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Matt Goulding Biography

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“Later in the meal, the full extent of Massimo's whimsy-driven modernist vision will be on display- in a handheld head of baby lettuce whose tender leaves hide the concentrated tastes of a Caesar salad, a glazed rectangle of eel made to look as if it were swimming up the Po River, a handful of classics with ridiculous names such as "Oops! I dropped the lemon tart"- but it's the ragù that moves me the most. The noodles have a brilliant, enduring chew, and the sauce, rich with gelatin from the tougher cuts of meat, clings to them as if its life were at stake.”

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“By first light, immigrants haul crates of melons and buckets of ice over the narrow cobblestone streets. Old men sell salted capers and branches of wild oregano while the young ones build their fish stands, one silvery torqued body at a time, like an edible art installation. It's a startling scene: gruff young palermitani, foul-mouthed and wreathed in cigarette smoke, lovingly laying out each fish at just the right angle, burrowing its belly into the ice as if to mimic its swimming position in the ocean. Sicilian sun and soil and ingenuity have long produced some of Italy's most prized raw ingredients, and the colors of the market serve as a map of the island's agricultural prowess: the forest green pistachios of Bronte; the Crayola-bright lemons and oranges of Paternò; the famous pomodorini of Pachino, fiery orbs of magical tomato intensity.”

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“We navigate the produce stands, plucking palms full of cherries from every pile we pass, chewing them and spitting the seeds on the ground. We eat tiny tomatoes with taut skins that snap under gentle pressure, releasing the rabid energy of the Sardinian sun trapped inside. We crack asparagus like twigs and watch the stalks weep chlorophyll tears. We attack anything and everything that grows on trees- oranges, plums, apricots, peaches- leaving pits and peels, seeds and skins in our wake. Downstairs in the seafood section, the heart of the market, the pace quickens. Roberto turns the market into a roving raw seafood bar, passing me pieces of marine life at every stand: brawny, tight-lipped mussels; juicy clams on the half shell with a shocking burst of sweetness; tiny raw shrimp with beads of blue coral clinging to their bodies like gaudy jewelry. We place dominoes of ruby tuna flesh on our tongues like communion wafers, the final act in this sacred procession.”

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“Down every aisle a single thought follows me like a shadow: Brand Italy is strong. When it comes to cultural currency, there is no brand more valuable than this one. From lipstick-red sports cars to svelte runway figures to enigmatic opera singers, Italian culture means something to everyone in the world. But nowhere does the name Italy mean more than in and around the kitchen. Peruse a pantry in London, Osaka, or Kalamazoo, and you're likely to find it spilling over with the fruits of this country: dried pasta, San Marzano tomatoes, olive oil, balsamic vinegar, jars of pesto, Nutella. Tucked into the northwest corner of Italy, sharing a border with France and Switzerland, Piedmont may be as far from the country's political and geographical center as possible, but it is ground zero for Brand Italy. This is the land of Slow Food. Of white truffles. Barolo. Vermouth. Campari. Breadsticks. Nutella. Fittingly, it's also the home of Eataly, the supermarket juggernaut delivering a taste of the entire country to domestic and international shoppers alike. This is the Eataly mother ship, the first and most symbolically important store for a company with plans for covering the globe in peppery Umbrian oil, and shavings of Parmigiano-Reggiano Vacche Rosse. We start with the essentials: bottle opener, mini wooden cutting board, hard-plastic wineglasses. From there, we move on to more exciting terrain: a wild-boar sausage from Tuscany. A semiaged goat's-milk cheese from Molise. A tray of lacy, pistachio-pocked mortadella. Some soft, spicy spreadable 'nduja from Calabria. A jar of gianduja, the hazelnut-chocolate spread that inspired Nutella- just in case we have any sudden blood sugar crashes on the trail.”

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“The Langhe is a paradise, a giardino: pears, apples, pomegranates, chestnuts. Everything you could want to eat falling from a tree. And above all, nocciole. You see those trees? Those are South American hazelnuts. Fatter. Rounder. There are also the smaller Turkish hazelnuts, but Ferrero Rocher uses the big ones to make Nutella. And wine- everywhere, wine. Barbera, Bonarda, Dolcetto, and the king, Nebbiolo, the king of all grapes.”

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“If Alessandro and Rosy are working from a disadvantage in terms of product recognition, they have put generations of accumulated experience into practice to fill the menu with dozens of little tastes of Como. They make fragrant, full-flavored stocks from the bones and bodies of perch and chub. They cure whitefish eggs in salt, creating a sort of freshwater bottarga, ready to be grated over pasta and rice. Shad is brined in vinegar and herbs, whitefish becomes a slow-cooked ragù or a filling for ravioli, and pigo and pike form the basis of Mella's polpettine di pesce, Pickled, dried, smoked, cured, pâtéd: a battery of techniques to ensure that nothing goes to waste. If you can make it with meat, there's a good chance Alessandro and Rosy have made it with lake fish. And then there's missoltino, the lake's most important by-product, a staple that stretches back to medieval times and has been named a presidio by Slow Food, a designation reserved for the country's most important ingredients and food traditions. The people still making missoltino can be counted on a single hand. Alessandro guts and scales hundreds of shad at a time, salts the bodies, and hangs them like laundry to dry under the sun for forty-eight hours or more. The dried fish are then layered with bay leaves, packed into metal canisters, and weighed down. Slowly the natural oils from the shad escape and bubble to the surface, forming a protective layer that preserves the missoltino indefinitely. It can be used as a condiment of sorts, a weapons-grade dose of lake umami to be detonated in salads and pastas. In its most classic preparation, served with toc, a thick, rich scoop of polenta slow cooked in a copper pot over a wood fire, it tastes of nothing you've eaten in Italy- or anywhere else.”

