, parmesan or pecorino, salt (steady if you have added a seasoned sausage), pepper and a whole egg. Resting the just moulded meatballs is advisable, because, as my friend Carla puts it, it lets the flavours settle down and balls firm up.

Now, how to cook. Traditionally meatballs are fried before uniting them with the sauce. This creates rich, slightly caramelised juices. However some of the best, most tender meatballs I have eaten have been poached directly in the sauce. After taking and trying out plenty of advice, I now generally bake my meatballs briefly in the oven, which I find a comfortable halfway house between frying and poaching. I am sure the signora in the purple cardigan would have something to say about this. Once baked, I tip them and any juices collected at the bottom of the tin, into a generous quantity of tomato sauce. Once in the sauce, I poach the meatballs for 20 minutes or so.

Finally, how to serve them? The answer is, however you want. I’ve adopted the Roman habit of serving the sauce with pasta, and then meatballs separately as a second course or, in keeping with my cook once eat twice philosophy, a separate meal. In Rome you will notice that many braised meat dishes; ox tail stew, beef rolls, pork ribs and meatballs are all served this way. So on first day we eat some of the plentiful sauce, by now deep rusty red and richly flavored, with spaghetti or penne pasta. I sometimes find – as do several Italians I know – that a single meatball finds its way onto my plate waiting to be mashed into the pasta and sauce. The next day I serve the meatballs themselves – even tastier having had a good nights rest in the remaining sauce – just so, or with bread, rice, cous cous or best of all, buttery mashed potato.

Week 2 – meatballs in tomato sauce to serve two ways

These really are guidelines as how to make, cook and eat meatballs. Feel free to adapt, experiment and take liberties, after all this is your supper.

• 60 g decent bread without crusts, ideally a day old, better still, two
• 60 ml whole milk
• 400 g minced beef
• 200 g minced pork or a fat sausage
• 1 egg
• 30 g grated Parmesan
• a grating of nutmeg
• 2 tablespoons finely chopped flat-leaf parsley and (optional) mint
• salt and freshly ground black pepper

• 1 small onion
• 1 garlic clove
• a pinch of dried chilli
• 6 tablespoons olive oil
• 750 g fresh tomatoes
• 3 x 400-g tins plum tomatoes, chopped
• salt and pepper

Put the bread in a small bowl with the milk and leave it for 10 minutes, or until the bread absorbs the milk and break easily into plump crumbs. Mix together all the ingredients for the meatballs and season with salt and pepper. Using your hands, mould them into roughly 35-g balls. Put the balls on a baking tray and let them rest while you make the sauce.

Peel and finely chop the onion and garlic and roughly chop the fresh tomatoes, Warm the olive oil a large deep frying pan and then gently cook the onion, garlic and chilli for about 15 minutes or until they soft and fragrant, but not coloured. Add the fresh tomatoes and cook for a further 10 minutes. Add the chopped tinned tomatoes, bring to a lively simmer and then reduce to a gentle one for about 45 minutes. Stir occasionally and press the tomatoes with the back of a wooden spoon to break them up.

Meanwhile preheat the oven to 220°C/200°C fan/gas mark 8 and once hot bake the meatballs for 15 minutes, turning them once, until they are just starting to brown.

After 45 minutes, by which point the sauce should be thickish and rich. You can at this point pass the sauce through a food mill or blast it with an immersion blender for a smoother consistency. Or you can simply add the meatballs and poach them in the sauce for a further 15 minutes. Allow the meatballs and sauce to sit for at least 30 minutes before serving.

First meal

Cook 400 g of pasta in plenty of well-salted fast boiling water. Put a little of the sauce in the bottom of a warm serving bowl, add the drained pasta, some more sauce and stir. Divide between four bowls and top with a single meatball (if you wish) and pass a bowl of grated parmesan around.

Second meal

Boil and mash a kilo of potatoes with plenty of butter and a little warm milk, season well with salt and plenty of black pepper. Gently re-heat the meatballs in their remaining sauce and serve with a good dollop of mash. Rice and cous cous also work well.

Link to the Guardian article

on red and white in Sicily

There is a photograph in one of the rooms at Case Vecchie that I keep thinking about. It is of the late Anna Tasca Lanza making estratto di pomodoro, tomato extract, using her hands to spread the bright red sauce onto a door-sized wooden board that will then sit in the August sun until it dries and reduces into a concentrated paste. There are countless other pictures of Anna around the house, some with her family, others of her giving cooking demonstrations or lessons, always elegant and aristocratic, her hair swept into a flawless bun. It is the estratto picture however that lingers in my mind, the one in which she is captured wearing a yellow and orange dress, straw hat and deep easy smile, her hands stained with tomato.

Fabrizia, Anna’s only daughter, used some of last years estratto in the braised rabbit she cooked for supper on our second night at Regaleali. We tasted the dark-red concentrate straight from the jar, deeply flavored with an almost sunburnt sweetness it was truly the essence of tomatoes grown in fertile soil and then dried under the Sicilian sun, you could say the essence of Sicily itself. Then while the Rabbit simmered and with the taste of the estratto still discernible, I crossed the courtyard to look at the picture of Anna again.

Like many before me, I fell in love with Sicily the first time I visited nearly ten years ago. In Rome I fell in love with a Sicilian called Vincenzo who laughed at my romanticism and idealism about the Island much of his family had left 25 years before, but at the same time understood and promised we would return one day. In the meantime we visit, usually because Vincenzo and his band are playing a concert or for a family celebration. Or on this occasion because of serendipity, a conversation struck up at an airport with a young woman called Lena who was working with Fabrizia who in turn invited me to spend four days at her house and cooking school at Regaleali near Vallelunga about 90 minutes from Palermo.

