Sitting around the table last night with gusts of strong breath coloring our domestic atmosphere, Amy and I were considering the profound effect garlic has on Spanish cuisine, and we wondered aloud whether any other national cuisine makes such abundant and varied use of the perfumed rose. Certainly, French and Italian food incorporate garlic with spectacular results, as do Greek, most other Mediterranean cuisines, as well as Chinese and Indian, but if there’s a cuisine that, to us, is characterized by garlic, it’s Spanish.

All of which is great, unless you happened to be sitting next to us this morning on the subway, as last night we ate two of the most highly odoriferous dishes in the Iberian canon – patatas a lo pobre and pollo al ajillo. The humble, peasant roots of both these dishes (the former translating as poor man’s potatoes) rely heavily on large quantities of garlic to elevate the otherwise prosaic ingredients to a higher plane. The garlic somehow acts both as a spice and an acid, flavoring the dish while simultaneously cutting through and balancing the olive oil.

We recommend you make enough of both these dishes to share, not just because they make delicious tapas-style small plates, but because you’ll want to surround yourself with similarly pungent folk to avoid people covering their faces and shuffling away down the train as if you had the plague. On the other hand, you do far worse than gain a little extra personal space in this congested city of ours. Maybe we’ve hit on a smart new commuting tactic?

Following a restorative beer in the charmingly medieval town of Arras, our nerves were steadied enough to drive north through the falling snow to Lille where we were to spend New Year’s Eve. Foolishly we hadn’t made any plans for that evening and consequently ended up at the only place in town that had a spare table – a bizarre, Moroccan-themed restaurant enticing diners in for  ”One Night in Marrakech”. If that fabled North African city is nothing but a den of drunken, middle-aged Frenchmen staggering around trying to belly dance and exposing large acreages of flesh for henna tattoos then our night was indeed an authentic experience, though I would hope there is more to it than that.

However, since we couldn’t beat them, so we joined them (in all things  minus the henna), so come New Year’s morning we looked like we’d just been dragged to Marrakech and back on our faces. Venturing gingerly out onto the deserted Lille streets, we, once again, found a table hard to come by, but eventually managed it at a warm and friendly gastropub full of similarly rumpled young people. Seeing that everyone else was working through their hangovers with frothy Belgian ales and steaming bowls of black stew (and not being in much of a state to make decisions) we ordered glasses of Leffe Blonde and servings of boeuf carbonnade a la flamande or Flemish beef and beer stew.

Meats braised in ales of all kinds can be found throughout northern Europe, but nowhere else, perhaps, has the concept been raised to such a culinary pinnacle as in Flanders. There, some would argue, one finds not only many of the world’s best beers, but also cuisine that both makes extensive use of beer and is prepared to be enjoyed with beer. Carbonnade is, more or less, the national dish of Flanders and is known in Dutch-speaking areas as Vlaamse Stoverij or Vlaamse stoofkarbonade. It is noted for its slightly sour flavor that is derived from the dubbel (double) or trippel (triple) Abbey-style ales used in its preparation, as well as a jigger of cider vinegar added just before serving. The most unique aspects of a traditional Carbonnade though, and what makes it so different from all other beef and beer stews, are the slow sauted onions and the, seemingly-curious, addition of mustard-coated ginger-snap cookies that are used both as a flavoring and a thickening agent. These cookies really place the dish in its culinary context with the spice-trading and koekie-mad Dutch making key contributions.

Whether because it contained hair of the dog or was accompanied by it,  the carbonnade acted like some sort of miracle restorative on our poisoned systems and sent us back out into Lille’s cold streets for an entire day of exploring, which was just as well since there was absolutely nothing else open in the entire city that day.  Saying hearty braised dishes are perfect for wintry weather is, frankly, about as insipid a remark as most braised meat dishes, even those fortified with beer, so I shall avoid that particular cliche here, and say instead that it is perfect for curing a hangover. That’s right, you heard it here first: beer both creates and cures hangovers.

