Flour

Corn Light Bread, a favorite barbecue side in middle Tennessee, breaks all the Southern cornbread rules. It’s loaded with flour and sugar and it’s baked in a loaf pan. Why sweet cornbread with barbecue? Our guess is that sweet-sauced barbecue calls for a sweeter bread, just like the customary pairing of a sweet wine with a sweet dessert. Anything not sweet enough just tastes sour. Judging how most of the country prefers sweet cornbread, this may be the one that tastes the most like home.

Other than a soft bun or white bread, cornbread is the choice for barbecue. Min has been making it so long she only uses the recipe in her head. After years of working with the test kitchen staff of Martha White, the historic Nashville flour and cornmeal company, and writing the live radio commercials for Martha White’s Friday night segment of the Grand Ole Opry, who needs a recipe? The key, of course, is self-rising cornmeal mix. Southerners prefer white cornmeal (made with white corn) to yellow. So do Rhode Islanders, as R. B. likes to point out, where the native white corn johnnycakes are as ancient as their close cousins, Southern hot water hoecakes. Either way, white and yellow are interchangeable and basically a regional preference, like white and brown eggs. Don’t get hung up on color. For cornbread, it’s all about crust and batter. First, the best crust comes only from a well-seasoned black iron skillet preheated with bacon drippings or oil. When the batter hits the pan, POW! It sizzles. Second, the batter must be creamy and pourable. If your batter is thick and dense, add more liquid, because you want the batter to slide to the edges of the pan with ease. Cornmeal absorbs quite a lot of liquid, and even a shot of water can loosen things up. Get the feel of good cornbread batter, and crumbly, dry cornbread will be a thing of the past. Now, about the balance of outside crust to inside moisture. For Min, the finest cornbread is an inch thick and a mile wide. Most 2-cup recipes baked in an 8- or 10-inch skillet are just too tall, denying the cornbread its rightful ratio of crust. Min uses about 1 1/2 cups of cornmeal mix for a 12-inch skillet and only about a cup for a 10-inch. Sugar is also an issue that divides cornbread camps. The most common cornbread recipes and mixes are often half flour and half cornmeal, with a heavy dose of sweetness. We’re in the other camp, using very little sugar (or none at all) in skillet cornbread. It’s just a matter of taste. If you live in the land of self-rising cornmeal mix, get acquainted with it and use it to replace the plain cornmeal, flour, leavening, and salt. It’s the best way to go. If not, and you don’t have a relative to send you some, give this a try. Always serve cornbread flipped out of the pan with the beautiful browned crust faceup. Whatever you do, invest in a good cast-iron skillet. It will bring your family generations of top-notch cornbread.

Loaded Cornbread is the cornbread for a crowd and essential for a big barbecue. Dense and moist with Cheddar cheese, cream-style corn, and buttermilk, it can be baked in advance and cut into neat squares. Unlike traditional skillet cornbread that’s best eaten hot out of the oven, Loaded Cornbread travels well and tastes fine at room temperature. The jalapeños are up to you. Substitute a chopped fresh mild green chile or even a can of them. The other substitution is yogurt for buttermilk. Again, if the batter seems too thick, add a little water.

Ranch Style® Beans are Min’s number one foolproof side dish for instant satisfaction every time. She says that if Andy Warhol had been a Texan, the Ranch Style® Beans can would hang in museums throughout the world. The chili pintos’ unmistakable label dressed in basic black with bright white Western lettering and yellow and red accents is as common a sight in Southwestern pantries as Campbell’s tomato soup ever was. These well-seasoned beans make an “appetite pleasin’” homey cornbread casserole with any leftover cheater meat.