Once you leave the autostrada, the uneven road that leads to Regaleali curves through landscape that grabs your breath – golden fields of wheat, hillsides of gnarled vines, olive trees and pasture dotted with sheep, all fringed with a tangle of wild flowers, herbs and fennel. At times the landscape seems soft and tamed, at others impenetrable and utterly wild; it is clear even to naive eyes like mine this beautiful, fertile land is not easy land. The house and cooking school are in Case Vecchie one of the most handsome stone buildings on the estate that sits on a hill. The blue gates were open when we arrived allowing us the first glimpse of the cobbled courtyard the cracks of which are filled with matted camomile and wild herbs. Over the next few days we would spend hours in the courtyard  choosing our spot according to the position of the sun, our morning coffee finished at the table in the right hand corner, aperitivi at the table in the cove, dinner at a table in another corner. My Luca, the youngest and noisiest member of our group, ran tirelessly across the cobbles shouting then tangling himself in the aprons Giovanna had hung on the corner washing line. Wherever you sat the smell of camomile curled from the ground and the scent of mint lingered in the air.

When we weren’t in the courtyard we were mostly in the kitchen, either around the stove watching or helping Fabrizia cook or sitting at the square table that dominated the end of the room. When not in the courtyard or kitchen, I was in the garden started by Anna and now continued with all-consuming passion by Fabrizia. It is an enchanting place, a scented maze of flowers, particularly roses, clouds of white blossom, great deep clumps of lavender, mint and sage, fruit trees and an extensive vegetable patch. The garden, like the surrounding land, is both soft and hard, tender flowers growing in formidable soil which Fabrizia uses to her advantage cultivating particular plants and most notably a variety of tomatoes that are never watered forcing their roots to work hard at getting water from the deep. Enormous cactus-like fico d’india with their prickles and orange-red fruit juxtapose roses grown from English seeds the packets of which are pinned to a notice board in the shed. Butterflies flutter from plant to herb. One morning Luca and I went onto the garden at 6 30 and lay in the hammock listening to the cockerel and eating strawberries while reading the same story book about a lazy ant 12 times.

I live with a Sicilian and have spent enough time in Sicily to understand a little about its food, this however was scant preparation for the ingredients we were to touch, smell and eat, most of them grown on the estate, others sourced from all over the island. It began in the morning with the 8 or so jams made with fruit from the garden, lemon, Tarocco orange, grapefruit – each one more delicious and opinionated than the last. There was also fig and lip staining mulberry jam that we stirred into fresh yogurt. Around the kitchen were bowls of just picked lemons, cherries and apricots, bottles of olive oil, jars of estratto, the fattest anchovies I have ever seen, onions, garlic, capers and caper berries, bunches of mint and oregano, each thing seemingly more intensely flavored than the next, ingredients that tasted so brashly and boldly as they should it was unnerving. One afternoon Fabrizia, Lauren, Lou, David and Gabriella stood chopping onion, garlic and mint and grating orange zest while I,  too stupidly shy to join such confident hands, just let the scent rush at me in the same way Luca does, pure and uninhibited. On another occasion the same group were rolling pastry, slicing peaches and crumbling purple tinged pistachio nuts for tarts, words and movements moving across the work surface.

As intense as the flavors were the colours: burnt red, fleshy pink, sunflower yellow, inky purple, every conceivable shade of green and the purest white in the form of ricotta di pecora. Ricotta which meant I finally understood what Vincenzo is imagining when he talks about the ricotta or cavagna they would collect from the local shepherd when he was a boy in southern Sicily, curds so soft and gentle they could almost be drunk.

Filippo Privitera milks his 400 sheep by hand twice a day in order to make pecorino cheese. The by-product of his cheese making is cloudy white whey which is then re-heated with rennet until it curdles and coagulates into ricotta. We stood in a white tiled room for about an hour, the steam rising from the pot heated by burning olive stones, Filippo stirring with such ordinary calm it was hypnotic. It was of course part show for us, but a genuine one that takes place every single day. Filippo’s five-year old son insisted on staying and as the soft, ethereal ricotta wobbled on the plate he opened his mouth like a cheeky little bird and his mother spooned some in. In that moment I saw Vincenzo aged 5 on his grandparents farm, then as I tasted the milky curds, ambrosial yet ordinary goodness I understood what he imagined when he spoke about the ricotta of his childhood.

We brought ricotta back for lunch along with beans with anchovies and breadcrumbs, pecorino cheese, salami, and warm potato salad with mint. That night we sat in the courtyard and ate another sicilian specialty panelle, fritters make from chickpea flour thickened into a paste, smeared onto a plate to set into a pliable disc, sliced into wedges and deep-fried. After there was rabbit braised with wine, estratto and finished with grape must syrup, beside it hand rolled cuscus scented with mint. We finished with caramel and pine nut ice-cream made by David, a ricotta and lemon cake by Pille and sweet wine.

Something was up though. Amongst all the cooking and the talking there was a rumble. A rumble of activity and a calm rush as members of the family and locals who work on the estate crisscrossed the courtyard with sacks, piles, poles and great rolls of thick fabric. occasionally we would catch a sound from the fields behind the house dig, thud, grind?  Soon the kitchen joined in too and huge pans of rice, lentils and chickpeas steamed the windows, chicken was roasted and rolled, ricotta whipped, all preparations for the lunch.

