Strangely enough, February is the busiest month of the year in my kitchen. It’s also the hottest month in Melbourne, although this year we have been spared ( touch wood) those soaring temperatures of over 40ºC. The kitchen frenzy comes with the flushing of major annual crops such as zucchini, tomato, cucumber, chilli and now plums. It’s a bumper year for plums. I have another 5 kilo waiting for me in the fridge. Our annual beach camp is interspersed with busy times back at home preserving and freezing crops for the cooler months, as well as watering the garden and clearing away the fire hazardous leaves and fallen branches. The Sagra delle Prugne is around the corner.
Meanwhile, we eat simply and cheaply. When not eating zucchini fritters or Moulin Rouge Tomato Soup, I turn to Vietnam for inspiration. Cá nấu cà chua, fish, tomato and dill soup, is perfect for a hot day. I found this recipe last year while in Saigon and now that summer has arrived, I am delighted to make it with my own produce. The fish market at Preston provided the economical red snapper for this dish. Light and sustaining, it tastes like a wet version ofcha ca la vong.
While at the market, I purchased a big pile of local Southern Squid for $5 a kilo. Yes, there’s an hour’s work gutting and preparing these for the freezer but my little ones love fried squid after a swim in the pool. The best day to buy squid is on the day the market opens for the week. In the case of our nearest fish market, that’s Wednesday morning. Squid needs to be super fresh to compete with is pricey relative, the calamari. How can you tell squid from calamari? Australian southern squid, the most sustainable seafood in Australia, has an arrow shaped tail, whereas the calamari has side wings.
At the same fish monger, I bought some fresh river shrimp from the Clarence river in NSW. These are tiny and eaten whole. They make an excellent beer snack with a little lime aoili. A tempura batter, made with iced water, baking powder and cornflour, protects them as they fry. A pre-prepared salt of interest is also a good accompaniment. I used Herbes De Provence with salt, a batch I made before Christmas. I love special salts and am about to make a celery seed salt and one from our chilli flush. These salts make cheating easy.
To mop up the big soups and fried things, one needs a large cloth napkin. These lovely cotton towels, seconds, turned up in a linen shop in Brunswick for $2 a set. I bought them all. They soften and improve with washing.
Last week I celebrated the summer zucchini plague on Almost Italian. This zucchini slice is handy and well known. I added almond meal to the mix for a lighter version. It comes with grated carrot, zucchini, chopped capsicum and herbs.
This hungry lad has finally learnt to make a good tuna pasta in my kitchen. It is an easy dish for a 12 year old to learn. Practice makes perfect Noah.
And what would be an IMK post without my little Cheffa, Daisy, who always drags her stool to the bench to help with anything I am making.
Good food does come at a price around here, not so much in monetary terms but certainly in labour. Thank you kindly Liz, at Good Things, for your gracious hosting of this monthly link up.
Warning. This post is not about religion but bread, although it’s hard to resist segueing into the religious connotations associated with bread, not to mention bread’s best mate, wine. As these two life-giving basics feature often in my daily life, I give thanks but I’m not sure who to. I remember the ending of the Lord’s prayer quite well: it always signified the end of Mass which meant freedom was just around the corner. I also recall the hilariousMondegreen* of my younger sister’s friend, Cecilia, whose child’s voice could be heard clearly from a nearby pew, as she chanted
“Give us this day our daily bread…. and deliver us from eagles, Amen”
I rather like this alternate ending and I think my chickens feel the same way too.
The joys of bread are almost too numerous to list. Unassuming and humble, bread is central to most western meals. The breaking of bread at the table amongst friends, the dipping of bread into new season’s olive oil, the grilling of bread for bruschetta or the morning toasting of yesterday’s loaf, smothering it with quince jam, or Vegemite, or just butter. The dunking of bread into soup, or the submerging of bread under Italian Ribollita or French onion soup. The left over stale loaf crumbed and stored to top a future gratin, or cubed then baked in garlicky oil for croutons. Given the effort gone into baking a good loaf of bread, (even if you haven’t made it yourself), it seems a sin to waste it.
Bread making has a certain rhythm: once the pattern is broken, it takes a bit of discipline to get it all happening again. My sourdough bread takes 24 hours to come to fruition: one day of feeding my starter, beginning at 7 am, with 4-5 hours between each feed. One evening of mixing and stretching, which takes very little time, but requires my presence at home. An overnight rise of around 8 hours followed by an early start at around 6 am to shape, rise and re- shape at 7 am. Into the oven, a 40 minute bake, and there you have it. Fresh bread by 8 am, 24 hours later. Cost, around 50 cents a loaf. Very little work, but bucket loads of discipline, and a ritualistic start to each day, not unlike meditating or praying.