Do you ever wish you had a secret power? I don’t mean like some stupid superhero who can fly, make it rain, or look great in a unitard. I mean like a gerbil’s ability to store tasty bits in its cheeks for later, or a tiger’s ability to eat 30lbs of wild boar at a single sitting, that kind of thing. No? Hmm, well, I do, and sometimes, in my more reflective moments, I find myself wishing I was blessed with a gizzard. After all, would not my diet be expanded and my ‘intestinal transit’ made smoother if I possessed a specialized second stomach that enabled me to grind up and enjoy commonly indigestible foods?

Having recently questioned a sample group of poultry, reptiles and fish (the only three genera of animals that possess gizzards) about this, I can tell you that 9 out of the 10 chickens surveyed credited their gizzards with giving free reign to their more fibrous dietary proclivities. In the course of my survey, I also learned that while addiction and dependency issues brought on by knowingly being bred for slaughter are a big problem for young roosters, the greater worry among concerned hens is the utter disregard for their gizzards demonstrated by the carnivorous public.

“That’s my son’s (second) stomach they’re throwing them away!”, cock-a-doodle-doed one plump mother of 700 chicks, while another squawked that, “they (humans) should be so lucky to have a gizzard of their own. Ingrates!”

Chastened by these plaintive cries, and encouraged to make a salad we ate at a fabulous gastropub in Lille, France, over New Year’s, we recently explored the potential of confit-ing chicken gizzards. We found that nothing could be easier and more delicious, nor could this preparation be more suited to making the best out of what is a potentially tough part of the giblets.

We served our gizzards and some similarly confit’d chicken livers over a green salad with some boiled eggs, just as we had eaten it in Lille, but an alternative preparation typical to the Dordogne region of France, especially the town of Perigeux/Perigord, serves the gizzards over a lettuce salad with walnuts and croutons, which would be just as good, no doubt.

It is no coincidence that, in the 30 years since Franco’s death, Spanish creativity in the arts, architecture, business, and gastronomy has blossomed. It is also no coincidence that it has been, predominantly, though not exclusively, Spain’s sub-national and regional groups — who were repressed most viciously by the Fascist dictator — that have led this rebirth. Valencian architect Santiago Calatrava, designer of some of the most stunning buildings of all time, and Catalonian Ferran Adría, who runs what is, almost undisputedly, the world’s best restaurant, are but two whose genius has prospered in the post-Franco era. One could also point to more general trends of economic prosperity (prior to the recent global meltdown) in formerly moribund provincial cities like Bilbao and the resurgence of regional languages as evidence of this Spanish renaissance in recent times.

The Basque Country (País Vasco) has always been somewhat removed from mainstream Spanish affairs, even prior to the 20th century. Linguistically, ethnically and culturally unique, and surrounded on all sides by Indo-European speakers, the Basques have survived millennia of both active and passive discrimination, keeping their traditions alive with stubborn tenacity. One might be forgiven then, for assuming that these remarkable and unique people are a population of stolid conventionalists, unable or unwilling to change their habits. One would be wrong.

Historians trace the epicenter of today’s wave of Spanish gastronomic innovation to a small kitchen in San Sebastian (Donostía) in the mid-1970s. At his eponymous restaurant, Arzak, Juan Mari Arzak pioneered New Basque Cuisine (nueva cocina vasca) virtually single-handedly. Taking inspiration from the French nouvelle cuisine revolution of the late 60s — especially from Michel Guérard, whose spa-restaurant at Eugenie-les-Bains between Bordeaux and Biarritz was a particularly fine ‘local’ example — he began creating lighter and less rustic dishes from the finest traditional Basque ingredients and time-honored Basque techniques. Arzak has been so extraordinarily successful in this that not only do world-famous chefs Ferran Adría and Karlos Arguiñano credit him with heavily influencing their cooking, but his restaurant has retained the 3 Michelin star-rating it achieved in 1989, and only last year it was named the 8th best restaurant in the world.

Anyone who has eaten Basque food knows that it is characterized by simple, unadorned dishes with a weighting towards the maritime, like Marmitako (a tuna and tomato stew), Bacalao al Pil-Pil (salt cod in a spicy garlic sauce), and Txangurro (stuffed crabs), and Juan Mari Arzak’s signature dish — his hake in green sauce with clams — is of this same ilk, featuring very basic ingredients and unfussy technique.

