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Quote by Diana Abu-Jaber

“For this cake, I want to mingle the womanly and masculine foods- sugars and meats in particular. The walls must come down. Must temper, must balance. Add the leeks to the chocolate, vanilla to the turnip. Tear away the sacred walls between the sweet and savory worlds.”

Quote by Diana Abu-Jaber

Book:Birds of Paradise
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Birds of Paradise

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Author

Diana Abu-Jaber
Diana Abu-Jaber

Diana Abu-Jaber is an American author known for her profound insights into Middle Eastern culture and her rich literary works. Her writing often focuses on family, identity, and community, exploring the lives of Middle Eastern immigrants in the United States. more

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“Give me thirty pounds of mussels, twenty-five of scampi, as much squid as you can get me, some whitefish, snapper, sea bass, and sardines- whatever you've got. That will get me through today, and when you get here I'll give you an order for the rest of the week." I'm too spent to repeat my outraged performance for Rob, the meat guy, because by now I know that neither he nor Eddie is to blame. But because we're great customers, Rob agrees to rush me over some sausage, a dozen pork tenderloins, and some flank steak, which I can cook quickly, for braciole. I instruct the prep cooks to roll out some lasagna noodles and to start preparing béchamel in large quantities. We will resort to a couple of baked pasta entrees, flavored with meat and sausage and, depending on what Eddie sends over, a cioppino.”

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“The grilled calamari and spinach antipasto has been a mainstay since we opened, so paying a premium to keep it on the menu is a no-brainer, providing the quality is sufficiently high. I get one of the line guys to pull the lunch menus and type a new one that I dictate while pulling stuff from the walk-in and freezer. Today, our prix fixe menu will feature cucina poverta: polpettone alla napoletana, an Italian meat loaf; pappa al pomodoro; a ragout with sausages and peppers; and braciole (providing Rob, the meat guy, comes through in time). When the meat still has not shown up by ten I'm on the phone yelling at some hapless office person, although it's just about hopeless, because, unless the meat shows up in the next five minutes, there will not be enough time to make the braciole. To cover for the fact that we were only able to buy fifteen pounds of calamari from Dean and Deluca (at an exorbitant price), Tony and I devise an additional antipasto, a ricotta and Pecorino torta flavored with hot pepper and prosciutto.”

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Book:Aftertaste: A Novel in Five Courses
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“There was some ordinary pork, a heap of pigs' livers and some caul fat. Carenza had been to the market that morning and bought fronds of bronze fennel with their pollen-heavy flowers still on them; sorrel; bitter lettuce. I chose the fennel, went out to the courtyard and picked some marjoram, thyme, parsley and mint. I decided to make some tomacelli, because I liked them and it was the kind of fiddly, absorbing dish I could lose myself in. So I put the livers on to boil, and then cut up some veal haunch. Carenza liked mortadelli and so I'd make her some with the veal. I chopped the veal up finely with a bit of its fat and some lardo, mixed in some parsley and some marjoram. The livers were done, so I drained them and put them in a bowl. Into the mortadella mixture went a handful of grated parmigiana cheese, some cloves, cinnamon and a few threads of saffron. An egg yolk went in too, and then I sank my hands into the cool, slippery mound and mixed it with my fingers. When it was smooth I shaped it into egg-sized balls, wrapped them in pieces of caul and threaded them onto a spit. While the mortadelli sizzled over the flame, I took the livers and crumbled them up, added some minced pancetta, some grated pecorino, marjoram, parsley, raisins, some ginger and nutmeg and pepper. I bound it all together with a couple of eggs and made the stuff into balls, smaller than the mortadelli, wrapped them in more caul and set to frying them in melted lardo.”

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“The loin of Cinta Senese had been sitting in the cold room, begging to be cooked. I'd shown it to Filippo- This is our supper, I'd said, and he'd replied that supper was too far away, and didn't the painters deserve the best, serving God as they did? So I'd grabbed it, along with some garlic, thyme, rosemary, peppercorns and nutmeg. Surely they'd have salt at the studio... Filippo had bought some onions, a flask of milk and a hunk of prosciutto on the way. I hunted around in the small, chaotic niche where the artists kept their food and discovered a dusty flask of olive oil. Sniffing it dubiously, I found it was quite fresh: the dark green oil from the hills behind Arezzo. In Florence we almost always cooked in lard, oil would do in a pinch. The kiln was lit but not being used for anything, and the fire was dying down. I threw some pieces of oak onto it, chopped the onions and the ham with a borrowed knife, cut the loin away from the ribs. The artists had a trivet and some old pans which they used to cook with every now and again, though mostly they lived on pies from the cook-shop up the street. There was an earthenware pot with a cracked lid, which seemed clean enough. I put it on the trivet, poured in a good stream of the green oil, browned the meat in its wrapping of fatty rind. Sandro gave up a cup of white wine, unwillingly, which I threw over the pork. When it had cooked off, I crushed two big cloves of garlic and added them along with the rosemary I had brought, and a handful of thyme. The milk had just foamed, and I poured it over the meat. The air filled with a rich, creamy, meaty waft.”