On saturday at 1 after panelle and wine in the courtyard we walked through the farm to a single table with a white cloth laid for 160 that cut through a field of vines and vegetables. At about 1:30 we ate a lunch to celebrate 25 years of the cooking school, the work sourcing ingredients Anna began and Fabrizia continues and the collaboration between the different parts of the Tasca family. The heat broke at one point and it rained for a few minutes, puttering on the fabric canopy above our heads. At the same time the light faded sharpening colours, textures and the edges of the hills surrounding us making them darkly beautiful until the sun reappeared as bright as ever. On such big occasions you focus on the detail: the handmade plate we could take home, the fact the table was flanked by a row of fantastic cabbages, the hum and clink made by 160 people, the hair of the man across the table, Fabrizia’s green dress, the fact the wine tasted like wild asparagus, the sweetest tomatoes, chestnut like lentils, plump rice and almond pudding, the fact Luca managed to eat three cannoli.

Back in Rome I have been telling Vincenzo about the red and the white, about the swordfish baked with mint and garlic, pasta with sage, the baked pasta with aubergine, the majestic cassata Fabrizia made that I know he would have liked so much. In turn he talked about his grandfather’s farm in southern Sicily, a very different world, harder and poorer but a world that shares the same riches: fertile earth, sun, flavors, essence, traditions, rot, cracks, sweat and the bleeding red estratto and pure white ricotta I had tasted over the four days. I told him we were going to live in Sicily, ‘Which Sicily’ he asked, then laughed and agreed.

And so back to the picture of Anna making the estratto, the picture of a woman from an aristocratic family who was only expected to be beautiful, marry well, have children and certainly not work. A picture of a woman who in her fifties surprised her family by creating a cooking school that celebrated traditional Sicilian cooking, traveled the world, planted a garden, wrote books about wild flowers and herbs and joyfully smeared estratto on a wooden table.

Now to a picture of Fabrizia in her garden checking her plants or better still in her garden shed amongst the seedings, the daughter who single-mindedly built a life far from Sicily as an art historian, but then realized she needed to return home 25 years later to work alongside her mother and eventually take over the school. An extraordinary woman who is embodying the values of her mother while bringing her own to a unique cooking school: her resourceful determination to protect and share Sicily’s reservoir of taste and traditions, a belief in deep edible education and to reinvest in the land and people, an ability to make cooking feel both poetic and practical and the above all the desire to bring people together at the table to eat, drink and talk.

Which brings us to the recipe, my interpretation of the one of the puddings we ate on Saturday sitting at a long table cutting through a field; an apricot and pistachio nut tart made with apricots in light syrup from Leonforte and pistachio nuts from Bronte. The simplest sort of tart, sweet short crust, brushed generously with jam or marmalade, topped with apricots in syrup and chopped nuts. You could also use peaches and make small tarts in individual tins as Fabrizia did.

Apricot or peach and pistachio tart 

• 120 g plain flour
• 60 g butter
• 30 g fine sugar
• a small egg
• some peach or apricot jam or orange marmalade
• 120 g tinned or jarred apricots or peaches in light syrup
• a handful of pistachio nuts

Butter and flour a small tart tin. Set the oven to 180°

Make the pastry by rubbing together the flour and diced butter until they resemble fine bead crumbs. Add the sugar and the egg and then use your hands to bring the ingredients together into a consistent ball. Wrap the dough in cling film and put it in the fridge to chill for half an hour or so.

On a floured surface roll the dough into a circle a little larger than your tin. Lift the dough into the tin, press gently into the corners and then prick the base with a fork. Spread a little jam on the pastry, cut the apricots into quarters and arrange them on the jam, sprinkle with chopped pistachio and  put the tart on a baking tray and into the oven for about 25 minutes. Let the tart cool and the jam set firm again before serving.

Thank you Fabrizia, Gianni, Costanza and the Tasca Family, Giovanna, Pompeo, Salvatores, Guiseppe, Lauren, Lou, Peggy and the women in the kitchen and men and women who work on the land. Thanks too to David, Pille, Johanna, Elizabeth and Domenico, Marrick and my mum who came to look after Luca so I could concentrate and he too could eat cannoli. The project archiving Sicilian food traditions is called The sacred flavors of sicily. The cooking school is called Anna Tasca Lanza and this is a magnolia.

a wink and a whorl

I follow Jane Grigson’s advice I when I buy a cauliflower. ‘If the cauliflower looks back at you with a vigorous air, buy it; if it looks in need of a good nights sleep, leave it where it is.‘ Apart from the fact we could debate what vigorous looks like, it’s a good rule of thumb when choosing most fruit and vegetables. Except avocados that is, which taste better when they appear to have been on the razzle two nights in a row. It’s a rule of thumb that can also be applied to people, which in my case – sadly no razzle, just a wakeful toddler – means leaving me exactly where I am.

Rather confusingly Italians sometimes call winter cauliflower, broccolo. Not my fruttivendolo Gianluca though, he calls them cavolo, which usually means cabbage but is also an abbreviation of cavolfiore which literally means cabbage flower. To which we could reply ‘Che cavolo’ which beyond meaning ‘What cabbage’, is a response anything flummoxing or vexing, including cauliflower etymology. Rather than looking like flowers, I’ve always thought good cauliflowers with unblemished creamy-white whorls look like cumulus clouds, the ones that cluster in an otherwise blue sky.

If a cauliflower looks vigorous and its florets are tight and thick as thieves, then you need to be vigorous in your approach and armed with a sharp knife to cut away the outer leaves and thickest core before splitting the head into manageable florets. A good cauliflower should withstand a rolling boil. I am a big fan of boiled and braised vegetables and – with the exception of potatoes and parsnips – will take them over roasted almost every time, cauliflower, calm and creamy is no exception.