Two things make Juan Mari Arzak such a revolutionary and this dish so seminal: (1) when he first made it, the dish demonstrated exquisitely, and for perhaps the first time by a Spanish chef, that Iberian dishes, Iberian ingredients and Iberian traditions could constitute haute cuisine — an idea that, today, resonates globally; (2) he showed in this dish that the cooking of the future would be as much, if not more, about what you didn’t do to the food as what you did do to it — a truly revolutionary notion at a time when the elaborate and time-intensive dishes of classic French gastronomy were still considered the pinnacle of the culinary arts.

Hake (merluza) is a staple of Spanish seafood cooking, and indeed, so influential has Arzak been that versions of this dish are still, 35 years later, pretty commonplace in Spain. I first ate it at a hole-in-the-wall tasca behind the Plaza Mayor in Salamanca years ago and I can still see its beautiful green color and feel the silkiness of the fish in my mind. Sadly, and for no good reason I can fathom, hake is difficult to get hold of on this side of the Atlantic and obtaining other white fish with similar properties is also problematic for the ethical consumer due to issues of over-fishing and scarcity. Nonetheless, sustainably managed Pacific cod is fairly readily-available, and most mild-flavored white fish, if left skin-on to keep it intact, will make a perfect substitute.

Juan Mari Arzak’s revelation of allowing the ingredients to speak for themselves is taken to its logical extreme here as he hardly applies his hands or any heat to create what is a fully cooked dish. Understanding that white fish can dry out and quickly fall apart if not dealt with delicately, all he does is gently caress it around a barely warm pan with garlic, olive oil, parsley, clam juice and wine. The emulsion created by this careful preparation is as sweet and elegant as you would expect from a three Michelin star chef, but with a flavor as robust as the ancestral Basque fare from which it comes, and as spirited as the revolution it began. Vivá la Revolucíon!

It might be generational, or, perhaps, philosophical, but there are, on the one hand, those who enjoy and appreciate handmade things, and the art and craft they require to make, and, on the other, those who prefer their things machine-made, reliable, and standard. The ‘things’ here could be quite literally anything. My father, who, to me, is the quintessential scientist and pragmatist, believes that most, if not all, advances for the betterment of mankind have come as a result of the increased use and application of machines, technology and science. In fact, he would argue, I’m sure, that this blog is evidence of the fact that even something as Luddite as cooking can be improved through the application of technology, though regular readers – with good reason – may not agree.

My mother was cut from very different cloth however, and, though a nurse who believed sincerely in the power of modern medicine, sanitation and inoculation, she was a true amateuse of a hand-turned chair-leg, a cut-glass goblet, and, much to the detriment of my appearance during my tender years, a hand-knitted sweater.  She was also a great lover of gardening, baking bread and, despite the fact that it rarely worked, yogurt-making. I think it’s from her that I get most of my culinary instincts, as the very notion of spending three or four hours in the kitchen doing anything would horrify my dad.

Pasta-rollers, like all machines, were invented for three main reasons: (1) to produce more quickly what used to take a long time (2) as a uniform-quality product, and (3) so that the resulting free time could be spent either more enjoyably or industriously. The assumption behind it seems to be that it makes it easier to make something that is typically quite tricky, and that the making of it by hand was a laborious pain in the ass. Those who have used a pasta roller, whether the hand-crank variety or the KitchenAid attachment, know, as we do, that it is a fabulous invention and enables even the busiest gastronome to home-make great fresh pasta in a relatively short time. They might also have found that it is actually fun to use because it combines the joy of mixing a dough by hand with the ease and convenience of not having to roll it out and cut it yourself.

Taking this notion of fun to its logical extreme this past weekend, I decided to devote my entire Sunday to doing the whole thing – the mixing, the rolling and the cutting – by hand. In spite of the recipe book’s warning that it was a painstaking exercise, I had little idea of what I was getting into. I now have a profound appreciation both for labor-saving machines, and the unique taste, texture and satisfaction derived from hand-rolled pasta.