There is an ancient and savage imperviousness about la barbagia—the high, central plateaux in the Gennargentu Mountains. The Romans named it barbaria—barbarian—they having muddled all campaigns to vanquish the rough Sard clans who lived there, who live there still. And so it was with all who braved ingress onto their wild moors, into their Mesolithic woods. Of ungenerous earth fit only to pasture sheep and goats, these barbagianesi live simply but somehow not poorly, their uninjured traditions nourishing them as much as the fruits of their hunting and foraging. Too, they are primitive artisans, building, weaving, carving objects of rustic beauty and comfort, enriching their homes and villages, themselves, with a most tender spirit. And riding the thin, tortured roads that thread through the mountains, one is carried back into their unfrayed present. Seeming to seep from the pith of the mountains is the village called Desulo, and there one is greeted by citizens dressed—as they dress always, as they have dressed always—in ancestral costumes of handwoven cloth tinged in the reds and blues and yellows of their allegria, of their perpetual, quiet festival of life. And, too, one might be invited to sit at a family table to eat mutton boiled with wild bay leaves and wrapped in warm, thin breads baked over embers. But this after a great bowl of malloreddus—vitellini—little calves, for which Desulo is famed. Not calves at all but tiny, plump, hand-rolled, saffroned pasta that, to the Sards, resemble fat little heifers.

Piana degli Albanesi is the name of the city settled half a millennium ago when a band of oppressed Albanesi took flight from the Turks and, with the permission of Giovanni II, the then Spanish viceroy in Sicily, took refuge in the countryside near Palermo. A somewhat unmingled populace, cleaving still to its heritage, they perpetuate, in full dress and with great ebullience, the story of their gastronomy. And yet it is a fornaio, a baker, there who makes one of the finest examples of the traditional bread of Sicily. Heavy, cakelike in its wet, golden crumb, its crust is thick, hard, wood-scorched. And to cradle a hunk of it in one’s hand is to hold a piece of the ages, it seems. Insofar as things like this can be carried from one part of the world to another, here follows his formula.

If I were given the task of choosing one bread from all the bakers of Italy, one that I could eat everyday and forever, it would be the golden-fleshed bread of Altamura, its thick skin, parched, crackled, its form a fat, crisped heart, cleaved nearly in two.

...Anchovies, and Black Olives) Brindisi, the ancient Brundisium of the Romans, is a sort of rough, emotionally bankrupt port city. Still, we like to walk and sit, sometimes, on the edges of its rickety old wharfs early of a morning to inhale the bright, briny tableau of the place. And round about eight-thirty—high noon for the fishermen, who rise before the sun—we wait to see the baker’s boy running down the docks, toting a great basket of puddica—traditional Brindisino flatbreads—just born and sending up great hungering perfumes for the fishermen’s lunch. It seemed to us the highest form of ceremony left in the dour old place.

