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380 pages, Hardcover
First published January 1, 2008
LEMONS, PRESERVEDOh, and featured chef Brad Farmerie (Public, NYC) is quoted enthusiastically as favoring their use. Readers are supposed to use the book like a thesaurus, only words shown in ALL-CAPS or boldfaced (or boldfaced and all-caps) are those cited more frequently by those chefs the authors interviewed. There's no attempt to be rigorously consistent. For example, skip back a couple of pages to the entry on LEMONS, and you get an entry for "Season" (year-round) in addition to taste, weight, and volume, along with a list of associations that goes on for three full columns.
Taste: sour
Weight: light-medium
Volume: moderate-loud
cinnamon
cloves
lamb
MOROCCAN CUISINE
nigella seeds
saffron
We wanted to trick the customer into thinking that they were going to eat a hot pancake topped with… syrup…. We bring out a metal plate that looks hot [but is frozen and steaming from being immersed in nitrogen].… Ninety-nine percent of the people who were served this dish swore they were getting a hot flapjack, and it was only when they tasted it that they learned it was cold. – Homaru Cantu (Moto, Chicago) (p. 15)The authors themselves are no better. There's the unnecessary use of air quotes at page x:
To make our "Philly Cheesesteak," we start with the bread. We put pita dough through a pasta machine so that it gets really thin, but puffs way up when you cook it…. So you have bread, cheese, beef, and onion, just like a Philly cheesesteak. We add the truffles just to push it over the top. – Katsuya Fukushima (minibar, Washington, DC) (p. 16)
I like very little lavender with quail for its savory aroma, but the key phrase is "very little" – or else it's like eating a piece of soap! – Sharon Hage, York Street (Dallas) (p. 196)
We believe cooking will continue to evolve, and not only as a means of "doing" (i.e., putting dinner on the table, or "problem-solving" by "following a recipe").This is immediately followed by a cringe-inducing summation on the following page, "We hope this book makes you happy – literally." At page 217, the entry on "MENU" offers up a musical metaphor using improperly-grouped, inelegantly drawn sets of notes with wrongward-facing stems that better communicates the musical illiteracy of its authors than anything meaningful about food preparation or service. The volume is liberally seasoned with banal gems such as this one from p. 21:
When you are working with fresh fruit, the fruit has to be the guide. If you eat a piece of fresh fruit by itself, it is a dessert. So you want the dessert, in the end, to taste better than the fruit itself.All of which is to say that this reference work would probably come off better as a searchable online database than a shelf-stacker. It's a conversation piece at best; a poor read, overdressed with superfluous prose, and too unwieldy to prop open for real-time cooking consultation.