The Ultimate Artichoke Recipe

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In Rome, artichoke season opens in the  early autumn with the arrival of little violetti – from Sicily,  followed as winter rolls in by the prickly, spiny Sardinian magarosa  resembling purplish, armored tulips.  These triumph till spring, when the fat, Roman globe artichokes flood the markets. The season peaks between mid April and early May,  so we may enjoy one last glorious feast  of this noble vegetable with its bitter, pungent taste of spring, its budding promise of summer bloom  to devour with  gusto and not one iota of guilt.

So many places I love in Italy have their artichoke specialties    from the  bronze sunflower- like mandala of the  deep fried  carciofo  alla giudea – a traditional Roman delight served  in the famous restaurants of Rome’s ghetto  — to the rustic, filling artichoke and fava soups  I first tasted  at  the  Pensione  Isolabella   on the island  of Ventotene  on a cold  stormy spring night when high seas spattered  the windows.    Or  the tiny pickled hearts of  the carciofi tardive sometimes called  figli,  hardly bigger than a quail’s egg, blanched in vinegar,  seasoned with fennel, pepper, and preserved  in olive  oil  to be eaten as an accompaniment to  unsalted Tuscan  bread.   Or the chic slimming salad of  thinly sliced raw artichokes and flakes of parmesan cheese, dressed with lemon and olive oil, which  they  used to serve years ago, at one of my favorite restaurants in  Rome  Da Luigi just around the corner from  the Chiesa Nuova.

In my long sojourns  in Rome, I  have accumulated dozens of artichoke recipes for spaghetti, crepes,  soups, garnishes,  involtini, quiches, stews,  torte rustiche, and phyllo dough concoctions,  but it was only recently that I happened upon what  I consider the  ultimate artichoke recipe:  the hearth-roasted artichoke, as suggested by hearth and wood oven expert, William Rubel, in his extraordinary cookbook dedicated to hearth cooking,  The Magic of Fire.

The satisfaction given by cooking on an open hearth is something elemental and primeval, I suppose, stirring childhood memories of cook outs and campfires, fantasies of survival, of  living in a cabin hidden in the woods, of which Gaston Bachelard speaks so poetically in his philosophical study of houses, The Poetics of Space.

If such reveries tickle your imagination,  Rubel’s  book, of which I will offer a fuller review on a later blog, will be perfect bedtime reading.  Here amid recipes of complex baking, roasting, and stewing techniques for the open hearth  used by our ancestors in the olden days, I came upon a page of suggestions for hearth-roasting a variety of vegetables, including artichokes. (Rubel’s book, originally published in 2002, recently got a mention in the New York Times for its discussion of egg spoons).

The procedure is a simple one.  Get a fire roaring and let it burn down to a pile of embers, and while the flames are crackling,  prepare your artichokes for roasting.   First, wash the artichokes well, remove the stem,  and nip off the tip. With a knife, dig out any fluff from the core, but leave the outer leaves on.  Then beat the artichoke against a hard surface,  such as   a marble table top,  or kitchen counter   to flatten it a bit and open up the leaves.  Into the heart and in between the outer layer of leaves,  pack fresh herbs (tarragon, parsley, chives, fresh fennel, dill, fresh thyme, mint or mentuccia, the wild mint growing everywhere along country lanes in Italy, or santoreggia,  a wild herb that favors dry walls), slip in finely chopped garlic and capers, and then dribble olive oil in the heart and in between the leaves.

Using your fire thongs, nestle each artichoke right on the embers, and cocoon each artichoke with red hot embers.  The outer leaves will scorch, but the heart will cook slowly, and in roughly 20 -30 minutes, they’re done. Cooking time depends on the heat and quantity of embers. Remove the artichokes, dust off the ashes, peel away the charred outer leaves, and voilà,   a unique  gastronomic experience.  The artichoke, slightly al dente, retains its characteristic pungent flavor  with the addition of a delicious smoky taste mingled with fresh herbs.  A wonderful accompaniment to grilled lamb.