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“The first dishes, carried out on Barroni's exquisite silver platters, were a selection of marzipan fancies, shaped into hearts and silvered; a mostarda of black figs in spiced syrup; skewers of prosciutto marinated in red wine that I had reduced until it was thick and almost black; little frittate with herbs, each covered with finely sliced black truffles; whole baby melanzane, simmered in olive oil, a recipe I had got from a Turkish merchant I had met in the bathhouse. I set about putting the second course together. I heated two kinds of biroldi, blood sausages: one variety I had made pig's blood, pine nuts and raisins; the other was made from calf's blood, minced pork and pecorino. Quails, larks, grey partridge and figpeckers were roasting over the fire, painted with a sauce made from grape molasses, boiled wine, orange juice, cinnamon and saffron. They blackened as they turned, the thick sauce becoming a lovely, shiny caramel. There were roasted front-quarters of hare, on which would go a deep crimson, almost black sauce made from their blood, raisins, boiled wine and black pepper. Three roasted heads of young pigs, to which I had added tusks and decorated with pastry dyed black with walnut juice so that they resembled wild boar, then baked. Meanwhile, there was a whole sheep turning over the fire, more or less done, but I was holding it so that it would be perfect. The swan- there had to be a swan, Baroni had decided- was ready. I attached it to the armature of wire I had made, so that it stood up regally. The sturgeon, which I had cooked last night at home, and had finally set in aspic at around the fourth hour after midnight, was waiting in a covered salver. There were black cabbage leaves rolled around hazelnuts and cheese; rice porridge cooked in the Venetian style with cuttlefish ink; and of course the roebuck, roasting as well, but already trussed in the position I had designed for it.”

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“He ranted at me while I put out the next course: a dish of boiled pigeons enveloped in a blancmange, the best I had ever made, with pulverized chicken, rose water, almonds, sugar, capon broth, ginger, verjuice and cinnamon. I had them placed in a deep dish, poured on the blancmange and scattered the snow-white surface with a thick covering of poppy seeds until the silver dish seemed to hold nothing but tiny black grains. Over this I arranged stars cut out of fine silver foil. There was a breast of veal, stuffed with cheese, eggs, saffron, herbs and raisins, upon which I scattered the darkest rose petals I could find at the flower market. There was a soup of black cabbage; boiled calves' feet with a sauce of figs and black pepper; and boiled ducks with more sliced black truffle.”

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“Don't believe vegetarians who tell you that meat has no flavor, that it comes from the spices or the marinade. The flavor is already there: earth and metal, salt and fat, blood. My favorite meat is chicken. I can eat a whole bird standing up in the kitchen, straight from the oven, burning my bare hands on its flesh. Anyone can roast a chicken, it is a good animal to cook. Lamb, on the other hand, is much harder to get right. You have to lock in the flavor, rubbing it with sea salt like you are exfoliating your own drying skin, tenderly basting it in its own juices, hour after hour. You have to make small slits across the surface of the leg, through which you can insert sprigs of rosemary, or cloves of garlic, or both. These incisions should run against the grain, in the opposite direction to which the muscle fibers lie. You can tell the direction better when the meat is still uncooked, when it is marbled and raw. It is worth running your finger along those fibers, all the way from one end to the other. This doesn't help with anything. It won't change how you cook it. But it is good to come to terms with things as they are. Preparing meat is always an act of physical labor. Whacking rib eye with a rolling pin. Snapping apart an arc of pork crackling. And there is something inescapably candid about it, too. If you've ever spatchcocked a goose- if you've pressed your weight down on its breastbone, felt it flatten and give, its bones rearranging under your hands- you will know what I am talking about. We are all capable of cruelty. Sometimes I imagine the feeling of a sliver of roast beef on my tongue: the pink flesh of my own body cradling the flesh of something else's. It makes sense to me that there is a market for a vegetarian burger that bleeds.”

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