The culinary memoir has to be one of my favorite genres of both cookbooks and books in general. Combining anecdotes, family history and delicious recipes, and spanning literature and cuisine, there’s really nothing better than a cookbook that you can actually read, that’s not just a selection of quick and easy recipes by some personality-laden stand and stir TV show host, and from which you learn the context of the food and about why traditions and patience in food are important. With the holiday season upon us, I can heartily recommend you give the gift of a copy of Food & Friends: Recipes and Memories from Simca’s Cuisine by Simone Beck, to your nearest and dearest this year.

Madame Beck is best known as having been Julia Child’s collaborator on Mastering the Art of French Cooking volumes I and II, in which she was both originator and chief tester of the majority of the recipes contained therein. Beck and Child met through a mutual friend while Child was first in Paris with her spy-husband, Paul, in the late 1940s, and struck up a friendship that was to last until Beck’s death in 1991. In spite of her crucial role in these historic cookbooks, many Americans could be forgiven for never having heard of Simone Beck, since Julia Child’s television career and her bright and breezy personality are what most people remember. This is a pity because Beck is a superb raconteuse, whose life, spent in various parts of France, spanning two World Wars, a trans-Atlantic career, and the birth, life and death of nouvelle cuisine, is truly fascinating.

The first half of this reissued book – first published in 1991 – is a charming, rose-tinted memoir, interspersed at key points with beautifully-constructed period menus complete with recipes from the principal events she tells of – dinners with local Norman families, dinners for liberating Canadian soldiers, and lunches made for her Provencal cooking school. The second half is rather more of a straight-up compendium of French recipes, many of which feel, in all honesty, rather old-fashioned and frumpy when deprived of Beck’s evocative descriptions of French country life we find in the first half of the book.

If you are looking for a cookbook full of recipes that you’re immediately going to want to make, then this might not be the book for you, as although there are plenty of recipes that will make you salivate, many feel rather overly ornate for the typical American home cook. For the purposes of quality control, I tried her Poulet de Varvannes a l’estragon et a la creme (chicken in tarragon cream sauce) (recipe to follow in a later post), and found it to be not only completely delicious, but a very straightforward recipe to take on, even for a week night, so one can definitely pick through this books contents for more approachable dishes. However, even if you never make any of Simca’s food, there is plenty to enjoy in her book with its variety of delightful tales of her gastronomic pursuits and friendships with many of the 20th century’s most celebrated bon vivants. For further reading of this kind, I can also recommend Jacques Pepin’s The Apprentice, M.F.K. Fisher’s A Long Time Ago in France and the unsurpassed When French Women Cook by Madeleine Kamman.

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’s widely known that humble ingredients prepared with simple techniques often produce the best dishes, and it’s becoming more widely known that this philosophy lies at the very heart of Spanish cooking – a cuisine that has, in the last five or so years, become one of the most celebrated “new finds” of foodies everywhere. As a result of this, there has been a great deal of interest in tapas and the cuisine and culture surrounding these small plates/finger foods. All of which, in my view, can only be a good thing, even if many of these new “tapas restaurants” (itself, again in my view, an oxymoron) serve few, if any, authentic Spanish dishes.

Indeed, and here lies the rub, in their rush to capitalize on the latest food trend, it seems everyone is trying to outdo everyone else on the cleverness factor. Expanding their menus to include all sorts of dishes resembling “tapas” only in the fact that they are served in small quantities. It’s almost as if the tasting menus of high-falutin’ restaurants have become conflated with “tapas” so that you get tiny dishes and are charged through the nose for them.

Now, we here at WeAreNeverFull.com, perhaps contrary to popular opinion, are not against experimentation or new dishes in the slightest. Quite the contrary, in fact, we are always ready to try new things. However, and again, this may just be our view, so feel free to comment disagreeing, we feel that developing all these new and complicated dishes and calling them tapas is fundamentally against the spirit of tapas as a style of eating, outlined above.

The term tapas, as I’m sure many of you know, is derived from the Spanish word tapa, meaning a lid, and originally connoted a slice of bread or cheese that certain tavern owners used to serve across the top of the drinking vessel, perhaps as a way of keeping out unwanted bugs. Over the centuries this has developed into a wondrous variety of small dishes, now commonly on plates and cocktail sticks, as well as on rounds of bread, that are served to accompany su caña – whatever you are drinking at the bar. Indeed, it has become so refined a practice that many bars, while they might serve a lot of different tapas, are famous for one in particular, a signature tapa, that those in the know only eat at that one bar. So, as you can see, tapas has come a long way from its beginnings as a humble drink lid. That said, the original ethos of simple but tasty accompaniments remains.

We’ve traveled extensively in Spain and eaten, it must be said, an obscene amount of tapas over the past several years, and the consistent theme has been that the ingredients and the simple, time-honored preparations and take center stage, not the ego of the preparer. And this has never been more true than in the case of patatas a la Riojana. So, so simple, unbelieveably good. Really. Potatoes, chorizo, onions, garlic, sweet paprika and water, combine to create a dish that is without a doubt my favorite tapa. And, if I may name-drop shamelessly, I am not in bad company when I say that. Legendary chef and father of nouvelle cuisine Paul Bocuse, no less, while at a culinary convention in Spain in the late 1970s, described patatas a la Riojana as among the “greatest dishes created by man.”

And here is the interesting thing. If Bocuse, a man whose entire reputation was built on small, artfully-plated dishes, found this humble and rustic dish such a revelation, why is it that so many lesser chefs of today are trying so hard, and in many cases failing, to improve upon these time-honored preparations?

Nearly everyone knows that La Rioja is Spain’s most famous wine appellation, but it is also known, mostly inside Spain, as being the origin of many good things to eat. Piquillo peppers are the regions’ second best known export, and together with wild mushrooms, chorizo, river crabs, bream and trout they combine to make many dishes synonymous in the Spanish stomach with La Rioja. In fact, it is the inclusion of a typical Riojan dry chorizo that makes this preparation “a la Riojana” or Rioja-style.

Personally, I would eat this dish three times a week, but if my recommendation that you try making it isn’t good enough for you, then I’m sure you’ll pay attention to the wise words of Monsieur Bocuse.

Ingredients: (serves 4)

• 3 tbsp extra virgin olive oil
• 2 cloves garlic, chopped roughly
• 1 small onion (or half a large one) finely sliced
• 7 ounces (or 2-3 links) chorizo, sliced into rounds
• 1/2 pound floury potatoes (idaho or similar), peeled and cubed
• 1 tsp pimenton dulce (sweet paprika)
• 1 tsp kosher salt, or more, to taste
• 1/2 – 1pint (1/2 liter) cold tap water

Recipe: (adapted slightly from Jose Andres’ Tapas: A Taste of Spain in America

• Warm olive oil over medium heat and add garlic.
• Cook for about a minute until golden before adding onions, and sauteing them gently for 20 minutes or so, until light brown.
• Add chorizo and cook until this also is browned, about 2 minutes.
• Place the potatoes in the pan and stir to coat with oil. Cook for 10 minutes.
• Now sprinkle over the pimenton and pour in enough water to almost cover potatoes and chorizo. Put lid on pan and bring to a boil, then lower heat and simmer for about 20 minutes or until liquid is reduced by half.
• Serve immediately with lots of crusty bread and a hearty red Rioja. Unbelieveably delicious. Trust me.
• Unsurprisingly, this is quite a filling dish, but fear not, as left-overs, eaten either cold or reheated the next day are even better as the flavors continue to meld together.