In Velletri near Rome, a festival is dedicated to ember-roasted artichokes – La Sagra del Carciofo alla Matticella, where huge braziers are set up in the piazza in mid April to prepare these delicacies for hungry crowds.  Matticelle are bundles of clippings from the grape vines after the vineyards have been pruned, once used to heat humbler homes in winter, but also for cooking on the coals. The clippings from different grape varieties impart different flavors to the food.

More about artichokes

Artichokes are renowned in Italy for their curative powers, especially the leaves, which French researcher Jean Valnet cites in his Cura delle Malattie con Ortaggi,  Frutta, e Cereali  as having  a beneficial effect on bile production, liver health, and cholesterol.  The many varieties of artichokes are akin to cardoons, and common thistles,  such as milk thistle, known  cardo mariano,  which, according to Mrs. M. Grieve’s  Modern Herbal  (1931) once upon time was commonly cultivated in the kitchen gardens of England as a salad plant.  Giovanna Garzoni, still life painter to the Medici family in the seventeenth century, often used them in her compositions.

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Blogger Mary Jane Cryan celebrates the Artichoke Festival of Ladispoli, providing interesting anecdotes about the history of this favorite vegetable, http://50yearsinitaly.blogspot.it/    For an amusing video tutorial on how to make spaghetti  ai Carciofi,  see Sergio Baldassare’s  You Tube video: http://www.youtube.com/watch?v=4EnxZDgbips&feature=relmfu

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The Soul of Place: a writing exercise

Has it ever happened to you to fall in love with a place–your own neighborhood or an exotic locality glimpsed from a train while on vacation? There’s just something in the atmosphere that has an irresistible appeal compounded of colors, scents, sounds, textures, even the taste of the air.

Maybe, taking a wrong turn in a strange city, you have come upon a shady square or a house for sale that captured your imagination, but you can’t really say what attracts you so much.

That row of yellow bicycles parked by a crowded café with live music playing, those red geraniums on a windowsill where a sleek, black cat is snoozing and a green shutter is half-open, the chic nonchalance of people passing by with baguettes tucked under their arms?

stairs-quay

The scene triggers a fantasy in your mind: If you could just move there, something truly interesting would happen, and the story of your life would change.

Perhaps there are cherished locations in your past, the view from a mountain peak, a beach house overlooking a raging surf, or a rocking chair by a fireplace that made you feel content and at peace, or empowered and adventurous. Some places, whether indoors or outdoors, make us feel cozy and safe, inclined to daydreams. Others lift our spirits to unthinkable heights, urging us to go beyond our limits, physical or mental.

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There are sacred sites that can cause us to weep with remorse and humility, infuse us with joy, even make us feel immortal.

Then there are other sorts of places where we become uncomfortable, on edge, oppressed, even panicky, anxious to get out of there quick—If we stay too long, who knows what bad things could happen to us there?

If you have ever had experiences similar to these, chances are that you have been touched by the power of place.

Some anthropologists suggest that our attraction to (or repulsion for) certain places derives from a deep, unconscious attunement to our environment, hearkening back to when we were all nomads, in search of suitable habitats and dependent on our instincts to lead us to water, fertile hunting grounds, or other sources of food. Back then we had a much more visceral response to our universe; we sensed where we were likely to thrive, and where not.

That instinct is not dead in us today, but we may not pay enough attention to it. Perhaps that’s because much of our lives, at least in industrialized countries, is played out in what French anthropologist Marc Augé has called “nonplaces”: those anonymous, deracinated spaces of shopping malls, airports, computer screens that look the same all over the world.

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Typical ugly nonplace

Yet the desire to be rooted in or connected to a real place on the earth, a community, a physical world of our own, stems from a very basic human need.

The power of place isn’t necessarily life-enhancing. It can be threatening or devastating, pulsing with negative and positive charges that may change valence according to our personal point of view. Architects, city-planners, garden-designers, interior decorators, and before them priests, shamans, and geomancers have always known that our environment  can be shaped to elicit certain feelings and moods, promote health or sicken us, or encourage certain behavior.

They have also been aware that in modeling the landscape or constructing a building they must work with a creative force inherent in the land itself, known in the ancient classical world as the genius loci, usually translated as the “soul” or “spirit of place.”