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“But you don't come to Palermo to stay in minimalist hotels and eat avocado toast; you come to Palermo to be in Palermo, to drink espressos as dark and thick as crude oil, to eat tangles of toothsome spaghetti bathed in buttery sea urchins, to wander the streets at night, feeling perfectly charmed on one block, slightly concerned on the next. To get lost. After a few days, you learn to turn down one street because it smells like jasmine and honeysuckle in the morning; you learn to avoid another street because in the heat of the afternoon the air is thick with the suggestion of swordfish three days past its prime.”

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“Italian cuisine is the most famous and beloved cuisine in the world for a reason. Accessible, comforting, seemingly simple but endlessly delicious, it never disappoints, just as it seems to never change. It would be easy to give you, dear reader, a book filled with the al dente images of the Italy of your imagination. To pretend as if everything in this country is encased in amber. But Italian cuisine is not frozen in time. It's exposed to the same winds that blow food traditions in new directions every day. And now, more than at any time in recent or distant memory, those forces are stirring up change across the country that will forever alter the way Italy eats. That change starts here, in Rome, the capital of Italy, the cradle of Western civilization, a city that has been reinventing itself for three millennia- since, as legend has it, Romulus murdered his brother Remus and built the foundations of Rome atop the Palatine Hill. Here you'll find a legion of chefs and artisans working to redefine the pillars of Italian cuisine: pasta, pizza, espresso, gelato, the food that makes us non-Italians dream so ravenously of this country, that makes us wish we were Italians, and that stirs in the people of Italy no small amount of pride and pleasure.”

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“The only point that everyone I spoke with in Rome agrees upon is that Armando al Pantheon is one of the city's last true trattorie. Given the location, Claudio and his family could have gone the way of the rest of the neighborhood a long time ago and mailed it in with a handful of fresh mozzarella and prosciutto. But he's chosen the opposite path, an unwavering dedication to the details- the extra steps that make the oxtail more succulent, the pasta more perfectly toothsome, the artichokes and favas and squash blossoms more poetic in their expression of the Roman seasons. "I experiment in my own small ways. I want to make something new, but I also want my guests to think of their mothers and grandmothers. I want them to taste their infancy, to taste their memories. Like that great scene in Ratatouille." I didn't grow up on amatriciana and offal, but when I eat them here, they taste like a memory I never knew I had. I keep coming back. For the cacio e pepe, which sings that salty-spicy duet with unrivaled clarity, thanks to the depth charge of toasted Malaysian peppercorns Claudio employs. For his coda alla vaccinara, as Roman as the Colosseum, a masterpiece of quinto quarto cookery: the oxtail cooked to the point of collapse, bathed in a tomato sauce with a gentle green undertow of celery, one of Rome's unsung heroes. For the vegetables: one day a crostini of stewed favas and pork cheek, the next a tumble of bitter puntarelle greens bound in a bracing anchovy vinaigrette. And always the artichokes. If Roman artichokes are drugs, Claudio's are pure poppy, a vegetable so deeply addictive that I find myself thinking about it at the most inappropriate times. Whether fried into a crisp, juicy flower or braised into tender, melting submission, it makes you wonder what the rest of the world is doing with their thistles.”

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“True to its name (gelato spelled backwards), Oletag is swimming against the tide of cost-cutting convenience that dominates Italy's ice cream industry. Sixty flavors at a given time, rotating daily- most rigorously tied to the season, many inspired by a pantry of savory ingredients: mustard, Gorgonzola with white chocolate and hazelnuts, pecorino with bitter orange. He seeks out local flavors, but never at the expense of a better product: pistachios from Turkey, hazelnuts from Piedmont, and (gasp!) French-born Valrhona chocolate. Extractions, infusions, experiments- whatever it takes to get more out of the handful of ingredients he puts into each creation. In the end, what matters is what ends up in the scoop, and the stuff at Oletag will make your toes curl- creams and chocolates so pure and intense they must be genetically manipulated, fruit-based creations so expressive of the season that they actually taste different from one day to the next. And a licorice gelato that will change you- if not for life, at least for a few weeks. Radicioni and Torcè are far from alone in their quest to lift the gelato genre. Fior di Luna has been doing it right- serious ingredients ethically sourced and minimally processed- since 1993. At Gelateria dei Gracchi, just across the Regina Margherita bridge, Alberto Monassei obsesses over every last detail, from the size of the whole hazelnuts in his decadent gianduia to the provenance of the pears that he combines with ribbons of caramel. And Maria Agnese Spagnuolo, one of Torcè's many disciples, continues to push the limits of gelato at her ever-expanding Fatamorgana empire, where a lineup of more than fifty choices- from basil-honey-walnut to dark chocolate-wasabi- attracts a steady crush of locals and savvy tourists.”

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“At first glance, the main display case at Dicecca today looks like a selection you'll find in any cheese shop in Puglia: tubs of milky water covering hunks of mozzarella in its many guises; strings of swollen scamorze dangling from the ceiling, bronzed by their stopover in the cold smoker; small plastic containers of creamy ricotta ready to be stuffed or eaten straight with a spoon. But look closer and you'll see some unfamiliar faces staring back at you through the glass: a large bucket brimming with ricotta spiked with ribbons of blue cheese and toasted almonds, served by the scoop; a wooden serving board paved with melting slabs of goat cheese weaponized with a cloak of bright red chili flakes; a hulking wheel of pecorino, stained shamrock green by a puree of basil and spinach. These are the signs of a caseificio in the grips of an evolution, one that started more than a decade ago when the brothers took the reins from their parents and began to expand the definition of a small, family-run cheese shop.”

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“Not every change is so subtle. There are chefs in Rome taking the same types of risks other young cooks around the world are using to bend the boundaries of the dining world. At Metamorfosi, among the gilded streets of Parioli, the Columbian-born chef Roy Caceres and his crew turn ink-stained bodies into ravioli skins and sous-vide egg and cheese foam into new-age carbonara and apply the tools of the modernist kitchen to create a broad and abstract interpretation of Italian cuisine. Alba Esteve Ruiz trained at El Celler de Can Roca in Spain, one of the world's most inventive restaurants, before, in 2013, opening Marzapane Roma, where frisky diners line up for a taste of prawn tartare with smoked eggplant cream and linguine cooked in chamomile tea spotted with microdrops of lemon gelée.”