The aroma of freshly baked bread is a morning sensory pleasure, only to be rivalled by the smell of a good curry in the evening or the aroma of slow baked quinces on a chilly Autumn day.
Don’t waste good bread. Sermon over.
“A mondegreen is a mishearing or misinterpretation of a phrase as a result of near homophony that gives it a new meaning. Mondegreens are most often created by a person listening to a poem or a song; the listener, being unable to clearly hear a lyric, substitutes words that sound similar, and make some kind of sense. American writer Sylvia Wright coined the term in 1954, writing about how as a girl she had misheard the lyric “…and laid him on the green” in a Scottish ballad as “…and Lady Mondegreen”
“Pinker gives the example of a student stubbornly mishearing the chorus to ” I’m Your Venus” as I’m your penis, and being surprised that the song was allowed on the radio.
Spring is finally sending her beautiful vegetables from the garden to my kitchen. The first and most evocative of these is the artichoke. Carciofi, artichokes, are fiddly to prepare, requiring removal of most of their outer leaves while simultaneously bathing their cut bodies in acidulated water before they bruise and darken. It really is worth the effort.
I love carciofi gently braised with garlic, lots of good oil, a little water, a grind of salt, and handful of torn herbs, eaten straight out of the pot with some crusty bread. I love them creamed in a Spaghetti ai Carciofi, bringing back memories of tiny trattorie in Rome. I love them thinly sliced on a pizza. Mr T does not share my passion: there is something quite odd about that man, which was the subject of my very first post back in October, 2013.
So many of my artichokes now get the ART for Artichoke treatment because he won’t eat them and I can’t eat them all. This arty thing began in the 1990s when Daniella, the sister of a good friend, Sandro Donati, had a photographic exhibition featuring artichokes, beautiful black and white studies which included portraits of her mother: moody, melancholic, and molto Italiano. In that same year, I came across a book, with a forward by Lorenza de’ Medici, with stunning reproductions of works by Giovanna Garzani, ( 1600-1670), an artist who painted delicate still lives featuring fruit and vegetables. These two memories have influenced how I see vegetables. Why stick flowers in a vase when the garden is singing with other more spectacular stems? When I arrange and photograph artichokes, I am really lusting for their creamy bitterness in my mouth.
Other herbal candidates entering my kitchen are given the art treatment too. Broad beans in flower, over grown stems of celery, sage bushes flowering purple, stalks of dark rosemary: ‘There’s rosemary, that’s for remembrance. Pray you, love, remember.’ There are small tussie mussies of fragrant mixed herbs, bowls of lemons, fronds of wild fennel. Primavera nella mia cucina.
Sadly, I lost three hens to the foxes recently so we’re down to a dozen eggs a day. I sell a few here and there but always keep a basket of eggs in the kitchen, prompting a simple breakfast or a cake for someone. There is no need to refrigerate your eggs unless you plan to keep them for more than two weeks. I don’t clean the shells, if dirty, until I’m ready to use them. Cleaning eggs removes the natural protective layer, the cuticle or bloom from the shell, which preserves their freshness.
This month I have enjoyed researching the breads and sweets of Italy baked for the Day of the Dead, I Morti, on November 1/2. In Australia, Halloween was not celebrated until very recent times. Over the last 10 years, it has slipped into our language, led by commercial interests of course. The whole thing, in Australia at least, seems culturally artificial to me. I am now teaching my little ones about Celtic and Italian customs to counter the purple wigs and lolly bags entering their homes. They listen with wide-eyed wonder. Young Oliver leans in close and whispers ‘slipping through the crack of time’, though he turned up his nose at myFave dei Morti.
With all the bread I make, the little stove top griller pan with the heavy ridged lid, gets a constant workout. Stale sourdough comes to life when simply grilled and rubbed with garlic and dressed with new olive oil.
Australian Cobram Extra Virgin Olive oil is reliably good, winning prizes around the globe. Last May’s (2016) olive harvest and press has just hit the shelves. Look for harvest dates on your containers of oil. This information is more reliable than use- by-dates. The closer you are to the harvest date, the better the oil. Store large tins of oil in the dark. Decant the oil into clean pouring jars. When visiting an olive oil producer in Margaret River back in 2006, I was informed that adding lovely fresh oil to the oil that has been left in a pouring jar, even if only a few drops remain, tainted the fresh oil with already oxidised oil. Makes sense really.