But it is more than that. I learned something about myself on Sunday. In some ways, it was a revelation. I had always thought that I appreciated handmade things, particularly food and wine, with the all patience, care and skills that their creation implies, but I had never actually tested myself to see if I could enjoy hand-making something that required real patience and physical effort.  And, while there certainly were moments in which I did not enjoy being patient or the physical effort, on the whole, I really did find the process to be incredibly rewarding – relaxing almost. Not only did I (eventually, and with several abortive attempts) make some absolutely first-class pasta, but I learned a new technique and was, in the end, able to enjoy the fruits of my labor in a way I never have before.

Pici Keen

Famous for the lavish displays of wealth and the beautiful arts of the Renaissance found in Florence, Siena, Lucca and Pisa, Tuscans are, by contrast, rather austere in their culinary inclinations with their love of simple grilled meats, stewed beans and saltless bread. Such austerity requires the freshest and best ingredients in order to be delicious, and, fortuitously, Tuscany offers these up in great bounty. Similarly, it often requires great effort and technique.

So it is with Pici (also known as pinci — hand-rolled, eggless Tuscan thick spaghetti — perhaps the best example of this cucina povera (poor man’s cuisine) — utilizing only 00 flour, water, green Tuscan olive oil and a lot of time and effort. Indeed, it is my belief that what the poor, historically, lacked in wealth they more than make up for in patience, and disposable time. Originating from the Val d’Orcia region (the area between Montalcino and Montepulciano), pici are usually eaten with a rich meat sauce, often containing porcini mushrooms, but any hearty meat or game ragu would be a good choice.

The duck ragu recipe below is typical of the region of Arezzo which is the area where we got married in June 2007, and making it engendered all those kinds of warm feelings one gets from a house filled with delicious smells and the wonderful memories of the time of our lives.

Learning a new skill, and in this case, a new recipe, is a matter of managing to overcome self-doubt. Before you attempt making pici, I would highly recommend you try making a regular long pasta with an egg dough, so that you understand how it should feel and look. It will also allow you to develop a sense about the right elasticity of a good dough which will be useful even though Pici dough is a very different creature altogether.

If you follow the exact instructions below, you’ll probably find that your dough feels too dry and too heavy. Do not be afraid to add more water and more oil as you see fit because eggless doughs can easily become brittle when allowed to be too dry. However, do not abandon hope. I urge you to stick with the basis of the recipe (allowing for various seasonal, regional, altitudinal and indoor-outdoor climactic conditions) and overcome your fears of impending culinary disaster, as they will not materialize. If it feels too dry, add more water. Too wet, add flour until it feels right. One word of caution, though: be sparing in any additions of liquid or lipids because at the hand-rolling stage you will be adding extra olive oil to reduce friction and facilitate the rolling process, and you don’t want to find at that stage that you have to start all over again.

Also, do give yourself plenty of time. An otherwise lazy Sunday afternoon is perfect for this, as not only does the pasta make a perfect Sunday night dinner, but, more importantly, it gives you time to rest as you go along. Making enough pici for four people can be a tiring business, even if there are two of you on the job. One final proviso, do not treat pici like regular fresh pasta — i.e. sprinkle it liberally with flour and allow to set-up and dry for a while prior to cooking. I refer to my earlier comments when I say that pici can dry out and become brittle very quickly, so when you make them, plan to eat them within, at most, a couple of hours. This might appear like a disadvantage but it’s not because once cooked they are probably more robust than regular pastas and even reheat remarkably well.

So, please try making this dish. The sauce is easy and indescribably good (I know everyone says that about their food, but, really, this is very special), and the pasta is a great reward for some hard graft both corporeally and in that it offers a real sense of achievement. By the time you’re done, you’ll have sore shoulders but will have mastered the rolling technique perfectly. As a result, pasta-making will have transcended the bland uniformity of the machine-age and become what all good food should be: absolutely unique and deeply personal.