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“Later, we deepen our investigation into the drinking-while-standing phenomenon at Mashika, an Italian izakaya in a hip pocket of Nishi-ku. The Italian-Japanese coalition is hardly new territory in this pasta-loving country, but Mishika is a different kind of mash-up. To start with, the space isn't really a restaurant at all. During the day, grandma sells cigarettes out of the small space. When the sun goes down, grandson fires up the burners as a crowd of thirtysomething Osakans drink Spritz and fill up on charcuterie, sashimi, and funky hybrids like spaghetti sauced with grated daikon and crowned with a wedge of ocean-sweet saury tataki. The menu follows no particular rules at all. Nobody seems to notice.”

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“There are a dozen factors that make Japanese food so special- ingredient obsession, technical precision, thousands of years of meticulous refinement- but chief among them is one simple concept: specialization. In the Western world, where miso-braised short ribs share menu space with white truffle ceviche, restaurants cast massive nets to try to catch as many fish as possible, but in Japan, the secret to success is choosing one thing and doing it fucking well. Forever. There are people who dedicate their entire lives to grilling beef intestines, slicing blowfish, kneading buckwheat into tangles of chewy noodles- microdisciplines with infinite room for improvement. The concept of shokunin, an artisan deeply and singularly dedicated to his or her craft, is at the core of Japanese culture.”

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“But this isn't standard Japanese picnic fare: not a grain of rice or a pickled plum in sight. Instead, they fill the varnished wooden tables with thick slices of crusty bread, wedges of weeping cheese, batons of hard salamis, and slices of cured ham. To drink, bottles of local white wine, covered in condensation, and high-alcohol microbews rich in hops and local iconography. From the coastline we begin our slow, dramatic ascent into the mountains of Hokkaido. The colors bleed from broccoli to banana to butternut to beet as we climb, inching ever closer to the heart of autumn. My neighbors, an increasingly jovial group of thirtysomethings with a few words of English to spare, pass me a glass of wine and a plate of cheese, and I begin to feel the fog dissipate. We stop at a small train station in the foothills outside of Ginzan, and my entire car suddenly empties. A husband-and-wife team has set up a small stand on the train platform, selling warm apple hand pies made with layers of flaky pastry and apples from their orchard just outside of town. I buy one, take a bite, then immediately buy there more. Back on the train, young uniformed women flood the cars with samples of Hokkaido ice cream. The group behind me breaks out in song, a ballad, I'm later told, dedicated to the beauty of the season. Everywhere we go, from the golden fields of empty cornstalks to the dense forest thickets to the rushing rivers that carve up this land like the fat of a Wagyu steak, groups of camouflaged photographers lie in wait, tripods and shutter releases ready, hoping to capture the perfect photo of the SL Niseko steaming its way through the hills of Hokkaido.”

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“It's barely 8:00 a.m., but my train mates waste little time in breaking out the picnic material. But this isn't standard Japanese picnic fare: not a grain of rice or a pickled plum in sight. Instead, they fill the varnished wooden tables with thick slices of crusty bread, wedges of weeping cheese, batons of hard salamis, and slices of cured ham. To drink, bottles of local white wine, covered in condensation, and high-alcohol microbews rich in hops and local iconography. From the coastline we begin our slow, dramatic ascent into the mountains of Hokkaido. The colors bleed from broccoli to banana to butternut to beet as we climb, inching ever closer to the heart of autumn. My neighbors, an increasingly jovial group of thirtysomethings with a few words of English to spare, pass me a glass of wine and a plate of cheese, and I begin to feel the fog dissipate. We stop at a small train station in the foothills outside of Ginzan, and my entire car suddenly empties. A husband-and-wife team has set up a small stand on the train platform, selling warm apple hand pies made with layers of flaky pastry and apples from their orchard just outside of town. I buy one, take a bite, then immediately buy three more. Back on the train, young uniformed women flood the cars with samples of Hokkaido ice cream. The group behind me breaks out in song, a ballad, I'm later told, dedicated to the beauty of the season. Everywhere we go, from the golden fields of empty cornstalks to the dense forest thickets to the rushing rivers that carve up this land like the fat of a Wagyu steak, groups of camouflaged photographers lie in wait, tripods and shutter releases ready, hoping to capture the perfect photo of the SL Niseko steaming its way through the hills of Hokkaido.”

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“With the first glass of wine, the stilted silence prevails. A plate of warm buffalo mozzarella appears, speckled with pink peppercorns, and something about that combination of tang and spice, cream and crunch, tells you that tonight will be different from the others you've spent in Japan. With the second glass of wine, your neighbors look over and offer a kanpai. Another plate arrives, this one a few pieces of seared octopus, the purple tentacles curled like crawling vines around a warm mound of barely mashed potatoes.”

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“Renzo from Roddino leaves us on the doorstep of Osteria da Gemma, a Langhe culinary landmark in a village scarcely large enough to fill the restaurant. Before we can shake off the wet and the cold, before we can see a menu or catch our breath, the waiter comes by and drops a cutting board full of salumi between us. Prego. Then another plate comes out- carne cruda, a soft mound of hand-chopped veal dressed with nothing but olive oil and a bit of lemon, a classic warm-up to a Piedmont meal. The plates continue, and it soon becomes very clear that we have no say in the matter. Insalata russa, a tricolore of toothsome green peas, orange carrots, and ivory potatoes, bound in a cloak of mayonnaise and crumbled egg yolk. Vitello tonnato, Piedmont's famous take on surf and turf: thin slices of roast beef with a thick emulsion of mayo and tuna. Each bite brings us slowly out of the mist of emotion and into the din of the dining room.”