Melbourne’s cold Spring has seen the return of the hearty soup to my kitchen. This thick meal in a bowl, Zuppa Frantoiana, is a soup which celebrates the first pressing of the season’s olive oil. The soup is layered with oil and grilled bread in a tureen before serving.
Speaking of Sandro, (see somewhere above), I’m including a little clip of one of his joyous Friulian songs. La Banda di Sandro blended traditional jazz with Italian folk sung in the Friulian dialect. Hey, just for fun, and just because I wish he and Judy were back in my kitchen; I know they would eat all the carciofi and then ask for more.
Thanks to Liz, at Good Things, the In My Kitchen series continues. Do check out some of the other kitchens on her site this month. Saluti a Tutti.
It is hard to imagine a world without pasta. Italian style pasta was unknown to most Australian households until the 1970s, despite the presence of Italian pasta manufacturers here in Melbourne. One of the earliest producers of quality pasta, Nello Borghesi, established La Tosca Company in 1947 in Bennett’s Lane, Melbourne. They eventually moved to a larger factory in Brunswick in 1971.
“Before then, Melbourne’s Italian community were largely the only customers of this fine pasta. By the 1970s many new Italian restaurants emerged: it was, for many families of Anglo-Saxon background, the first time they had tasted real pasta beyond spaghetti or macaroni from a can.” ¹
Dried pasta could be bought in supermarkets, especially around Carlton and Brunswick, but it was still unusual to eat pasta at home regularly, and when it did make a regular appearance, it came only in one form: the ubiquitous Spaghetti Bolognese.
‘The Borghesi found it challenging at first to introduce the pasta to the Anglo-Australian consumers. The Italian Australian market also had to be convinced that the product was as good as that which they could make themselves. The pasta would be made in the mornings, then delivered in the afternoons in the family van. It was a very labour intensive process and the whole family would help in the production. Deliveries were made to most Melbourne Italian food outlets and restaurants, such as Florentino’s, The Latin, and Mario’s. By the 1960s, the clientele grew to catering for weddings and non-Italian cafes, and then the business really took off. In the 1960s, the delivery of dry pasta was replaced by frozen products.”¹
The Borghesi business and I became very well acquainted in 1997 when I decided to take a job at La Tosca Pasta Company in Victoria Street, Brunswick, a suburb of Melbourne. This short-lived factory job was wedged between one era of teaching and another, a time when I felt lost in my search for meaningful work. I took the job thinking that it might be interesting to work in a completely different field, to do some physical work for a change, and that the Italian staff might help me acquire a better grasp of idiomatic Italian. I had finished a degree in Italian, followed by three years translating an autobiography. Without daily interaction in Italian, I feared that I might lose the language. So off to La Tosca I went.
Our working day started at 8 am precisely. We would begin by moving the racks of drying spaghetti, linguine or tagliatelle which had been stored on wooden drying rods in darkened rooms overnight. The pasta was carefully scooped off the rods, taking care not to break any of the brittle strands, and bundled neatly onto the bench for packing. Each stack was then weighed to a precise weight: after a while it was easy to gauge this visually. The pasta was placed in small boxes, ready for the machine to wrap and seal with the La Tosca logo. These packets were then placed in large boxes, twenty to a box, ready for the delivery trucks. The work was relentless and swift: there was no time for conversation beyond the conveying of basic instructions.
At 10 am on the dot, a whistle would sound, and a short Neapolitan woman would yell “Andiamo,” let’s go. All activity ceased instantly, machines and work stations were abandoned, the factory floor silenced by the call to coffee. We climbed the narrow stairs in single file and gathered in a cramped morning tea room above the factory floor for a piccolo cafe ristretto, made in an old beaten up aluminium Napolitana by the Andiamo lady. Ten minutes later it was back to work. Huge dough mixers gyrated above, operated by men on platforms, moving effortlessly in a noisy industrial ballet. Other machines chugged permanently in the background- pasta cutters, ravioli stuffers, packing machines- the factory floor was alive with mechanical noise. The strong coffee kept us going for more back-breaking work, boxing, stacking, wrapping, then sweeping, constantly inpiedi for the 8 hour working day. I lasted for about 6 weeks at the La Tosca Pasta factory- the unremitting noise eventually drove me demented, my legs longed for that moment of rest and my back was trashed. I began to consider other forms of paid work.