Today’s recipe started life as another recipe, or part of one at least, the dressing for one of my favourite salads, puntarelle, the mere mention of which has me shooting off on a sentimental tangent that involves my friend Alice, a trattoria in an irritatingly pretty piazza, a paper tablecloth, Pyrex glasses, a litre of wine that was two steps away from battery acid, a grumpy waitress, braised rabbit and a bowl of pale-green curls of gently bitter salad with anchovy dressing.

I’d heard about an idiosyncratic salad practically unknown outside Rome (this is nine years ago,) a salad of catalonian chicory with dandelion-like leaves called punatelle that once trimmed, cut and immersed in cold water curled in much the same way as Shirley Temple’s hair. Pale green curls that are then dressed with a pungent and loudly delicious dressing of anchovies, garlic, olive oil and vinegar. Neither the wine or waitress could spoil our delight in the puntarelle salad we had – in the proprietorial manner of new arrivals in Rome – so happily discovered.

Nine years later, less proprietorial, happily faded and pretty comfortable about still being in Rome, I prepare puntarelle a lot during it’s winter season. I say prepare, curl, pulse and assemble is a better description. Some people say the dressing should be made with a pestle and mortar, but I make mine with my immersion blender, and not just for speed, but because I like the more consistent, thicker dressing a few pulses creates. I also prefer lemon juice to vinegar, it gives the dressing a citrus-sharp but less aggressive edge.

Having made too much dressing last week, and with a dish of cauliflower, eggs and aioli dressing I ate at 40 Maltby street a few weeks back still a pertinent food memory, I made an improvised lunch of boiled cauliflower, black olives, hard-boiled eggs and punterelle dressing.

This the third platter of this assembly, which is on the one hand innocent: pale, creamy cauliflower and just boiled eggs, and on the other full of experience: dark olives, garlic, richly fishy anchovy, peppery olive oil and citrus. It is important the water you are going to cook the cauliflower in is well salted, as this is what is needed to bring out the otherwise shy flavors in the cauliflower. I used taggiasca olives that are district, chewy and taste somewhere between dried plums and the leather wristband I used to chew throughout double chemistry with Mrs Toomer (not unpleasant, the wristband that is). Try and find good quality olive oil packed anchovies, cheap anchovies, like cheap olive oil and cheap mascara are best avoided.

Innocence and experience, and a brilliant combination of favours that compliment, tussle and then compliment again before giving you the culinary equivalent of a wink. I think it is delicious. Eat while the cauliflower and eggs are still warm.

Cauliflower with hard-boiled egg, black olives and anchovy-lemon dressing

• a head of cauliflower
• 2 cloves of garlic
• 6 anchovy fillets packed in olive oil
• 8 tablespoons extra virgin olive oil
• 2 teaspoons of freshly squeezed lemon juice
• a handful of black olives (ideally taggiasca olives in extra virgin olive oil)
• 4 eggs
• black pepper

Pull away the tough outer leaves, cut away the hard central stem and then break the cauliflower into florets. Drop the florets into a large pan of well-salted boiling water and cook until tender to the point of a knife. Drain and set aside.

Make the dressing either in a pestle and mortar (in which case first pound the garlic, then add the anchovy fillets and grind into a rough paste before stirring in the olive oil and lemon) or with an immersion blender or small food processor (in which case add all the ingredients, pulse rather than blast into a consistent but slightly textured dressing.)

Meanwhile hard-boil the eggs. Once the eggs are done plunge them into cold water until they are cool enough to handle, tap the shells , peel them and then slice each egg in two.

Arrange the florets in a shallow dish (cutting any large ones in two), scatter over the olives, arrange the hard-boiled egg halves, grind over some black pepper before spooning over the dressing. Serve while the cauliflower and eggs are still warm.

everyday impasto

There are few things I like more than freshly made, thinly cut egg pasta, cooked until al dente and then dressed with anchovies and butter.

The combination of the fresh pasta: light, silky and almost buoyant in your mouth, coated with a rich, salty, nut-brown sauce of melted butter and dissolved anchovies is an extremely delicious one. It’s a dish that manages to be gusty and  – like me after a few drinks – a little bit loud, but at the same time remain soft and rounded and to taste both luxurious and everyday.

Tagliolini with butter and anchovies

serves 2

• 200 g farina di semola (semolina flour) or plain pasta flour
• 2 medium eggs
• 6 – 8 best anchovy filets under oil
• 75 – 100 g butter

Make a mound of flour on the work surface and scoop a deep hollow in the center. Break the eggs into the hollow and then using your fingers beak the yolks and start working the egg into the flour. Bring the dough together until you have a smoothly integrated mixture.

Knead the dough, pushing it forward with the heel of your palm. Fold the dough in half, give it a half turn and press it hard against the heel of your palm again. Knead for a full eight minutes by which time the dough should be smooth and soft as putty.

Cut the ball of pasta into 6 pieces (the general rule is the number of pieces should be 3 times the number of eggs. So 2 eggs = 6 pieces). Sprinkle the work surface with flour. Set the pasta machine to the widest setting. Flatten one of the pieces of dough by pummeling it with your hands and then run it through the machine. Fold the pasta as you would an envelope by bringing the two ends over each other, so the piece is a third of its length, and run it through the machine again. Repeat with the other 5 pieces. Close the gap in the rollers down by one notch and run the pasta pieces through one by one. Continue thinning the pieces progressively closing down the notches one by one until the pasta is as thin as you want it.

Attach the cutter to the pasta machine and the run the sheets of pasta through the cutter and lay the Tagliolini on a well floured board until you are ready to cook them.

Bring a large pan of well salted water to a fast boil and add the pasta – it will take just a few minutes so keep tasting.