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“Irie serves me three ramens, including a bowl made with a rich dashi and head-on shrimp and another studded with spicy ground pork and wilted spinach and lashed with chili oil. Both are exceptionally delicious, sophisticated creations, but it's his interpretation of tonkotsu that leaves me muttering softly to myself. The noodles are firm and chewy, the roast pork is striped with soft deposits of warm fat, and the toppings- white curls of shredded spring onion, chewy strips of bamboo, a perfect square of toasted seaweed- are skillfully applied. Here it is the combination of tare, the culmination of years of careful tinkering, and broth, made from whole pig heads and knots of ginger, that defies the laws of tonkotsu: a soup with the savory, meaty intensity of a broth made from a thousand pigs that's light enough to leave you wanting more. And more. And more.”

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“Kamimura has been whispering all week of a sacred twenty-four-hour ramen spot located on a two-lane highway in Kurume where truckers go for the taste of true ramen. The shop is massive by ramen standards, big enough to fit a few trucks along with those drivers, and in the midafternoon a loose assortment of castaways and road warriors sit slurping their noodles. Near the entrance a thick, sweaty cauldron boils so aggressively that a haze of pork fat hangs over the kitchen like waterfall mist. While few are audacious enough to claim ramen is healthy, tonkotsu enthusiasts love to point out that the collagen in pork bones is great for the skin. "Look at their faces!" says Kamimura. "They're almost seventy years old and not a wrinkle! That's the collagen. Where there is tonkotsu, there is rarely a wrinkle." He's right: the woman wears a faded purple bandana and sad, sunken eyes, but even then she doesn't look a day over fifty. She's stirring a massive cauldron of broth, and I ask her how long it's been simmering for. "Sixty years," she says flatly. This isn't hyperbole, not exactly. Kurume treats tonkotsu like a French country baker treats a sourdough starter- feeding it, regenerating, keeping some small fraction of the original soup alive in perpetuity. Old bones out, new bones in, but the base never changes. The mother of all ramen. Maruboshi Ramen opened in 1958, and you can taste every one of those years in the simple bowl they serve. There is no fancy tare, no double broth, no secret spice or unexpected toppings: just pork bones, noodles, and three generations of constant simmering. The flavor is pig in its purest form, a milky broth with no aromatics or condiments to mitigate the purity of its porcine essence.”

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“There are succulent loins of fatty pork fried in scales of thin bread crumbs and served with bowls of thickened Worcestershire and dabs of fiery mustard. Giant pots of curry, dark and brooding as a sudden summer storm, where apples and onions and huge hunks of meat are simmered into submission over hours. Or days. There is okonomiyaki, the great geologic mass of carbs and cabbage and pork fat that would feel more at home on a stoner's coffee table than a Japanese tatami mat.”

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“Like any great and good country, Japan has a culture of gathering- weddings, holidays, seasonal celebrations- with food at the core. In the fall, harvest celebrations mark the changing of the guard with roasted chestnuts, sweet potatoes, and skewers of grilled gingko nuts. As the cherry blossoms bloom, festive picnics called hanami usher in the spring with elaborate spreads of miso salmon, mountain vegetables, colorful bento, and fresh mochi turned pink with sakura petals.”

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“Gian Pero Frau, one of the most important characters in the supporting cast surrounding S'Apposentu, runs an experimental farm down the road from the restaurant. His vegetable garden looks like nature's version of a teenager's bedroom, a rebellious mess of branches and leaves and twisted barnyard wire. A low, droning buzz fills the air. "Sorry about the bugs," he says, a cartoonish cloud orbiting his head. But beneath the chaos a bloom of biodynamic order sprouts from the earth. He uses nothing but dirt and water and careful observation to sustain life here. Every leaf and branch has its place in this garden; nothing is random. Pockets of lettuce, cabbage, fennel, and flowers grow in dense clusters together; on the other end, summer squash, carrots, and eggplant do their leafy dance. "This garden is built on synergy. You plant four or five plants in a close space, and they support each other. It might take thirty or forty days instead of twenty to get it right, but the flavor is deeper." (There's a metaphor in here somewhere, about his new life Roberto is forging in the Sardinian countryside.) "He's my hero," says Roberto about Gian Piero. "He listens, quietly processes what I'm asking for, then brings it to life. Which doesn't happen in places like Siddi." Together, they're creating a new expression of Sardinian terreno, crossing genetic material, drying vegetables and legumes under a variety of conditions, and experimenting with harvesting times that give Roberto a whole new tool kit back in the kitchen. We stand in the center of the garden, crunching on celery and lettuce leaves, biting into zucchini and popping peas from their shells- an improvised salad, a biodynamic breakfast that tastes of some future slowly forming in the tangle of roots and leaves around us.”

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“All of this could fall flat, feel too much like a caricature of a Sicilian trattoria, if the food itself weren't so damn good: arancini, saffron-scented rice fried into crunchy, greaseless golf balls; polpette di pesce spada, swordfish meatballs with a taste so deep and savory they might as well be made of dry-aged beef; and a superlative version of caponata di melanzane, that ubiquitous Sicilian starter of eggplant, capers, and various other vegetation, stewed into a sweet and savory jam that you will want to smear on everything. Everything around you screams Italy, but those flavors on the end of the fork? The sweet-and-sour tandem, the stain of saffron, the grains of rice: pure Africa. The pasta: even better. Chewy noodles tinted jet black with squid ink and tossed with sautéed rings and crispy legs of calamari- a sort of nose-to-tail homage to the island's cherished cephalopod. And Palermo's most famous dish, pasta con le sarde, a bulge of thick spaghetti strewn with wild fennel, capers, raisins, and, most critically, a half dozen plump sardines slow cooked until they melt into a briny ocean ragù. Sweet, salty, fatty, funky- Palermo in a single bite.”