Most people today might define this term as the atmosphere or ambience of a locality or as the emotion or sensation that it evokes in us. To the ancient Romans, instead, it referred to an entity residing in a site and energizing it. It influenced all life forms present on a site and  was manifest in everything existing within its range of action, from bodies of water to houses, social customs, patterns of speech, artifacts, recipes, and works of art.

Have a look around your neighborhood, your house, your workplace – what  energies are operating there and how does your environment influence you? Consider for a moment a place that you love or hate, or that you feel emanates a power. How would you describe or define its genius loci? If the soul of place had a voice, how would it sound, what stories would it tell?

If you are a writer or artist — how can you feed your creativity by attuning yourself to the soul of place?  Here’s a preliminary exercise to try.

WRITING EXERCISE: Discovering the soul of a place

Gazing at green hills and golden wheat fields from the ramparts of an old Etruscan town, D.H. Lawrence remarked that the view not only was beautiful, but had meaning. This English writer, often considered the founder of the modern novel, was a keen believer in the soul of place and thought it derived from biological, chemical, and cosmic influences operating in a site, affecting the psychology and behavior of individual human beings and entire populations living there. In Lawrence’s view, our well-being and creativity depend on the life-force manifested in our habitat, but centuries of technical progress have separated us from that force and shattered our wholeness, resulting in the aridity of modern life. One theme of Lawrence’s fiction is the sacred link between identity and place and the devastation that follows when that link is broken.

Still, he believed it is possible to reconnect to that power and absorb it into ourselves, if we can just find our spot on the planet. Much of Lawrence’s writing career, which he once defined as a “savage pilgrimage,” was a search for the fountainhead  of the life-force: Italy and New Mexico were among the places where he found it.

Are there places that give you a sense of wholeness and empowerment, or where you feel really you? Others where you feel depleted, sad, or even anonymous? Make a list for both categories then choose one from each category to work with. Reflect on the essential qualities of each place and the origins of those qualities, then write a short text of 200 words for each place you have chosen. Describe the atmosphere, narrate an episode that happened there, describe your feelings, or simply make a list of impressions, people, or things you associate with it.  Put your texts  aside for a few days, if possible, revisit the sites you described, then go back and re-read what you wrote. Have you learned something new about yourself?

Adapted from  The Soul of Place A Creative Writing Workbook: Ideas and Exercises for Conjuring the Genius Loci  (Travelers Tales, 2015)  by Linda Lappin.

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The Soul of Place

Has it ever happened to you to fall in love with a place–your own neighborhood or an exotic locality glimpsed from a train while on vacation? There’s just something in the atmosphere that has an irresistible appeal compounded of colors, scents, sounds, textures, even the taste of the air.

Maybe, taking a wrong turn in a strange city, you have come upon a shady square or a house for sale that captured your imagination, but you can’t really say what attracts you so much.

That row of yellow bicycles parked by a crowded café with live music playing, those red geraniums on a windowsill where a sleek, black cat is snoozing and a green shutter is half-open, the chic nonchalance of people passing by with baguettes tucked under their arms?

stairs-quay

The scene triggers a fantasy in your mind: If you could just move there, something truly interesting would happen, and the story of your life would change.

Perhaps there are cherished locations in your past, the view from a mountain peak, a beach house overlooking a raging surf, or a rocking chair by a fireplace that made you feel content and at peace, or empowered and adventurous. Some places, whether indoors or outdoors, make us feel cozy and safe, inclined to daydreams. Others lift our spirits to unthinkable heights, urging us to go beyond our limits, physical or mental.

dsc00631

There are sacred sites that can cause us to weep with remorse and humility, infuse us with joy, even make us feel immortal.

Then there are other sorts of places where we become uncomfortable, on edge, oppressed, even panicky, anxious to get out of there quick—If we stay too long, who knows what bad things could happen to us there?

If you have ever had experiences similar to these, chances are that you have been touched by the power of place.

Some anthropologists suggest that our attraction to (or repulsion for) certain places derives from a deep, unconscious attunement to our environment, hearkening back to when we were all nomads, in search of suitable habitats and dependent on our instincts to lead us to water, fertile hunting grounds, or other sources of food. Back then we had a much more visceral response to our universe; we sensed where we were likely to thrive, and where not.

