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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.”

Quote by Matt Goulding

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Rice, Noodle, Fish: Deep Travels Through Japan's Food Culture

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Matt Goulding

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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.”

“To calm my jangled nerves, I rose early and went for a long jog along the Kamo River. As often happens during such times, the world came into stark relief. As I ran up the embankment, details popped, such as the nickel-blue river, topaz marsh grass, and leafless trees that looked almost silk-screened onto a paper panorama of Kyoto. Flushed with endorphins, I dashed back to the Guesthouse feeling much calmer about meeting with the Grand Tea Master. By 8:00, I was down in the den drinking coffee and breakfasting on persimmon toast. Persimmons had recently come into season and, when sweet and jelly-soft, made a luscious topping for crisp buttered whole wheat bread.”

“The future you depends on the current you to chase the goals and ambitions you have set for yourself. The future version of you is relying on this very moment—and every day after—for you to keep the focus, the dedication, and the promises that you have made to yourself.”

“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.”

“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.”

“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.”

“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.”

“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.”