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“Palermo is dotted everywhere with frittura shacks- street carts and storefronts specializing in fried foods of all shapes and cardiac impacts. On the fringes of the Ballarò market are bars serving pane e panelle, fried wedges of mashed chickpeas combined with potato fritters and stuffed into a roll the size of a catcher's mitt. This is how the vendors start their days; this is how you should start yours, too. If fried chickpea sandwiches don't register as breakfast food, consider an early evening at Friggitoria Chiluzzo, posted on a plastic stool with a pack of locals, knocking back beers with plates of fried artichokes and arancini, glorious balls of saffron-stained rice stuffed with ragù and fried golden- another delicious ode to Africa. Indeed, frying food is one of the favorite pastimes of the palermitani, and they do it- as all great frying should be done- with a mix of skill and reckless abandon. Ganci is among the city's most beloved oil baths, a sliver of a store offering more calories per square foot than anywhere I've ever eaten. You can smell the mischief a block before you hit the front door: pizza topped with french fries and fried eggplant, fried rice balls stuffed with ham and cubes of mozzarella, and a ghastly concoction called spiedino that involves a brick of béchamel and meat sauce coated in bread crumbs and fried until you could break someone's window with it.”

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“You'll find trattorie brimming with the spirit of Sicily no matter which direction you head from the Four Corners. At Zia Pina, you will find no menu at all, just Pina and her helpers cooking up great piles of stuffed sardines, baby octopus, and fried red mullet. At Trattoria Basile, you take your ticket and build your meal piece by piece: a few stuffed eggplant, a plate of spaghetti and clams, maybe a bit of grilled sausage.”

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“As we walk through Savignio, the copper light of dusk settling over the town's narrow streets, we stop anyone we can find to ask for his or her ragù recipe. A retired policeman says he likes an all-pork sauce with a heavy hit of pancetta, the better for coating the pasta. A gelato maker explains that a touch of milk defuses the acidity of the tomato and ties the whole sauce together. Overhearing our kitchen talk below, an old woman in a navy cardigan pokes her head out of a second-story window to offer her take on the matter: "I only use tomatoes from my garden- fresh when they're in season, preserved when it gets cold." Inspired by the Savignio citizenry, we buy meat from the butcher, vegetables and wine from a small stand in the town's piazza, and head to Alessandro's house to simmer up his version of ragù: two parts chopped skirt steak, one part ground pancetta, the sautéed vegetable trio, a splash of dry white wine, and a few canned San Marzano tomatoes.”

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“His ragù begins the same way all ragù begin: with finely diced onion, carrot, and celery sautéed in olive oil, the sacred soffritto. "It's important to really caramelize the vegetables. That's where the flavor comes from." Later come two pounds of coarsely ground beef ("from the neck or shoulder- something with fat and flavor") and a pound of ground pork butt, browned separately from the vegetables and deglazed with a cup of white wine (pignoletto, of course). Peeled tomatoes, tomato paste, bay leaves, and three hours of simmering over a low flame. Seasoning? "Salt. Never pepper.”

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“Despite the raised voices and the wild gesticulations, nobody here is wrong. The beauty of ragù is that it's an idea as much as it is a recipe, a slow-simmered distillation of what means and circumstances have gifted you: If Zia Peppe's ragù is made with nothing but pork scraps, that's because her neighbor raises pigs. When Maria cooks her vegetables in a mix of oil and butter, it's because her family comes from a long line of dairy farmers. When Nonna Anna slips a few laurel leaves into the pot, she plucks them from the tree outside her back door. There is no need for a decree from the Chamber of Commerce to tell these women what qualifies as the authentic ragù; what's authentic is whatever is simmering under the lid. Eventually the women agree to disagree and the rolling boil of the debate calms to a gentle simmer. Alessandro opens a few bottles of pignoletto he's brought to make the peace. We drink and take photos and make small talk about tangential ragù issues such as the proper age of Parmesan and the troubled state of the prosciutto industry in the region. On my way out, Anna no. 1 grabs me by the arm. She pulls me close and looks up into my eyes with an earnestness that drowns out the rest of the chatter in the room. "Forget about these arguments. Forget about the small details. Just remember that the most important ingredient for making ragù, the one thing you can never forget, is love." Lisetta overhears from across the room and quickly adds, "And pancetta!”

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“We start our meal in the kitchen, right beside the blazing oven, where one of Franco's cooks chops a filet of local grass-fed beef into rough cubes and dresses it with olive oil and wisps of lemon rind. A puffy disc of dough emerges from the oven, which Franco cuts into wedges before heaping it with mounds of this restrained tartare. The union of warm, smoky bread and cool, grassy beef is enough to make me want to camp out in the kitchen for the rest of the night.”

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“We sat around for hours, turning over the mysteries of the universe, giggling like a dorm room full of stoners, all of us seemingly intoxicated by the truffle's powerful pheromones. A new ritual was born, an annual Truffle Fest that stretched on for the better part of a decade across state lines and continental divides. In that time, I've cooked dozens of truffle-larded dishes. Soft scrambled eggs. Scallops and salsify in parchment. Wild mushroom pizza. Butter-bombed risotto. Whole roasted chicken with truffle slices slipped like splinters under the skin. Above all, handmade pasta tossed with melted butter and anointed tableside with truffle- the finest vessel for the tuber's dreamy fragrance.”

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“What to eat? You've crossed a dozen time zones to get here and you want to make every meal count. Do you start at an izakaya, a Japanese pub, and eat raw fish and grilled chicken parts and fried tofu, all washed down with a river of cold sake? Do you seek out the familiar nourishment of noodles- ramen, udon, soba- and let the warmth and beauty of this cuisine slip gloriously past your lips? Or maybe you wade into the vast unknown, throw yourself entirely into the world of unfamiliar flavors: a bowl of salt-roasted eel, a mound of sticky fermented soybeans, a nine-course kaiseki feast.”

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“From the salty bite of gizzard shad to the supple sweetness of horse mackerel to the crunch and brine of ark shell clam, Sawada guides you through the full spectrum of ocean taste and texture. A giant prawn split into two pieces delivers dessert levels of sweetness. Saltwater eel is equal parts crunchy skin and tender flesh. Smoked bonito, in all its concentrated, fire-kissed intensity, will keep you awake at night.”