That instinct is not dead in us today, but we may not pay enough attention to it. Perhaps that’s because much of our lives, at least in industrialized countries, is played out in what French anthropologist Marc Augé has called “nonplaces”: those anonymous, deracinated spaces of shopping malls, airports, computer screens that look the same all over the world.

13442358_10154120181917900_8645722365510674931_n
Typical ugly nonplace

Yet the desire to be rooted in or connected to a real place on the earth, a community, a physical world of our own, stems from a very basic human need.

The power of place isn’t necessarily life-enhancing. It can be threatening or devastating, pulsing with negative and positive charges that may change valence according to our personal point of view. Architects, city-planners, garden-designers, interior decorators, and before them priests, shamans, and geomancers have always known that our environment  can be shaped to elicit certain feelings and moods, promote health or sicken us, or encourage certain behavior.

They have also been aware that in modeling the landscape or constructing a building they must work with a creative force inherent in the land itself, known in the ancient classical world as the genius loci, usually translated as the “soul” or “spirit of place.”

Most people today might define this term as the atmosphere or ambience of a locality or as the emotion or sensation that it evokes in us. To the ancient Romans, instead, it referred to an entity residing in a site and energizing it. It influenced all life forms present on a site and  was manifest in everything existing within its range of action, from bodies of water to houses, social customs, patterns of speech, artifacts, recipes, and works of art.

Have a look around your neighborhood, your house, your workplace – what  energies are operating there and how does it influence you?

Writers and artists, whose job it is to interpret and recreate reality,  have long been intrigued by the concepts of the genius loci and the power of place. Through different artistic media, they have sought ways to capture the qualities or mood of a location, to find the links between landscape and identity, to show how places can shape our personality, history, and even our fate.

At the same time, many literary and artistic movements have tried to illustrate how the outer environments of human beings mirror their inner ones. Writers and artists know that whether we are looking outward or inward at our surroundings, they have a lot to reveal to us about ourselves, our present, past, and future.

Consider for a moment a place that you love or hate, or that you feel emanates a power. How would you describe or define its genius loci? If the soul of place had a voice, how would it sound, what stories would it tell?

If you are a writer or artist — how can you feed your creativity by attuning yourself to the soul of place?  Here’s a preliminary exercise to try.

WRITING EXERCISE NURTURING PLACES

Gazing at green hills and golden wheat fields from the ramparts of an old Etruscan town, D.H. Lawrence remarked that the view not only was beautiful, but had meaning. This English writer, often considered the founder of the modern novel, was a keen believer in the soul of place and thought it derived from biological, chemical, and cosmic influences operating in a site, affecting the psychology and behavior of individual human beings and entire populations living there. In Lawrence’s view, our well-being and creativity depend on the life-force manifested in our habitat, but centuries of technical progress have separated us from that force and shattered our wholeness, resulting in the aridity of modern life. One theme of Lawrence’s fiction is the sacred link between identity and place and the devastation that follows when that link is broken.

Still, he believed it is possible to reconnect to that power and absorb into ourselves, if we can just find our spot on the planet. Much of Lawrence’s writing career, which he once defined as a savage pilgrimage, was a search for the fountainhead  of the life-force: Italy and New Mexico were among the places where he found it.

Are there places that give you a sense of wholeness and empowerment, or where you feel really you? Others where you feel depleted, sad, or even anonymous? Make a list for both categories then choose one from each category to work with. Reflect on the essential qualities of each place and the origins of those qualities, then write a short text of 200 words for each place you have chosen. Describe the atmosphere, narrate an episode that happened there, describe your feelings, or simply make a list of impressions, people, or things you associate with it.  Put your texts  aside for a few days, if possible, revisit the site you described, then go back and re-read what you wrote. Have you learned something new about yourself?

(adapted from The Soul of Place, by Linda Lappin)

 

Read more in The Soul of Place A Creative Writing Workbook: Ideas and Exercises for Conjuring the Genius Loci  (Travelers Tales, 2015)  by Linda Lappin.

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