The transumanza is all but a faded pastoral ritual in the Abruzzo. Once three million sheep and lambs were guided each year from summer mountain pastures to the winter lowlands and back again, but now—with the flocks reduced to several hundreds of thousands—they are transported in huge, canvas-roofed vans. And thus the pastoral life is in suspension, lulled into a smaller, less dramatic sort of existence that permits the shepherd to stay fixed, to have some dwelling or other as a home. Before, he lived with only the sky as refuge. His nobilities and his indignities, his dreaming and sleeping and, often, his dying, were fulfilled in the open air. But to hear stories from old men who, as boys, were raised to be shepherds, whose youth, nomadic and primitive, was spent in the waning epoch of the transumanza, one thinks it might hardly have been a life of desperation. Its very solitude was often its gift, say the old men. In his aloneness, the shepherd honed a curiously grand capacity to listen and discern. He became a piper of sorts, free to move about from village to village, and thus to transport to the hungry ears of each place his accumulation of stories. He was a folkloric hero, an exotic who lived by the graces. The old men smile deep in their eyes when they speak of they who live and die hanging tight to the fancy that security is palpable as a jewel. And, so, having heard the dusty memoirs and the swollen legends recounted by the old shepherd romancers, of the austere dishes they recall being cooked out in the open over their fires or under the shelter of some ruin, we wondered if someone, somewhere, might be cooking them still. Having just billeted ourselves at a modest hotel, La Bilancia, in the environs of Loreto Aprutino, spurred by the repute of its kitchen and cellars, we approached our host. Sergio is a gallant man with a burly sort of gentility. He said how strange it was that the circle had closed so quickly, that in his own lifetime, foods representing poverty had come to be of historical, gastronomic, interest to a stranger. We followed him into the kitchens, the parish of his wife, Antonietta. It was she—one who had every comestible at her disposal, kitchens with the square footage of a small village, four chefs at work under her soft-spoken guidance—who offered to cook the old dishes. They were, after all, her childhood food, the consoling plates of her grandmothers. She explained that the Abruzzesi, even when their means invite them to eat more extravagantly, still cook the old dishes at home. “They still comfort,” she said. “They are cherished, they are our nostalgia.” Too, she mused, this was not so true in some other regions where the foods a people ate when they were poor were fast set aside in better times. And so, because her clients partake of these dishes at home, it is other foods they long for when they sit in her dining room. Hence, it was a somewhat singular occasion for Antonietta to prepare the old foods. She set to making her lists, dispatching us on a mission to the nearby town of Penne to find a certain flour, a certain dried bean. Antonietta cooked two of her own preferred dishes from the traditions of the transumanza, from la cucina povera. And that evening, the immense room filled with guests vanquishing great hefts of roast lamb and fricasseed veal and saddle of hare and generous plates of maccheroni alla chitarra with a sauce of wild boar. She sat with us, her impeccable white cook’s bonnet always in place, eating the simple food with an unembarrassed appetite. We, too, loved the dishes, as much for their own goodness as for the images they lit. The rough pasta dough is made from three flours and hand-rolled. Cut into rustic strings, this is not the ethereal pasta of the refined cucina whose destiny it is to linger about with shavings of white truffle or the belly of some poached lobster. It is the coarse stuff that is homey sop fo...

Twenty kilometers from our home sits the bustling Latian village of Acquapendente. There we find our trustworthy pork butcher, our panificio di famiglia (family bakery), and the only shop between Rome and Florence where Erich can find the music of Astor Piazzola. Hence, Acquapendente is a sort of vortex for us. It is on early Friday mornings when it beckons us most plaintively, the day the market—the mercato—comes to town. It is a good-enough market at any time of the year, but steeled in late January fogs is how we like it best. From our home in San Casciano dei Bagni, higher up by four hundred feet and, in winter, sitting nearly always in crystal air, we descend the narrow, sloping road past the sheepfolds, past the ostrich farm, away from the new, gold sun, fresh from its rise, and into the thick, purply mists of the rough little place. Wrapped in our woolens we stroll the abundant tables of green-black Savoy cabbages and violet broccoli, baskets of potatoes and turnips unwashed of their Latian earth. Here and there are lit small, consoling charcoal fires in funny little tripod burners over which the farmers thaw their ungloved hands. Just outside the fray are the humbler posts, those that beg no rent, that are had for their predawn staking. The farmers, sober in the unpacified cold, unwrap their often meager stuffs—a basket of chestnuts, one of cauliflower, and once, a man, standing beside his little pile of pumpkins, held a brace of pheasant, still dripping their blood on the frozen ground, his booty from a predawn hunt—offering them at far lower prices than those asked by their more prosperous colleagues inside the village. It was there, too, at the Friday mercato in Acquapendente that a woman from Bolsena, who was selling just-ground chestnut flour, sat on the edge of her table and wrote out this most wonderful recipe. The smokiness of the chestnut flour enlarges upon the forest scents of the mushrooms, the whole combining into a sensual sort of rusticity. If chestnut flour is not to be found at your specialty store, substitute whole wheat or buckwheat flour and mix 3 ounces of canned, unsweetened chestnut puree with the mascarpone.