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“Half the food that he sends out is raw: ruby cubes of tuna dressed with a heaping mound of fresh wasabi; sea grapes the size of ball bearings that pop like caviar against the roof of your mouth; glistening beads of salmon roe meant to be stuffed into crispy sheets of nori. The other half gets the blowtorch treatment. Tuna is transformed into a sort of tataki stir-fry, toasted, glazed with ponzu, and tossed with a thicket of spring onions. Fish heads are blitzed under the flame until the cheeks singe and the skin screams and the eyes melt into a glorious stew meant to be extracted with chopsticks. Even sea urchin, those soft orange tongues of ocean umami, with a sweetness so subtle that cooking it is considered heretical in most culinary circles, gets blasted like a crème brûlée by Toyo and his ring of fire.”

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“With each new course, he offers up little bites of the ethos that drives his cooking, the tastes and the words playing off each other like a kaiseki echo chamber. Ark shell, a bulging, bright orange clam peeking out of its dark shell, barely cooked, dusted with seaweed salt. "To add things is easy; to take them away is the challenge." Bamboo, cut into wedges, boiled in mountain water and served in a wide, shallow bowl with nothing but the cooking liquid. "How can we make the ingredient taste more like itself?With heat, with water, with knifework." Tempura: a single large clam, cloaked in a pale, soft batter with more chew than crunch. The clam snaps under gentle pressure, releasing a warm ocean of umami. "I want to make a message to the guest: this is the best possible way to cook this ingredient." A meaty fillet of eel wrapped around a thumb of burdock root, glazed with soy and mirin, grilled until crispy: a three-bite explosion that leaves you desperate for more. "The meal must go up and down, following strong flavors with subtle flavors, setting the right tone for the diner." And it does, rising and falling, ebbing and flowing, until the last frothy drop of matcha is gone, signaling the end of the meal.”

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“To be a ramen writer of Kamimura's stature, you need to live in a ramen town, and there is unquestionably no town in Japan more dedicated to ramen than Fukuoka. This city of 1.5 million along the northern coast of Kyushu, the southernmost of Japan's four main islands, is home to two thousand ramen shops, representing Japan's densest concentration of noodle-soup emporiums. While bowls of ramen are like snowflakes in Japan, Fukuoka is known as the cradle of tonkotsu, a pork-bone broth made milky white by the deposits of fat and collagen extracted during days of aggressive boiling. It is not simply a specialty of the city, it is the city, a distillation of all its qualities and calluses. Indeed, tell any Japanese that you've been to Fukuoka and invariably the first question will be: "How was the tonkotsu?”

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“Fukuoka, more than any other city in Japan, is responsible for ramen's rocket-ship trajectory, and the ensuing shift in Japan's cultural identity abroad. Between Hide-Chan, Ichiran, and Ippudo- three of the biggest ramen chains in the world- they've brought the soup to corners of the globe that still thought ramen meant a bag of dried noodles and a dehydrated spice packet. But while Ichiran and Ippudo are purveyors of classic tonkotsu, undoubtedly the defining ramen of the modern era, Hideto has a decidedly different belief about ramen and its mutability. "There are no boundaries for ramen, no rules," he says. "It's all freestyle." As we talk at his original Hide-Chan location in the Kego area of Fukuoka, a new bowl arrives on the table, a prototype for his borderless ramen philosophy. A coffee filter is filled with katsuobushi, smoked skipjack tuna flakes, and balanced over a bowl with a pair of chopsticks. Hideto pours chicken stock through the filter, which soaks up the katsuobushi and emerges into the bowl as clear as a consommé. He adds rice noodles and sawtooth coriander then slides it over to me. Compared with other Hide-Chan creations, though, this one shows remarkable restraint. While I sip the soup, Hideto pulls out his cell phone and plays a video of him layering hot pork cheeks and cold noodles into a hollowed-out porcelain skull, then dumping a cocktail shaker filled with chili oil, shrimp oil, truffle oil, and dashi over the top. Other creations include spicy arrabbiata ramen with pancetta and roasted tomatoes, foie gras ramen with orange jam and blueberry miso, and black ramen made with bamboo ash dipped into a mix of miso and onions caramelized for forty-five days.”

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“Out comes everything: piles of blistered shishito peppers, golden fried sandwiches of taro root stuffed with minced pork, bowls of dashi-braised daikon, a tower of yakitori, including my favorite, tsukune, a charcoal-kissed chicken meatball rich with fat and cartilage, meant to be dipped in raw egg yolk. My chopsticks cannot move fast enough.”

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“In theory, toppings can include almost anything, but 95 percent of the ramen you consume in Japan will be topped with chashu, Chinese-style roasted pork. In a perfect world, that means luscious slices of marinated belly or shoulder, carefully basted over a low temperature until the fat has rendered and the meat collapses with a hard stare. Beyond the pork, the only other sure bet in a bowl of ramen is negi, thinly sliced green onion, little islands of allium sting in a sea of richness. Pickled bamboo shoots (menma), sheets of nori, bean sprouts, fish cake, raw garlic, and soy-soaked eggs are common constituents, but of course there is a whole world of outlier ingredients that make it into more esoteric bowls, which we'll get into later. While shape and size will vary depending on region and style, ramen noodles all share one thing in common: alkaline salts. Called kansui in Japanese, alkaline salts are what give the noodles a yellow tint and allow them to stand up to the blistering heat of the soup without degrading into a gummy mass. In fact, in the sprawling ecosystem of noodle soups, it may be the alkaline noodle alone that unites the ramen universe: "If it doesn't have kansui, it's not ramen," Kamimura says. Noodles and toppings are paramount in the ramen formula, but the broth is undoubtedly the soul of the bowl, there to unite the disparate tastes and textures at work in the dish. This is where a ramen chef makes his name. Broth can be made from an encyclopedia of flora and fauna: chicken, pork, fish, mushrooms, root vegetables, herbs, spices. Ramen broth isn't about nuance; it's about impact, which is why making most soup involves high heat, long cooking times, and giant heaps of chicken bones, pork bones, or both. Tare is the flavor base that anchors each bowl, that special potion- usually just an ounce or two of concentrated liquid- that bends ramen into one camp or another. In Sapporo, tare is made with miso. In Tokyo, soy sauce takes the lead. At enterprising ramen joints, you'll find tare made with up to two dozen ingredients, an apothecary's stash of dried fish and fungus and esoteric add-ons. The objective of tare is essentially the core objective of Japanese food itself: to pack as much umami as possible into every bite.”