In a large saute pan, over a low flame melt the butter and the anchovies (drained from their oil), prodding the anchovies gently with the back of a wooden spoon so they dissolve into the butter. The butter should foam very slightly but no more.

Once the pasta is al dente (tender but with bite) drain it and add it to the sauté pan, stir so each strand is coated with anchovy butter and serve immediately.

losing my marbles

Years ago I signed up for a book club. Not a book club as we know them nowadays, meaning a group of people who have ostensibly read the same book meeting to discuss it while drinking the same number of bottles as participants (or maybe that is just us), but a book sales club. This book sales club ran adverts in the Guardian newspaper and I, aged eighteen and in possession of my first cheque book and ignoring the suspicious mutterings of others, was seduced by the introductory offer of a free dictionary, thesaurus, encyclopedia of opera and two ‘beautifully bound‘ editions: Keat’s poetry and Jane Austen’s Emma. I signed up and sent off my subscription fee in the form of a cheque for a tiny sum.

My free books arrived and they were, as promised, beautifully bound. I spent an afternoon drunk on the smell of virgin books, plastic bubble wrap and youthful hubris. I also had a sip of the catalogue listing other beautifully bound books I might like to order. Which I set aside of course, I wasn’t about to be seduced by any of that! I’d paid my fee, I’d received my free books, and that, as far as I was concerned, was that. There was a printed sheet at the bottom of the box, but I didn’t read it, after all, who needs small print when you have Ode to a Nightingale, Emma Woodhouse and a small reference library?

A month later another box of books arrived and a letter congratulating me on my decision to keep the limited edition books along with a bill for said books and three new even more bloody beautifully bound volumes they thought I might be interested in. I panic opened the whole lot, popped an entire sheet of bubble wrap in record time, read the small print, panicked some more and then took drastic action and hid the box under the bed. I did the same with the box and bill a month later.

I can’t actually remember how everything was resolved, teary admissions, regression, trips to the post office, my dad and his cheque book. Why I bring this up today is because as I dug marbled beans from their equally marbled pods a few days ago and while Luca played with an electrical socket, I remembered the infamous book club and books, one of which is on my shelf here in Rome. Books whose outsides are cloth bound and inside covers are a double spread of marbled paper;  exquisite aqueous designs in ivory and crimson that mottle, swirl and swell and are reminiscent of borlotti beans. Books like beans, or beans like books, or simply a mottled and tenuous link.

I’ve cooked borlotti beans twice this week. The first batch was fresh and used to make pasta e fagioli. The second batch was dried Borlotto di Lamon from Veneto, more subdued in colour: beige and burgundy but almost as lovely as their fresh cousins. The name borlotti by the way, come from the verb borlare or tumble and evokes the way the oldest plants grow.

Unlike fresh borlotti, dried beans need soaking for at least eight hours and ideally overnight before being brought to the boil in fresh water and then simmered until tender and, having lost their mottled charm, turned soft chestnut-brown. They are then ready to be simmered in tomato sauce: fagioli al pomodoro.

I’ve already sung the praises of my mouli/food mill/passa verdure, my favorite kitchen tool, more than once. I will again. Nothing, except maybe a fine sieve and some deft work with the back of a spoon, gives quite the same, smooth but distinct and grainy quality to plum tomatoes/soup/ poached fruit/ root vegetables as a food mill. For this recipe, the sophisticatedly named: beans in sauce, you need 500 g of milled plum tomatoes. Having milled, crushed or blended the tomatoes you then add them to a pan in which you have sautéed a small onion, a rib of celery and a some chopped flat leafed parsley in plenty of olive oil.

Once you have united the beans with the sauce, you stir and let the pan bubble gently for another 10 minutes or so. You may need to add a little more water as the final dish should be fluid (but not thin and runny) and roll easily from the spoon. Be generous with the seasoning. The beans are good straight away, but even better after a few hours, better still the next day when the flavours have settled and the beans have absorbed even more of sauce.

Borlotti beans, cooked until tender, so creamy and nutty and tasting somewhere between a chestnut and a kidney bean, simmered in well-seasoned smooth tomato sauce are good, tasty and satisfying to both make and eat. This is food that pleases (rather than impresses), food that calms even the most hyperactive two-year old and a mother who keeps losing her marbles.

Fagioli al pomodoro – beans with tomato

Adapted from The Food of Rome and Lazio by Oretta Zanini de Vita and translated by Maureen Fant. The original recipe is for fresh beans and also includes 50 g of prosciutto fat (or guanciale) which I am sure makes it even more delicious – not that it wasn’t delicious without. It really is worth seeking out best quality plum tomatoes and beans. Three sage leaves added to the beans while they cook gives a lovely musky flavour to the beans.

serves 4

• 1 kg of fresh borlotti in their pods or 300 g dried borlotti beans soaked overnight
• 3 tbsp olive oil or lard
• a small onion
• a small rib of celery
• a few fat stalks of flat leaved parsley
• 500 g best quality plum tomatoes, milled or crushed
• salt and pepper

If you are using dried beans soak them in plenty of cold water for at least eight hours or overnight. Drain the soaked beans, put them back in a heavy- based pan, cover by at least two inches with fresh water, bring to a boil and then reduce to a simmer. Cook the beans for one hour, and then begin checking for doneness. Depending on their age, size, and variety, beans can take anywhere from an hour to three to cook. Have patience. Keep the beans at a simmer and taste as they start to become tender. Add more water as needed to keep the beans submerged, and stir occasionally. Add a pinch of salt after an hour of cooking. Once the beans are cooked, pull them from the heat and leave them to cook in their cooking water.

If you are using fresh beans, shell them and then boil them in salted water for about 25 minutes or until tender.