In that short time, I came to admire the endurance and stamina of these women who had worked in factories since migrating to Australia in the 1950s and 60s, sturdy middle- aged and older women, dressed in sensible and spotlessly clean factory uniforms, standing solidly on concrete floors in stockinged legs and sensible shoes. The work was hard and relentless. They made the pasta that Melbourne came to love.
Melbourne’s Italianita´can be found far more easily without taking such drastic steps, as I was to discover. Inner city libraries specialise in Italian film and magazine collections, there is a local Italian newspaper, Il Globo, an annual Italian film festival, numerous Italian regional and cultural clubs as well as fresh markets, delis, restaurants, and Italian supermarkets. Melbourne’s Italian manufacturing centred around pasta, cheese making, salami and shoes, though this was far more pronounced in the last century than it is today.
Zuppa di Ceci con Maltagliati-Chick pea soup with Pasta Offcuts.
I recently made a large batch of pasta and after cutting the square shapes for some cannelloni, I was left with a nice pile of maltagliati, irregular shaped off cuts. ( I often call these cenci or stracci too ) These little pieces make a wonderful addition to a rustic soup, which can be thrown together in minutes, becoming a meal in a bowl. Like many good Italian recipes, my quantities are approximate. The soup is designed to be eaten at once- any soup with pasta is not suitable to be eaten the next day. The amount below makes three good serves.
2 -3 large garlic cloves, chopped finely
one stem fresh rosemary, leaves stripped, finely chopped
4-6 anchovy fillets
one dried chilli, finely chopped
a generous glug of EV olive oil
cooked chick peas- around two cups ( if using canned chick peas, drain off well and rinse off that awful preserving liquid)
one vegetable stock cube with water or home-made stock, vegetable or chicken.
Fresh pasta offcuts/maltagliati
Italian parsley, finely chopped
black pepper to taste
grated Parmigiano to serve
Using a heavy based saucepan, add the oil to the pan and gently fry off the soffritto, the garlic, anchovy, chilli, and rosemary, pressing the anchovies to a paste as you go.
Add the chickpeas and stock to cover (or water and stockcube). Bring slowly to the boil, then add the pasta pieces. Fresh pasta should cook in two minutes- if the pasta has been left overnight, allow a little longer. Taste as you go. Season with black pepper. Serve with ample parmesan cheese.
Midst all the opulent and overly ornate works of art from the Baroque period, hangs a modest but well-known painting, Il Mangiafagioli, by Annibale Carracci (1560-1609), depicting a quotidian scene, a peasant sitting down to a simple lunch of bean soup, onions, bread, a vegetable pie and a jug of red wine. The Beaneater is as Florentine as Brunelleschi’s dome, given that the Florentines were often called by the taunt, ‘beaneaters,’ especially in bygone days.
The painting captures that moment when ‘the peasant is just raising a spoonful of beans to his lips, only to stop, surprised, by the intrusion of the viewer’, and in one sense, it is remarkably like a modern photo, a snapshot of a working class scene. At the same time, the table setting could be the work of an early food stylist. In modern times, food stylists bombard our senses and shape our taste from every media quarter. Note the crisp white linen and the well composed meal, the wine on the table and the strategically placed bread. You would expect to see a rustic wooden table in this naturalistic vignette, something that the modern food stylist would prefer too. (Have wooden planks used as food styling props become clichéd yet and why is good linen shunned in the modern world?) This bean eating peasant has a fine knife and glassware, a generous jug of wine and serve of bread. Perhaps he is an upwardly mobile peasant of the 1590s about to become a member of the white meat-eating class, despite the dirt under his nails.
Interestingly, up until modern times, beans were regarded as peasant food,
‘Social codes in Baroque Italy extended as far as to food. According to contemporary thinkers, foodstuffs like beans and onions, which are dark in color and grow low to the ground, were suitable only for similarly lowly consumers, like peasants.¹
If this Beaneater’s repast were placed before me today, I would be overjoyed and would probably pay dearly for it too, as I once did, at the delightful restaurant, Il Pozzo, in Monteriggione, Tuscany, where a bowl of bean filled Ribollita, served with a side of raw onions and good Tuscan bread cost me a large wad of lire. Other than the price, the meal hardly differed from the one depicted in Carracci’s painting of 1590. Things don’t change much over the centuries in Italy, a conservative country, particularly when it comes to food, recipes and styling.