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“If you blink, you might miss it. You might miss the wet floor at the threshold, symbolically cleansing you before the meal begins. You might overlook the flower arrangement in the corner, a spare expression of the passing season. You might miss the scroll on the wall drawn with a single unbroken line, signaling the infinite continuity of nature. You might not detect the gentle current of young ginger rippling through the dashi, the extra sheet of Hokkaido kelp in the soup, the mochi that is made to look like a cherry blossom at midnight. You might miss the water.”

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“Rice is sacred to the Japanese people," he says. "We eat it at every meal, yet we never get tired of it." He points out that the word for rice in Japanese, gohan, is the same as the word for meal. When he finally lifts the lid of the first rice cooker, releasing a dramatic gasp of starchy steam, the entire restaurant looks ready to wave their white napkins in exuberant applause. The rice is served with a single anchovy painstakingly smoked over a charcoal fire. Below the rice, a nest of lightly grilled matsutake mushrooms; on top, an orange slice of compressed fish roe. Together, an intense wave of umami to fortify the tender grains of rice. Next comes okoge, the crispy rice from the bottom of the pan, served with crunchy flakes of sea salt and oil made from the outside kernel of the rice, spiked with spicy sansho pepper. For the finale, an island of crisp rice with wild herbs and broth from the cooked rice, a moving rendition of chazuke, Japanese rice-and-tea soup. It's a husk-to-heart exposé on rice, striking in both its simplicity and its soul-warming deliciousness- the standard by which all rice I ever eat will be judged.”

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“We start with a next-generation miso soup: Kyoto's famous sweet white miso whisked with dashi made from lobster shells, with large chunks of tender claw meat and wilted spinach bobbing on the soup's surface. The son takes a cube of topflight Wagyu off the grill, charred on the outside, rare in the center, and swaddles it with green onions and a scoop of melting sea urchin- a surf-and-turf to end all others. The father lays down a gorgeous ceramic plate with a poem painted on its surface. "From the sixteenth century," he tells us, then goes about constructing the dish with his son, piece by piece: First, a chunk of tilefish wrapped around a grilled matsutake mushroom stem. Then a thick triangle of grilled mushroom cap, plus another grilled stem the size of a D-sized battery, topped with mushroom miso. A pickled ginger shoot, a few tender soybeans, and the crowning touch, the tilefish skin, separated from its body and fried into a ripple wave of crunch. The rice course arrives in a small bamboo steamer. The young chef works quickly. He slices curtains of tuna belly from a massive, fat-streaked block, dips it briefly in house-made soy sauce, then lays it on the rice. Over the top he spoons a sauce of seaweed and crushed sesame seeds just as the tuna fat begins to melt into the grains below. A round of tempura comes next: a harvest moon of creamy pumpkin, a gold nugget of blowfish capped with a translucent daikon sauce, and finally a soft, custardy chunk of salmon liver, intensely fatty with a bitter edge, a flavor that I've never tasted before. The last savory course comes in a large ice block carved into the shape of a bowl. Inside, a nest of soba noodles tinted green with powdered matcha floating in a dashi charged with citrus and topped with a false quail egg, the white fashioned from grated daikon.”

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“The meal begins the way all kaiseki meals begin, with hassun, a mixed plate of small bites- fish and vegetables, usually- used to set the tone for the feast to come. In a bowl of pine needles and fallen leaves he hides smoky slices of bonito topped with slow-cooked seaweed, gingko nuts grilled until just tender, a summer roll packed with foraged herbs, and juicy wedges of persimmon dressed with ground sesame and sansho flowers. Autumn resonates in every bite. While the rice simmers away, the meal marches forward: sashimi decorated with a thicket of mountain vegetables and wildflowers; a thick slab of Kyoto-style mackerel sushi, fermented for a year, with the big, heady funk of a washed cheese; mountain fruit blanketed in white miso and speckled with black sesame and bee larvae.”

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“The key to great bamboo, Yamashita tells me, is space. Bamboo trees can reproduce for six years, but their roots need room to spread, and the sun needs room to bake the forest floor. More than a farmer, Yamashita is a constant gardener, pruning branches, keeping the trees to a height of six meters, using rice husk to sow nutrients into the soil. The best bamboo is found deep underground, safely away from sunlight, turning the harvest into something resembling a truffle hunt. We walk carefully and quietly through the forest, looking for little cracks in the earth that indicate a baby bamboo trying to make its way to the surface. When we spot cracks, Yamashita comes by with a small pick and gently works the soil until he reaches the bulb. Most bamboo you see is ruddy brown or purple, but Yamashita's takenoko comes out lily white, tender, and sweet enough to eat like an apple. "You have to cook it right away, otherwise you begin to lose the flavor," says Shunichi.”

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“First, a sizzling stone, the same one Toshio introduced to Ducasse years back. Today it's filled with rice and ginger juice and baby firefly squid, which crackle wildly as he tosses it all like a scalding salad and pushes it over to me. The squid guts coat the rice like an ocean risotto, give it body and funk, while the heat from the stone crisps the grains like a perfect bibimbap.”