Peel and finely chop the onion. Finely chop the celery and parsley – both stalk and leaf. Warm the olive oil in a deep saute pan and add the onion, celery and parsley then saute over a gentle flame unit soft and translucent.

Mill, crush or blend the tomatoes until they are smooth and add to the onion, celery and parsley. Stir and season with salt and pepper and leave the pan simmering for 15 minutes. Add the drained beans (keep the broth), stir and leave cooking for another 10 minutes, adding a little of the bean broth if nesseary. Check seasoning. Allow the beans to sit for 10 minutes (or for hours) or so before serving.

These beans are even better the next day, maybe even better the day after that. If your kitchen is cool you can leave them overnight in the coolest corner and then reheat them gently the next day before serving., If you keep them longer than a day, store them in the fridge but remember to pull them out an hour or so before you want to gently re-heat and then eat.

We had our beans with fried eggs and pizza bianca. I am sure they would also go well with sausages or pork chop.

sage advice

There is something forgotten and faded about sage, its musty nature reminiscent of somewhere that’s been shut up for too long, its dusty-green hue like something dulled by too much sunlight. Musty and dusty, lemon and camphour tinged, soft as moleskin yet rugged as my removal man, sage is one of my favourite herbs.

It had only been shuttered up for three months, but our new flat had a sage-like feel to it before I flung open the wooden shutters and windows on Saturday. I wonder if that was the reason I bought the plant? An unconscious herbal response to our new home! It’s the first of many pots that will eventually line our long, narrow balcony, providing me with kitchen herbs and Luca plenty of leaf-tugging and pot-pulling temptation.

Ignorning all advice, sage and otherwise, opting instead for the furious adrenaline fueled frenzy that spontaneously erupts when you leave everything to the last-minute, meant the move was unpleasant. I’m not sure I have ever felt quite so frazzled and frothing. Luca on the other hand thought all the boxes, heaving, open windows, bottles of toxic cleaner and flapping lift doors were hilarious.

Four days later and although far from organized and still besieged by homeless items, we are relieved and happy to be in our new flat. It feels pleasant and absolutely right. You might remember that Testaccio is shaped like a quarter or – rather more memorably – a large wedge of parmesan cheese. Our old flat was on one cut side. We are now on the other, the arc of the wedge being the river. Our balcony hangs over busy, plain-tree lined Via Galvani. Bearably busy though and punctuated  – much to Luca’s delight – by the intermittent clip-clop clatter of the horses pulling carriages back to their home in the Ex-Mattaotio.

I’ve had it in mind to batter and deep-fry sage leaves for months now, ever since eating rather more than my fair share at an aperitivo. The moorishly delicious leaves and my social ineptitude are to blame in equal measure for my disproportionate consumption. In possession of a sage plant, an ancient cooker positioned next to a blowy balcony door and flat to be warmed – I fried.

I’m sure we all have strong, possibly uncompromising views on batter. Where flowers and herbs are concerned I like mine light and delicate. Having whisked together 200 ml of warm water, 100 g of plain flour, 2 tbsp of olive oil and a hefty pinch of salt, I leave my pale batter to rest in the fridge for a couple of hours. Once it’s the spoon-clinging consistency of thick cream, I fold in a couple of eggs whites beaten so vigorously they stand to attention in peaks.

I drag the leaves through the batter, this side and that, before lowering them into very hot oil. It takes just seconds, a nudge and a flip, for the soft battered leaves to puff and seize into crisp golden cocoons. A slotted spoon is needed to lift the leaves from the oil onto first: a plate lined with brown paper or kitchen towel and then: another a clean plate over which I launch a shower of fine salt. The crisp, golden batter shatters and gives way to a warm, musky leaf. A few battered leaves, a cold beer (in a Nutella glass no less) on a sun-drenched balcony and all was well and good.

Talking of strong, uncompromising views, I have encountered many on the subject of the delightfully named saltimbocca – which literally translated means jump-in the-mouth – a most glorious combination of veal, prosciutto, sage, butter and wine. ‘Slice upon slice with the sage leaf pinned like a brooch‘ some say. ‘The veal dipped in flour‘ others cry. ‘Sage leaf under prosciutto’. ‘Sage leaf over prosciutto.‘ ‘A sprinkling of parmesan.’ Wine!’ ‘No no Marsala!’ ‘3 minutes.’ ‘7 minutes.’ 

Being, as I am, a saltimbocca novice, I was more than happy to let a friend who is staying take the lead. Alida learned from her father Adriano who in turn learned from his mother who in turn……. The veal must be best quality and thinly sliced. If it isn’t thin enough, a couple of rolls with a wooden pin should do the trick. There is no dusting in flour, no scattering of parmesan, simply a slice of veal, another of prosciutto, a single sage leaf, a flick of black pepper, a roll, a tuck and a strategic skewering with a toothpick

As Alida cooked the saltimbocca: first warming butter and oil until smoking, then leaving the pale-pink rolls untouched in the hot fat until they formed a deep golden crust, she explained the reason for rolls as opposed to a flat, open saltimbocca. Rolled she noted, the veal retains an exquisite pink tenderness at its heart. There is also a sliver of sage, a musky note, in every bite. ‘Of course you could try the open saltimbocca or a sprinkling of flour or parmesan‘ she said as she lifted the edge of a roll with a fork. Her eyes however, lifted in much the same way as the corner of the veal roll suggested – in inimitable Italian style – otherwise.