Turning rustic country fare into a slick restaurant best-seller has become so hackneyed these days that finding a post-modern reconstructed pot-au-feu for $45 in a hot new city dining spot can’t be far away. However, (and while we may be wrong) it might be a while before this garlic and wine soup hits high-end eateries — and not because it’s not restaurant-grade food, but rather because it’s the kind of dish that seems like it can neither be adapted nor re-imagined in a single way that wouldn’t detract from the original.

Do not to be discouraged by the glut of garlic called for, even if you’re cooking for those suspicious of its myriad charms. For, while it is unavoidably redolent of the “perfumed rose”, the flavor is mellow rather than aggressive, far cleaner than you might reasonably expect, and altogether heartier than a simple garlic and broth concoction would suggest.

This recipe is taken wholesale from Madeleine Kamman’s When French Women Cook, and if you don’t already own a copy of this classic tome, then you should endure no more of your life without it. It is evocative of the no-nonsense, waste-not philosophy of female-run home kitchens in pre-war rural France, where chickens pecked outside and extra dietary protein arrived under cover of darkness from the local poacher. Emblematic of the authentic, hearty and stunningly delicious food within its pages, Kamman’s garlic soup recipe comes from the rugged Auvergne — a mysterious and wild region of south central France rumored to still harbor wolves, even bears — via the hands of a distant grandmaternal, Occitan-speaking cousin named Victoire.

There are no pictures of food in When French Women Cook. This lack of illustration, far from confounding the reader and potential cook, actually encourages use of the imagination to mentally conjure what the text describes. Arriving at the completed dish, confidence in your ability to interpret a recipe is bolstered as you behold a meal that truly transcends what the bleak gulleys of your cerebrum had conceived. A rewarding experience corporally and spiritually, just steer clear of close-packed public places for the ensuing 24 hours — you will positively hum with garlic. Hum.

This was definitely the longest hiatus in We Are Never Full history (bear in mind our history is only a measly 27 months) but, finally, we’re back! (exactly a month to the day since we went away) You may not be as excited as we are to be slowly getting back to normal, but if you visited us right now in our new apartment you’d notice how far from normal our living conditions are.

After almost 3 weeks of eating take-out and restaurant meals, we spent our Labor Day doing hard labor. A day in a North Korean Labor Camp would’ve felt better to my legs and feet than a day trying to set up shop in our new place. Oh, and a tip to anyone moving after accumulating five years of crap (along with a fear of throwing things away), PAY PEOPLE TO PACK FOR YOU or at the least pay people to move everything you own for you. Maybe it was our youth, maybe our naïvete, maybe our pride, but we really thought it was a great idea to pay movers to move only our furniture because we could “get the rest ourselves”. Let’s put it this way, my thighs look like this after walking box after box (after box) up to our new 3rd floor walk-up over the past few weeks.  Oh, and did I mention my three-days of shredding a 30-gallon garbage bag  full of “I’ll get to shredding it next weekend” bills/credit card statements/etc.  Guess what, Amy? 2004 was five years ago – you didn’t shred it “next” weekend.

But, the craziness is almost over now. In a few weeks, we’ll be more settled after we buy a few more pieces of furniture and put those last few clothes away. The kitchen, of course, was the first thing we worked on. Our new kitchen has a bit less cabinet space than our last one and a smaller refrigerator, which isn’t great given the many, many dry goods and countless bottles of condiments we own, but we’ve just about found a home for everything, and we’ll be okay going forward if we make sure to limit our worst excesses at the grocery store.

So,the first meal we made in our new apartment was a simple, seasonal farewell-to-summer cream of corn and crab soup with a chile emulsion using much of what is readily available in our neck of the woods. Corn is coming out of our wazoo and is about 15 cents an ear;  the bay at my parents’ shore house is full of crabs; our pepper plants are almost ready to die, but have given us many, many spicy cayennes, cowhorns and red hots. And the yucca, well, it’s not exactly local and may not be as easy to get depending on where you live, but substitute a potato and you’re good to go. Strangely, a soup was actually very satisfying since the weather, coinciding uncannily the start of the school-year, has actually turned kind of cool.

Thanks for sticking with us through our hiatus. We hope you really enjoyed your summer and we can’t wait to start cooking some cool-weather meals for you. Until then, crack open a cold one and enjoy the last few days of summer.