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“Next comes chawan mushi, a delicate egg custard studded with wild mountain vegetables and surrounded by flowers from the bamboo forest. A dish as old as Kyoto itself. Toshio plucks two sacs of cod milt from the grill, slides them off the skewer into a squat clay box filled with bubbling miso. He comes back a second later with a scoop of konawata, pickled sea cucumber organs. A dish as new as the spring flowers blooming just outside the window. One by one, the market stars reappear on the plate. A black-and-gold lacquered bowl: Toshio pulls off the top to reveal thin slices of three-year-old virgin wild boar braised into sweet, savory submission with Kyoto white miso and chunks of root vegetables. Uni- Hokkaido and Kansai- the first atop a wedge of taro root dusted with rice flour and lightly fried, the other resting gently on a fried shiso leaf. Two bites, two urchins, an echo of the lesson in the market this morning.”

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“He's on to sashimi now, fanning and curling slices of snapper and fugu into white roses on his cutting board. Before Toshio can plate the slices, Shunichi reaches over and calmly replaces the serving plate his son has chosen with an Edo-era ceramic rectangle more to his liking. Three pieces of tempura- shrimp, eggplant, new onion- emerge hissing and golden from the black iron pot in the corner, and Toshio arranges them on small plates with wedges of Japanese lime. Before the tempura goes out, Shunichi sneaks in a few extra granules of salt while Toshio's not looking. By now Dad is shadowing his son's every move. As Toshio waves a thin plank of sea cucumber eggs over the charcoal fire, his dad leans gently over his shoulder. "Be careful. You don't want to cook it. You just want to release its aroma." Toshio places a fried silverfish spine on a craggy ceramic plate, tucks grated yuzu and sansho flowers into its ribs, then lays a sliver of the dried eggs over the top. The bones shatter like a potato chip, and the sea cucumber detonates in my mouth.”

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“For dinner, he serves dishes such as raw local fish accented with touches like fresh basil and balsamic vinegar; roasted pumpkin soup laced with ishiri; fat, chewy handmade spaghetti with tender rings of squid on a puddle of ink enhanced with another few drops of fish sauce. It's what Italian food would be if Italy were a windswept peninsula in the Far East. If dinner is Ben's personal take on Noto ingredients, breakfast still belongs to his in-laws. It's an elaborate a.m. feast, fierce in flavor, rich in history, dense with centuries of knowledge passed from one generation to the next: soft tofu dressed with homemade soy and yuzu chili paste; soup made with homemade miso and simmered fish bones; shiso leaves fermented kimchi-style, with chilies and ishiri; kaibe, rice mixed with ishiri and fresh baby squid, pressed into patties and grilled slowly over a charcoal fire; yellowtail fermented for six months, called the blue cheese of the sea for its lactic funk. The mix of plates will change from one morning to the next but will invariably include a small chunk of konka saba, mackerel fermented for up to five years, depending on the day you visit. Even when it's broken into tiny pieces and sprinkled over rice, the years of fermentation will pulse through your body like an electric current.”

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“In the procession of pieces, which Ikegawa changes based on his read of each guest, you find crunch and chew, fat and cartilage, soft, timid tenderness and bursts of outrageous savory intensity. He starts me with the breast, barely touched by the flame, pink in the center, green on top from a smear of wasabi, a single bite buries a lifetime of salmonella hysteria. A quick-cooked skewer of liver balances the soft, melting fattiness of foie with a gentle mineral bite. The tsukune, a string of one-bite orbs made from finely chopped thigh meat, arrives blistered on the outside, studded with pieces of cartilage that give the meatballs a magnificent chew. Chochin, the grilled uterus, comes with a proto-egg attached to the skewer like a rising sun. The combination of snappy meat and molten yolk is the stuff taste memories are made of.”

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“As Japan recovered from the post-war depression, okonomiyaki became the cornerstone of Hiroshima's nascent restaurant culture. And with new variables- noodles, protein, fishy powders- added to the equation, it became an increasingly fungible concept. Half a century later it still defies easy description. Okonomi means "whatever you like," yaki means "grill," but smashed together they do little to paint a clear picture. Invariably, writers, cooks, and oko officials revert to analogies: some call it a cabbage crepe; others a savory pancake or an omelet. Guidebooks, unhelpfully, refer to it as Japanese pizza, though okonomiyaki looks and tastes nothing like pizza. Otafuku, for its part, does little to clarify the situation, comparing okonomiyaki in turn to Turkish pide, Indian chapati, and Mexican tacos. There are two overarching categories of okonomiyaki Hiroshima style, with a layer of noodles and a heavy cabbage presence, and Osaka or Kansai style, made with a base of eggs, flour, dashi, and grated nagaimo, sticky mountain yam. More than the ingredients themselves, the difference lies in the structure: whereas okonomiyaki in Hiroshima is carefully layered, a savory circle with five or six distinct layers, the ingredients in Osaka-style okonomiyaki are mixed together before cooking. The latter is so simple to cook that many restaurants let you do it yourself on table side teppans. Hiroshima-style okonomiyaki, on the other hand, is complicated enough that even the cooks who dedicate their lives to its construction still don't get it right most of the time. (Some people consider monjayaki, a runny mass of meat and vegetables popularized in Tokyo's Tsukishima district, to be part of the okonomiyaki family, but if so, it's no more than a distant cousin.) Otafuku entered the picture in 1938 as a rice vinegar manufacturer. Their original factory near Yokogawa Station burned down in the nuclear attack, but in 1946 they started making vinegar again. In 1950 Otafuku began production of Worcestershire sauce, but local cooks complained that it was too spicy and too thin, that it didn't cling to okonomiyaki, which was becoming the nutritional staple of Hiroshima life. So Otafuku used fruit- originally orange and peach, later Middle Eastern dates- to thicken and sweeten the sauce, and added the now-iconic Otafuku label with the six virtues that the chubby-cheeked lady of Otafuku, a traditional character from Japanese folklore, is supposed to represent, including a little nose for modesty, big ears for good listening, and a large forehead for wisdom.”

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