Once the saltimbocca are cooked – which takes just a matter of minutes – you move them into a warm plate while you deglaze the pan. Alida did this by pouring some white wine into the pan and then using a wooden spoon to scrape and dislodge all the dark, sticky juices and golden crust from the bottom. Back over a lively the flame she added a generous nub of butter and allowed it to melt and thicken the dark and richly flavoured sauce before pouring it over the saltmibocca.

For those of you with sage doubts, this is a dish that could well convince you otherwise. The domineering and bitter side of sage’s character is smothered, like gossip by silence, into something softer and more forgiving.

I rhapsodized over my meal – I had drunk rather a lot of wine – and finally understood others fervent devotion to this (near perfect) combination and timeless dish. Not so much a jump, more a languorous roll in the mouth. The combination of veal – golden and caramelized outside and tender within – fatty and salty prosciutto, darkly musty sage and a butter and wine sauce is a heady and purely pleasurable one. Unlike moving.

Saltimbocca   Veal rolls with prosciutto and sage

Recipe from my friend Alida and her father Adriano Borgna

I haven’t given precise quantities for oil, butter and wine because it feels counter intuitive for dish like this. Taste, practice and a heavy hand with the butter and wine.

for 2 as a main course or 4 as small second dish.

• 8 thin slices of veal
• 8 slices of untrimmed prosciutto
• 8 sage leaves
• black pepper
• salt
• olive oil
• butter
• white wine

Over each slice of veal lay a slice of prosciutto and a sage leaf. Grind over a little black pepper and sprinkle over a little salt. Roll the veal into a neat log and then secure with a toothpick.

Warm a generous nub of butter and some olive oil in a good, heavy based pan. Once the fat is very hot and smoking add the rolls. Allow the rolls to sit untouched so a golden crust forms then turn them 90° and again allow a crust to form. Once the rolls are cooked and coloured evenly (this should take about 3 minutes) move them onto a warm plate.

Add some white wine to the pan and using and wooden spoon scrape and dislodge all the dark, sticky juices and crust from the base of the pan. Then back on the flame, add a generous nub of butter and allow it to melt and thicken the dark sauce which you then pour over your saltimbocca.

By eye not rule

Since my late teens I’ve kept a kitchen notebook. It would be nice to tell you that these notebooks: a well-worn but pleasing collection of soft volumes sit cheek by jowl on my bookcase, that it’s a collection I treasure and refer to daily. They aren’t, they don’t and therefore I can’t. For apart from the five most recent notebooks and a green diary from 1997, my motley crew of dog-eared loose-leaf pads and leather effect WH Smith jotters have either been lost in migration or languish – damp and curling at the edges – in my parents garage. There are also six years worth of Italian notebooks getting dusty in a box at Vincenzo’s. So much unfinished business! But now’s not the time to talk about that.

I’ve mixed feelings about the 16 years worth of notebooks curling in England! Which is why, despite weary pleas from my parents and countless opportunities, they remain exactly where they are. For amongst the recipes written, sellotaped and glued to the pages, descriptions of meals eaten, brief notes about stove successes and long laments about kitchen failures, the to make lists and meticulous plans for suppers that may or may not have happened, is a painful (and tedious) account of my then life in food.

Exuberantly documented periods of feast are all too often followed by tiresome accounts of restraint and abstinence. A pleasant seasonal list or carefully copied quote is probably followed by a raging diatribe about loathing food or myself for eating it. A fanfare to fruit cake is stifled by an ode to fasting. Twelve (very slim) notebooks dated from 2002 to 2004 chart – in painfully neat handwriting –  a joyless weighed and measured routine I’d rather forget. Notes about expansive meals are almost always followed by so much self-flagellation and malcontent it’s exhausting. Fad’s, fantastical allergies and fernickerty disordered eating is well documented.  Lost, forgotten, abandoned and curled. Quite right too.

Well almost. There were gems amongst the goulash of angst and self-flagellation. Real gems. Some of which I pulled, ripped and unstuck a couple of summers ago while sorting through the damp boxes. A series of recipes snipped from the Guardian in the late 90’s, handwritten recipes by Granny Alice and Grandma Phyllis, illustrated recipes for three almonds cakes from my Spanish neighbour, a pile of 1940’s pamphlets about herbs, three A4 pages of recipes from my time in India and the green notebook from 1997, they are all sitting here on my red table.

And so the green notebook. The one I kept whilst living in Camden Town and going to drama school. An angst free notebook – I was, I note on more than one occasion, extremely happy – almost entirely given over to notes, thoughts and several comical accounts of making pasta. I wish I could remember what precipitated this rash of research, kneading and rolling? A dinner? A book? A friend?  It wasn’t a trip to Italy or a man. I wish I could remember from where I copied the most bizarre pasta making advice. I suppose it doesn’t matter. Whatever or wherever, in the spring of 1997, when living in the small but well proportioned North London flat, the sound of evening trains through Camden cutting, I became temporarily obsessed with making pasta. I remember nothing about eating this pasta. I clearly did though! On many occasions, all of which are duly noted: Needs work! Dry dry dry! Rather hard and slightly indigestable! Try another flour!

Sixteen years later, in a small but well proportioned flat in South Rome, the green notebook – although providing entertainment – has been absolutely no help whatsoever in my latest attempt to learn to make pasta. Well except for one note that is. A note I’ve been given more times than I care to remember during my cooking life, and not only regarding pasta – by eye not rule.

By eye not rule. Of course there are rules, like using best semolina flour, working on a clean dry surface and adding a whole egg to the flour before adding the cold water when making cavatelli pasta. ‘It’s an unconventional egg‘ my teacher Daria noted while working the yellow yolk expertly into the equally yellow flour ‘As cavatelli pasta is traditionally made just semolina flour and water.’ An egg however – a trick taught to her by her mother – wether working with 200 g or a kilo of flour helps with manageability and elasticity.