This modern-day beaneater, Mr Tranquillo, was bribed with a bottle of Yering Sangiovese 2010, to pose for this ‘painting’. A bowl of bean soup, good bread and a glass of wine is a lunchtime reward for hard work.
How to cook dried white beans and eat well for one dollar.
This recipe will give you enough cooked beans for a very large soup for a crowd or enough to divide and freeze for later soups or dips.
500g dried cannellini beans
2-3 cloves garlic, peeled but whole
4-5 sage leaves, and/or a small branch of rosemary.
60 ml extra-virgin olive oil, plus extra to serve
2 teaspoons or more of salt
Place the beans in a very large bowl with plenty of cold water. Leave to soak for at least 8 hours or overnight.
Drain the beans and place in a heavy-based saucepan or cast iron pot with the garlic, herbs, olive oil and 2.5 litres of water.
Bring to a simmer on the lowest heat setting and cook, covered, very gently until the beans are tender. Do not add salt and do not boil. Salt hardens beans and prevents them from softening and boiling splits the beans.
Remove any scum that rises to the top of the water. When the beans are soft and the cooking water is creamy, add the salt and some freshly ground pepper towards the end of the cooking. Test and adjust seasoning. Depending on the age of the beans, this could take two or more hours with slow cooking.
Use the beans to make a simple cannellini bean soup. Start with a soffritto of finely chopped onion, carrot and celery cooked gently in olive oil, then when softened, add some vegetable stock and cook for 10 minutes. Add the cooked beans and creamy cooking water. Heat for a further 5 minutes, taste and season. Consider pureeing half the mixture with a stick blender and return the puree to the pot. Serve in a deep bowl over grilled slightly stale sourdough bread and drizzle some good oil on top.
Every winter solstice, I am drawn to dark looking foods. One year it was squid ink pasta, followed by an eggplant dish. Sometimes, we have a pint of Guinness. On one particular occasion, an old friend, Brian, arrived dressed for the occasion, his cheeks smeared with charcoal, a crooked stick in hand, and wandered around my kitchen muttering Celtic chants. He then placed a wooden box of dried oak leaves on the table, a box of spells perhaps.
This year’s Solstice offering is a traditional mushroom soup. I only make this soup when my favourite green grocery sells discounted bags of mushrooms that have dark gills. White coloured mushrooms are rather insipid in flavour. I have add a handful of dried porcini to boost the taste of the dark woods.
First make a good rich vegetable stock. The smaller you cut the vegetables in a veggie stock, the more they will sweat off flavour. Also use the mushroom stems in your stock.
Crema di funghi e porcini, Cream of mushroom and porcini soup
1 large onion, finely chopped
2 cloves of garlic, finely chopped
50g of butter
1 potato, diced
500g sliced mushrooms, preferably with darker gills.
1 litre vegetable stock
15 g dried porcini mushrooms
a handful of fresh thyme leaves
1/2 cup of cream, or more
1 tablespoon or more, dry sherry
some sour cream or crème fraîche to serve
black pepper and salt
finely chopped parsley to serve
Soak the porcini mushrooms in some of the hot stock. Leave for 20 minutes, then remove porcini and strain the liquid through a muslin cloth. Save the soaking liquid.
Add butter to a heavy based saucepan or soup pot, add the onions and cook gently until softened but not coloured. Add the garlic and toss through briefly, then add the sliced mushrooms and chopped porcini. Toss around for a few minutes until the mushrooms wilt and reduce, then add the diced potato, thyme, stock and reserved porcini liquid.
Simmer gently for 30 minutes or until the potatoes are soft, then blend with a stick blender until very smooth. Add the cream, warm through, then add freshly ground pepper, a little salt, and the sherry. Taste and check for seasoning and sherry.
Serve with a little crème fraîche or sour cream and parsley and some good bread.
It was a hot September, more than 30 years ago, in that little village in Languedoc- Roussillon in southern France, where I first made this soup. We had rented a 17th century stone house in the centre St Michel d’Euzet, a tiny rural commune surrounded by acres of vineyards. The town consisted of around 500 residents, a basic épicerie, one bar, a boulangerie, the source of our daily baguette supplies, and a wine co- operative. It was the season of the vendanges or wine harvest: little beaten up orange and red coloured apé trucks would arrive all day at the co-op, loaded with red grapes, ready to be machine crushed into the local cheap wine, the vin de pays that kept the locals ( and us) very happy. The narrow streets were stained magenta as lazy wasps buzzed about in the heat and the heady smell of diesel mixed with grape juice filled the air.