On our honeymoon, almost exactly two years ago today, we arrived in the fair city of Verona thoroughly pissed off. And then things got worse. It wasn’t as if the day had started badly either: waking in Bologna; leisurely sipping a doppio espresso; before strolling along Via Pescherie Vecchie to buy a small, crusty loaf, a giant, but sweet tomato, an immoderately-sized leaf-wrapped burrata, and a serrated knife; then, wandering into the Piazza Cavour to make ourselves nearly sick with buttery cream cheese curds washed down with a half-bottle of bardolino. All in all, a pretty reasonable opening gambit.

I don’t even recall at what point things began to go west, but the supposed simple hour and a half drive between the two cities took us more like four. So, in late afternoon, we lurched into Verona hot, tired, stiff, and needing to pee. And then we couldn’t find our hotel. Another hour of angrily trawling the Veronese streets in our banana-hued rental car, grinding gears, and now with excrutiating pee pains, we finally found it – closed. No amount of banging on the door, honking of the horn or screaming at the windows produced a response. Despairing, I relieved myself copiously in the hotel’s flower bed and, looking up with an air of contentment, spied a large pink elephant beaming at me from across a field. Salvation arrives in many guises, and drawn towards it, things immediately improved.

With a free bottle of valpolicella, a purring welcome from a friendly ginger tom, a pair of iridescent peacocks puttering outside, and a room for the night with breakfast, Hotel Elefante saved us from sleeping in our car and, perhaps, from premature marital counselling. Having regained at least partial equilibrium, we made for the city center dressed for the theatre.

Skirting the wholly-invented balcony of the wholly-invented Capulet family, we ducked down Via Portici and into a restaurant filled with lovers pawing each other under the table and, like cartoon dogs, sucking-up the same strand of spaghetti. Still too flustered to entertain any romantic notions, we ordered what turned out to be a vast portion of fegato di vitello alla Veneziana or Venetian-style calves’ liver, which, with its heady richness of garlic, sage and cream, would have rendered senseless even the most amorous couple. Things continued to improve after dinner as we shuffled onwards to the arena di Verona and, cooling our tails on its ancient bleached limestone blocks, watched an epic performance of Puccini’s La Bôheme that somehow provided much-needed perspective on the day’s minor tragedies.

Periodically, we’ll laugh (or grimace) at our haplessness that day, but as time passes, we’re more apt to remember the liver than the liverishness. During a recent lunch at the very respectable Aperitivo here in Park Slope, Brooklyn, we ate a delicious adaptation of that dish over linguine with a nice dry Valpolicella that was reminiscent of our pre-opera meal in Verona. Here it is, recreated for your visual pleasure. Feel free to eat it on a balcony or at a banquet for quarreling clans, just don’t expect to be feeling frisky afterwards.

No, friends, let me reassure you that you have not accidentally stumbled upon some weird, faux-rustic “pron” site. For good or bad, the only p0rn you’ll find here is daring, ultra-close-up pics of the juicy, young flesh of pasture-fed Argentine cattle. And the only things being roasted (or stripping for that matter) are long strips of beef ribs, or tira de asado.

The setting for this particular Argentine skin flick was El Establo, (meaning the stable), a famous old parilla in the Retiro district of Buenos Aires.

Arriving at this restaurant after another long walk across the City, we found ourselves salivating even more than usual at the sight of giant hunks of meat sizzling over glowing coals because the previous night’s meal had been so disappointing. We’ll devote an entire post about why our experience at Casa Saltshaker was such a let-down another day, but suffice it to say for now, that this chastening experience was beneficial because we learned that disappointment can be an excellent appetite-whetter.

Greeted enthusiastically by our ebullient waiter Javier, we were presented with a large menu, including a range of steaks and pasta, as well as a wide variety of northern Spanish classics – the restaurant’s founder being an immigrant from the Gijon area of Asturias. After a good ten minute study of said menu, we looked up and noticed our surroundings: a high-ceilinged whitewashed room with thick, dark wood beams, somewhat reminiscent of a stable, with the exception of the giant barbecue, and behind us, an intimidating old liquor cabinet packed with all manner of head-splitting firewaters in knobbly green and brown bottles.