Once you have worked the egg into the flour you can start adding the water, little by little, by eye not rule. Time of year, temperature of your kitchen, the flour, the size of your egg, your mood, your husband’s mood, these variables will all affect the quantity of water you use. Which bring us neatly to Daria’s second piece of advice.: practica (practice.) You can only learn and truly understand how much water is required to bring the ingredients together into a soft, putty-like-dough by practicing.

Our lesson took place a few weeks ago. Cavatelli is a traditional curled pasta shape from Daria’s home town in Puglia,where it’s also known as capunti. Having made a dough from grano duro (semolina flour), the unconventional egg and enough water, Daria taught me to knead. Did I mention how much I like being taught these days, I’m not sure where proud I-don’t-need-lessons Rachel has disappeared to. The heel of your palm does most of the work: pushing the dough forward, folding it in half, turning and pressing again. You should knead for about 8 minutes – again eye not rule – until the dough is smooth and soft as putty.

Cutting and shaping the cavatelli is, despite appearances, pretty straightforward. You need to cut the dough into thick matchsticks. Daria did this by moulding the dough into a rough round, then cutting this round into first strips and then matchsticks. To shape the individual cavatelli  you place your well-floured index, middle and ring finger against the far edge of the matchstick and then roll/flick your fingers towards you so the dough curls into a long arc with three in-dents. At every stage of the shaping, cutting and forming Daria launched a blizzard of semolina flour over proceedings to stop the dough sticking.

While I finished shaping the cavatelli, a deeply satisfying task once you master the press and flick required, Daria cooked some cauliflower until unfashionably soft. Having lifted the tender florets from their cooking water (which she left for the pasta) she then sautéed the cauliflower in an even more unfashionable quantity of olive oil before mashing it gently with the back of the wooden spoon until it surrendered into a soft, creamy sauce. A pinch of salt and a handful of chopped dusty-brown olives – surly and salty ones from Gaeta – finished the sauce off nicely.

I’d just like to pause and note how delicious well-cooked cauliflower ripassata in extra virgin olive oil, well salted and studded with olives is. This has been our lunch – give or take a piece of bread and lump of cheese – once a week since my lesson. Noted? Good! But back to the cavatelli. Under supervision I cooked the pasta in the cloudy cauliflower water. It took just minutes, the indented curls bobbing excitedly to the surface. Once cooked, the cavatelli was slotted-spooned into the cauliflower pan – a little of the pasta cooking water still clinging to the curls – stirred and served.

Now as you may or may not have noticed, I am very fond of vegetables – broccoli, crema di rapa, zucchini, broccoletti - that are cooked until extremely soft, turned in olive oil and then stirred into pasta. Such dishes have become a cornerstone of my diet and the saviour of my purse strings. This dish Cavatelli con cavolfiore e olive is my new favorite. The soft, somewhat shy sauce given courage by the feisty olives, collects in the curls and coats the tender pasta.

‘This is a good pasta for a complete beginner’ Daria noted. I felt myself bristle, the pride surge through my veins. ‘Well I’m not exactly a beginner.’ I was about to splutter.’ I’ve lived in Italy for 8 years now and I’ve been making pasta since 1997.’  Then I remembered. ‘Yes it is.’ I agreed while noting notes in my scruffy but almost angst free notebook. ‘It’s a perfect pasta for a beginner.’

Serve by eye not rule.

Cavatelli con cavolfiore e olive  Cavatelli pasta with cauliflower and olives

Enough for 4

• 400 g farina di garno duro (semola)
• 1 medium egg
• a pinch of salt
• filtered water – enough
• 1 medium-sized cauliflower
• Extra virgin olive oil – plenty
• 2 cloves garlic, peeled and gently squashed with the back of a knife
• a handful of coarsely chopped black olives
• salt – enough
• black pepper – enough

Pour the flour into a mound on the work surface and scoop a deep hollow in the center. Sprinkle over a pinch of salt. Break  the egg into the hollow and then using your fingers beak the yolk and start working the egg into the flour. Now add a little water and continue working the liquid into the dough. Keep adding water until you have a smoothly integrated mixture.

Knead the dough, pushing it forward with the heel of your palm. Fold the dough in half, give it a half turn and press it hard against the heel of your palm again. Knead for a full eight minutes by which time the dough should be smooth and soft as putty.

Divide the dough into quarters. Roll, mould and pat one-quarter into a circle about 5 ml thick. Cut the square into strips about 3 cm wide. Cut the strip into match sticks about 3 mm wide. The end epic of the circle which are too small can be set aside and worked back into the rest of the dough.

Work on  a well floored board. Position your well-floured index, middle and ring finger against the far edge of the dough matchstick and then roll/flick your fingers towards you so he dough curls onto a long arc with three in-dents. Move the cavatelli curl onto a tray or sheet dusted with semolina flour.

Break the cauliflower into large florets. Bring a large pan of well salted water to a fast boil and the cook the florets for about 1o minutes or until they are soft and very tender.

Use a slotted spoon to lift the cauliflower out of the pan and into a colander to drain. In a saute pan warm the oil and then gently fry the garlic until it is golden and fragrant. Do not let it burn. Remove the garlic and then add the cauliflower and olives. Stir well so both are coated with oil and gently mash the cauliflower with the back of the wooden spoon until you have a soft, creamy mixture. Add more oil if necessary. Turn of the heat

Cook the pasta in the cauliflower water until al dente which will only take a few minutes. Drain the pasta – reserving some cooking water – and add it to the pan. Stir. Add a little cooking water to loosen and emulsify the dish if necessary. Serve immediately.