The old stone house included a generous cave, a mezzanine level with a small kitchen, living room and main bedroom, and an upper level with two tiny bedrooms and a small balcony. Along with our family of five, we squeezed in many other travelling Australians during our month there. They slept in the cave, or ground floor cellar/ bike storage area on a mattress on the floor, or in one of the little rooms on the top story.
The house faced the place de ville and was opposite the town bar, a meeting place for young and old and popular with the local teenagers. Our kids would spend the late afternoon hours there playing football jeu de machine, with the French kids, on a noisy metal soccer machine table. Sometimes, later in the evening, we would hear young French romeos calling out to Rachael from below, ‘Come down Rachael, I lerv you’ as young lads with heavily accented English would practice their courting skills on our 14-year-old daughter.
Cooking for nine or more during that idyllic Autumn was based on fresh supplies gathered twice weekly from the nearby markets at Pont Saint Esprit or Bagnols Sur Ceze. At those markets, the elderly farm women taught me about the Coco Rouge ( fresh borlotti beans) and the Coco Blanc ( fresh white haricot beans), often sold a little rotten as the beans were really ripe and faster to cook. Another local village woman sold me mountains of basil each week. I think we lived on Soupe Au Pistou for a month, along with baguette, jam and brie.
Soupe Au Pistou, Provençal vegetable Soup with Basil Pesto ( Serves 4)
EV Olive oil
2 leeks, washed well, and sliced
2 garlic cloves, finely chopped
1 large potato, peeled and diced.
2 medium carrots, peeled and diced
Heat some oil in a heavy based soup pot, then sauté these vegetables until tender, then add,
fresh borlotti beans (coco rouge), already shelled and cooked till soft
2 small zucchini, diced
chopped autumn tomatoes, such as cherry tomatoes, or a can of diced tomatoes, drained.
a hand full of green beans, sliced or fresh white beans, coco blanc, if you can get them.
2 litres of home-made vegetable stock.
some small pasta, a couple of small handfuls, of shapes such as digitali ( small macaroni) or broken pasta.
Cook until the pasta is al dente, or around 10 minutes.
Season the soup, then add a tablespoon or so of home-made pesto, and stir it through. Serve soup with a dollop of pesto on top and some shaved parmesan cheese.
The house photos were taken in 2011 when we returned to San Michel d’Euzet. It hadn’t changed at all.
For Andrew, Rachael, Jack, Sunshine, and Poppy- the kids who had a wild time on bikes exploring the Gard region in 1985.
When I’m tired, I need fish. Any sort of fish will do, I’m not too fussy. Nor am I willing to ignore farmed salmon, despite some of the bad press it receives. I like to believe that the industry is improving with regard to environmental concerns. The pristine water around the Huon River at Dover and Lake Macquarie, where Australian Tasmanian Atlantic Salmon is farmed, looks as pure as can be. I can’t paint myself into a tight little purist corner when Tasmanian Atlantic salmon is often the only fish option available. Having said that, a little salmon goes a long way.
This little Japanese bowl takes 10 minutes to prepare. The recipe makes two large bowls.
The Marinade and Fish
200 g salmon, skin on, halved lengthwise.
1 tablespoon Japanese soy sauce, Teriyaki or Tamari
1 teaspoon vegetable oil
½ teaspoon sesame seeds
Put fish fillets in a bowl and cover with the soy sauce and oil. (not the sesame seeds). Leave aside until ready to grill.
½ litre or a little more of vegetable stock (or water and 1 vegetable stock cube)
1 tablespoon mirin
½ tablespoon soy sauce
mixed mushrooms, hand separated ( enoki, cloud ear fungus, shiitake)
1 tablespoon Miso paste
100 g silken tofu
a large handful of baby spinach leaves
Putting it all together.
Turn on the grill to around 200c fan forced. Cover a baking tray with baking paper, arrange pieces of salmon on the tray and sprinkle with sesame seeds. Grill for around 5 minutes, then turn for 1 minute. Remove from grill.
Meanwhile, in a medium-sized saucepan, heat stock with mirin, soy, and miso on a gentle heat until well amalgamated for around 5 minutes. Add the mushrooms , then add the cubed tofu. Gently heat through to cook.