Famished by our walk and the meager offerings of the night before, we ordered the heroically proportioned ensalada del Establo (containing almost every vegetable you can name plus potatoes and boiled eggs), and what turned out to be a giant order of lengua a la vinaigrette (cold, boiled beef tongue with garlic, hot pepper and vinegar sauce) as appetizers, and somewhat conservatively, we figured, a half order, respectively, of entraña (skirt steak) and tira de asado.

Tira de asado (roast strips) is one of several uniquely Argentine cuts of beef that are perfectly suited to the high-heat charring (al carbon)of a traditional parilla. Beef ribs are cross-cut so that long narrow strips of inter-costal meat are interspersed with knots of rib-bone, which serves to shorten the often tough fibers of this part of the beast and allow them to be grilled instead of cooked using the long, low & slow method for the typical beef ribs barbecue familiar to Americans.

The juiciness and wonderfully gamey flavor of beef ribs is also retained brilliantly with this method, creating an irresistible contrast in texture to the crust formed on the outside by the searing heat from the charcoal.

Similar cuts of meat are available from some butchers in the US, the closest probably being the flanken rib, which is a short rib cut across the bone. From what we know from visiting several local butchers in Brooklyn, these are delicious, but generally thicker and meatier than those we ate in Argentina, bringing us to the conclusion that they’re cut from higher up the steer. Of course, as we plan to do at several points over the summer, you could quite easily buy yourself a rack of beef ribs and a fine-toothed saw (or heavy cleaver) and cut your own meat to order. I expect that satisfying thwack of steel on bone will be one of the signature sounds of the season.

We were delighted with our lunch at El Establo in all respects, and the playful friendliness of Javier interjecting his Argentine-inflected “you’re welcome”s as he brought more and more food to the table, only complemented our general sense of well-being. Like many professional waiters, he did his job expertly without either writing anything down or seeming to be in a hurry. Strolling around, gracefully hefting heavily-laden iron meat trays, and pausing now and then to chat and joke with our fellow diners, Javier seemed to be enjoying himself as much as we were. In fact, the only time I saw him frown was when, casting a wary eye over the meaty wreckage on our table, he tapped his nose, and, winking, advised us that we would need another half-bottle of wine if were going to properly enjoy the remainder of our steak. You can’t argue with service like that.

We ate tira de asado on at least three occasions during our week in Argentina, and so hooked were we that for our first steak meal in the month since returning home we trekked all over Brooklyn looking for an appropriate cut of meat. Ultimately, we didn’t quite find an exact facsimile of what we’d eaten in Buenos Aires, but the ribs we made and grilled at home were still very, very good all the same. And, when accompanied with lashings of sweet-vinegary-spicy condiment salsa criolla (creole sauce), a hearty Malbec, and a bowl of the highly addictive side dish that is papas fritas a la provenzal (french fries with fried garlic and parsley), it didn’t take an enormous mental leap to be back at El Establo listening to Javier expound his theory of why Fernet-Branca is the most popular digestive in Argentina. (it burns through steak the best)

And it was because of this humbling reminder of mortality that we were unable to visit a very tempting restaurant that lay just across Calle de Campomanes from our hotel (the curiously-titled Roommate Mario) in the Opera district of the city. Every day for a week, we walked (or, as our stay progressed, waddled) past this restaurant (it didn’t appear to have a name), re-reading and salivating at the names of dishes advertised on the sunshades overhanging the windows: paella marinera, paella bogavante, arroz al horno, paella valenciana, arroz atianda, and arroz negro.

At the time, we convinced ourselves that this was no big deal since we were in Madrid to eat Madrileño food, not rice dishes from the Levante (eastern Spain, around Valencia/Murcia, so-called because that’s where the sun rises), and certainly not in the chilly depths of winter when rib-sticking dishes like cocido madrileño and callos a la madrileño were the order of the day. Of course, we flagrantly disobeyed this rule on a couple of occasions (see our previous posts on Canarian papas arrugadas and Galician arroz marinero), and during our current lengthy bout of winter-induced, home-bound funk, we found ourselves, in our related regret-filled nostalgia, wishing that we’d made one more exception.

So, to appease these feelings, what we were unable or unwilling to eat in Madrid, we decided to make ourselves right here in Brooklyn. A couple of sachets of cuttlefish ink, some D.O. Calasparra rice, and a little help from Penelope Casas’ The Foods and Wines of Spain resulted in a quite magnificent traditional Murcian arroz negro.

Do not be confused about it, the rice is, and should always be, the star of the dish. Do not be tempted to listen to the voices in your head telling you to add more seafood: this is not a black paella (though traditional Valencian paellas contain no seafood). Rice, in this case, is not just a starchy canvas on which the more tasty and colorful protein displays itself, as it is commonly thought of in the American and British mind. Use only the amount specified below, otherwise you risk distracting your tastebuds from the point that is the extraordinary manner in which the squid (or cuttlefish) ink, together with pimenton, saffron and a hint of garlic, delicately perfumes the rice. A crisp white wine (as called for in the recipe) or a dry rose would make a perfect match.

Our good friend Nuría of Spanish Recipes Pic by Pic made what is, by any measure, a superior arroz negro on her third attempt. Having been unable (at least for now) to find squid or cuttlefish complete with their ink sacs, we’re not optimistic that we’ll be able to mimic the wonderful inky blackness of Nuría’s dish, but next time we try, I think we’ll add an extra packet of dry ink to see if we can get closer to that beautiful color.
Arroz Negro Murciano (Murcian-style Black Rice) with Garlic Sauce
(adapted from Penelope Casas’ The Foods & Wines of Spain)

Ingredients

• 500 grams Calasparra, Valenciana, or Bomba rice (only use Italian arborio or carnaroli, if you are absolutely desperate)
• 2 pounds octopus (with tentacles)(ab0ut 8 squid), sliced (if you find them with their ink sacs you’re very lucky, and use these in place of packets listed below)
• 1/2 pound small shrimp/prawns, shelled and chopped into pieces
• 1 large onion, chopped roughly
• 1 medium tomato, roughly chopped
• 1/2 medium green pepper (capsicum), chopped
• 1/2 jar piquillo peppers, julienned
• 8 cloves garlic, finely chopped
• 2 small, dry chorizos, cut into 1/2 inch cubes
• 2 packets squid or cuttlefish ink (nero di calamari/seppia)
• 1 pinch saffron threads
• 1/4 cup dry white wine
• 3 tsp pimentón dulce (sweet paprika)
• 4tbsp finely chopped flat-leaf parsley
• 3 3/4 cups (1.5ish liters) fish broth or clam juice (make 4 cups in case you need a little extra)
• 3 tbsp olive oil

For garlic sauce:

• 3 cloves garlic, crushed
• 1/2 cup olive oil

Recipe

1. Preheat oven to 325F (160Cish)
2. Clean the squid, cutting bodies into rings and chopping up tentacles.
3. In a wide 2-3inch deep casserole dish (preferably earthenware), or paella (pan), heat oil and saute onion and green pepper until both are wilted.
4. Add squid rings and tentacles and saute for around five minutes before adding chorizo, garlic, tomato, parsley, salt, pepper, saffron, and pimentón. Cover and simmer gently for around 30 minutes.
5. Meanwhile, follow directions on packets for reconstituting the squid/cuttlefish ink, and pass black liquid through a sieve to remove impurities. Mix ink with wine.
6. After 30 minutes, stir in rice and when well combined, add broth (boiling hot) and stir in ink/wine and toss in shrimp.
7. Bring to a boil and stir occasionally until rice is no longer soupy, about 10 minutes. Decorate with pimento strips and put dish in oven and bake uncovered for around 15 minutes until all remaining liquid is absorbed.
8. Remove from oven and cover tightly and allow to sit for 10 minutes.
9. While rice is resting, add garlic in a food processor or blender, and with motor running gradually pour in olive oil until well combined and golden.
10. Place dish in the middle of the table and encourage diners to stake their claim. Serve garlic sauce on the side.