Flake the cooked fish and bits of juice from the tray into the base of serving bowls. Add the spinach leaves. Pour over the hot soup, sharing the mushroom and tofu pieces evenly.
If you are making this for four, count on around 100 g salmon per person and use a whole packet of silken tofu, then simply double all the other ingredients.
Time for an ear worm or stuck song syndrome for those old enough to remember:
Since I’ve been making this soup, the tomato glut is no longer a double-edged sword. Requiring no special tomato peeling and seeding or fine chopping, I can get this soup going quickly and come back later to a bit of arm gymnasium, via the hand cranked Mouli. I have simplified the recipe so that I can remember the balance of ingredients, then whip it up at whim with consistent retro tasting results. Almost every ingredient has the number three in it. This quantity serves 8 – 10 people. Make a big load when you have a tomato glut or meet one in a Farmers Market. It freezes very well.
Moulin Rouge Tomato Soup – a retro styled soup, loved by children and elders alike.
3 kilos fresh vine ripened tomatoes. ( I used Rouge de Marmande tomatoes which have a fabulous depth of flavour and give off lots of juice )
3 tablespoons extra virgin olive oil
3 large onions, chopped
3 small carrots, or around 300 gr, peeled and chopped
3 small celery sticks, chopped
3 or more large cloves garlic ( more is good!)
3 cups vegetable or chicken stock, or use water and a stock cube
3 teaspoons salt
1 tablespoon tomato paste
1 torn bay leaf
2 teaspoons finely ground pepper, white pepper is best with this soup.
3 tablespoons chopped basil
Choose a large heavy bottomed soup pot. Heat the oil then add the onion, carrot, celery and garlic and cook on medium heat, stirring often to soften until the onion turns a pale golden colour. Add the chopped tomatoes, stir about and let them give off their juices for 5 minutes. Then add the tomato paste, stirring through, then the stock, bay leaf and salt. Bring to the boil then lower the heat and simmer on low with the lid off for 40 minutes of so.
Remove the pot from the heat. Lay a mouli over a bowl so that it sits neatly when the arms are extended. Sit the bowl on a tea towel so that it is stable. Ladle a cup at a time and turn the handle, pressing though as much as you can to extract colour and sweetness from the tomato, carrot and onion residue. You may need to pour off the pureed soup back into a clean and empty soup pot as you go, given the quantity. Don’t attempt to process or blend this soup- the flavour comes from the pressing.
When all the pureed soup is back in the pot, reheat, adding freshly ground pepper and chopped basil.
We like our soup straight, but adding cream gives it a different texture which is comforting on a cooler day.
Moulin Rouge Goes Flash
briefly chargrill some sea scallops, halve them and place them in the centre of the soup before serving.
serve with fingers of toast spread with tapenade.
or with olive oil oven baked crostini, spread with gorgonzola, then briefly grill.
I like to eat soups in the height of summer, not necessarily cold soups, but light minestre of vegetables in season. They are thrown together and take around 20 minutes to cook, using whatever is abundant in the garden.
This vegetable soup is similar to the French Soupe au Pistou in many ways, but I am waiting on the garden’s fresh borlotti, i fagioli scritti, and green beans, before I go down that Provençal path.
1 onion, finely sliced
1 garlic, finely chopped,
2 tablespoons EV olive oil
4-5 chopped Roma tomatoes
1 medium zucchini, finely sliced
1 can of drained and well rinsed chick peas or white cannellini beans
¼ jar of home-made or purchased tomato passata
4 cups vegetable stock
small broken pieces of Mafaldine (flat ribbon) pasta or other dried pasta on hand
salt and pepper
freshly made pesto from a handful of basil leaves, two cloves garlic, salt, olive oil and pecorino, bashed to a pulp in a mortar and pestle. (Leave the nuts out when serving with soup.)
grilled bruschetta to go with the soup.
In a large heavy pot, add a generous slurp of olive oil and gently cook a sliced onion and a chopped garlic until soft but not coloured. Then add the vegetables as listed, stirring each new addition for a minute or so as you go. When they are almost cooked, after around 15 -20 minutes. add the some broken pieces of Mafladine and cook until the pasta is al dente. Season well. Serve in wide bowls with a dollop of freshly made basil pesto.
The pasta Mafaldine was named in honour of Princess Mafaldine of Savoy, daughter of King Vittorio Emmanuele 111, and is also known as reginette or “little queens”.