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6 Local Warehouse Cooking and Food- Food Writing

Heat: An Amateur's Adventures as Kitchen Slave, Line Cook, Pasta-Maker, and Apprentice to a Dante-Quoting Butcher in Tuscany

by

Heat: An Amateur's Adventures as Kitchen Slave, Line Cook, Pasta-Maker, and Apprentice to a Dante-Quoting Butcher in Tuscany Cover

ISBN13: 9781400041206
ISBN10: 1400041201
Condition: Standard
Dustjacket: Standard
All Product Details

 

Staff Pick

Much like Anthony Bourdain's sensational account of the culinary trenches of Amercian restaurant kitchens, Bill Buford's Heat gives readers an authentic look at his tenure as "kitchen slave" to celebrity chef Mario Batali. Including chapters on Batali's progress toward becoming a chef and star; Buford's developing skills as an untrained amateur within the kitchen at Batali's restaurant, Babbo; and interesting musings on polenta, pasta, and the butcher's trade, Buford's delightfully descriptive adventure left me craving a big meal and a wicked night in a restaurant kitchen corner.
Recommended by Michal D., Powells.com

Much like Anthony Bourdain's sensational account of the culinary trenches of Amercian restaurant kitchens, Bill Buford's Heat gives readers an authentic look at his tenure as "kitchen slave" to celebrity chef Mario Batali. Including chapters on Batali's progress to becoming a chef and star; Buford's developing skills as an untrained amateur within the kitchen at Batali's restaurant, Babbo; and interesting musings on polenta, pasta, and the butcher's trade, Buford's delightfully descriptive adventure left me craving a big meal and a wicked night in a restaurant kitchen corner.
Recommended by Michal D., Powells.com

Review-A-Day

"[D]elightful....Heat lets readers share Buford's adoration for Italian food; one of the book's highlights is a show-stopping, hilariously insecure riff on the country's culinary neuroses....Buford was clearly already a rather impressive cook before he came to Babbo, but he becomes — after stints in Porretta to learn how to make real Italian pasta and Panzano to learn how to become a real Tuscan butcher — a truly exceptional one." Warren Bass, The Washington Post Book World (read the entire Washington Post Book World review)

Synopses & Reviews

Publisher Comments:

From one of our most interesting literary figures — 16 years as editor of Granta, 8 years as fiction editor at The New Yorker, author of Among the Thugs, the best-selling expose of the world of English soccer hooligans — a sharp, funny, exuberant, close-up book about his headlong plunge into the life of a professional cook-in-training.

Expanding on his August 2002 New Yorker article, Bill Buford now gives us a richly evocative chronicle of his experience as "slave" to Mario Batali in the small, chaotic, highest-standards kitchen of Batali's three-star New York restaurant, Babbo, and of his apprenticeships with Batali's former teachers. In a fast-paced, candid narrative, Buford describes three frenetic years in the kitchen: trials and errors, disappointments and triumphs, as he worked his way up the Babbo ladder to a line cook... his relationship with the larger-than-life Batali, whose story he learns as their friendship grows through (and sometimes despite) kitchen encounters and after-work all-nighters... and his immersion in the art of butchery in Northern Italy, of preparing game in London, and of handmade pasta at an Italian hillside trattoria.

Heat is a marvelous hybrid: a memoir of Buford's kitchen adventure, the story of Batali's amazing rise to culinary (and extra-culinary) fame, a dazzling behind-the-scenes look at a famous restaurant, and an illuminating exploration of why food matters. It is a book to delight in, and to savor.

Review:

"An all-too-rare description of the real business of cooking, its characters and its subculture. I lingered over every sentence like a heavily truffled risotto." Anthony Bourdain, author of Kitchen Confidential

Review:

"I have never read a funnier or more authentic account of the making of a serious cook. Give Mr. Buford three stars." Peter Mayle, author of A Year in Provence

Review:

"Through [Buford's] eyes, we see what 'heat' truly is and why so many cooks have a penchant for Dante: cooking is hell. The pacing is quick, and the writing often mirrors the intensity of the kitchen....A well-seasoned cast of characters rounds out this culinary odyssey." Library Journal

Review:

"The book is part memoir, part biography and part tutorial, and its deftly intertwining narratives include everything from high-end restaurant gossip and kitchen secrets to a passionate homage to the rapidly declining traditions of handmade food." New York Times

Review:

"Exuberant, hilarious, glorying in its rich and arcane subject matter." Los Angeles Times

Review:

"A tour de force piece of immersion reportage." Chicago Sun-Times

Review:

"Buford breezes along with charmingly chaotic anecdotes of his travels and cooking....[W]hen Molto Mario swaggers onto the page, Heat rocks." Houston Chronicle

Review:

"Bill Buford learns that Italians take their cuisine very seriously....Heat is more than just a tasty treat; it's a memorable meal made with passion and served with brio." Boston Globe

Review:

"Its meaty morsels will leave most readers pining for a second helping." Christian Science Monitor

Review:

"However uncertain he is of his culinary skills, Buford needn't worry about his exceptional gift of writing words to esteem and savor." Seattle Times

Synopsis:

From Bill Buford, one of our most interesting literary figures--eight years as fiction editor at "The New Yorker"--comes a sharp, funny, exuberant, close-up account of his headlong plunge into the life of a professional cook. A marvelous hybrid, "Heat" offers a memoir of Buford's kitchen adventure as well as an illuminating exploration of why food matters.From Bill Buford, one of our most interesting literary figures--eight years as fiction editor at "The New Yorker"--comes a sharp, funny, exuberant, close-up account of his headlong plunge into the life of a professional cook. A marvelous hybrid, "Heat" offers a memoir of Buford's kitchen adventure as well as an illuminating exploration of why food matters.

Synopsis:

Bill Buford—author of the highly acclaimed best-selling Among the Thugs—had long thought of himself as a reasonably comfortable cook when in 2002 he finally decided to answer a question that had nagged him every time he prepared a meal: What kind of cook could he be if he worked in a professional kitchen? When the opportunity arose to train in the kitchen of Mario Batalis three-star New York restaurant, Babbo, Buford grabbed it. Heat is the chronicle—sharp, funny, wonderfully exuberant—of his time spent as Batalis “slave” and of his far-flung apprenticeships with culinary masters in Italy.

In a fast-paced, candid narrative, Buford describes the frenetic experience of working in Babbos kitchen: the trials and errors (and more errors), humiliations and hopes, disappointments and triumphs as he worked his way up the ladder from slave to cook. He talks about his relationships with his kitchen colleagues and with the larger-than-life, hard-living Batali, whose story he learns as their friendship grows through (and sometimes despite) kitchen encounters and after-work all-nighters.

Buford takes us to the restaurant in a remote Appennine village where Batali first apprenticed in Italy and where Buford learns the intricacies of handmade pasta . . . the hill town in Chianti where he is tutored in the art of butchery by Italys most famous butcher, a man who insists that his meat is an expression of the Italian soul . . . to London, where he is instructed in the preparation of game by Marco Pierre White, one of Englands most celebrated (or perhaps notorious) chefs. And throughout, we follow the thread of Bufords fascinating reflections on food as a bearer of culture, on the history and development of a few special dishes (Is the shape of tortellini really based on a womans navel? And just what is a short rib?), and on the what and why of the foods we eat today.

Heat is a marvelous hybrid: a richly evocative memoir of Bufords kitchen adventure, the story of Batalis amazing rise to culinary (and extra-culinary) fame, a dazzling behind-the-scenes look at the workings of a famous restaurant, and an illuminating exploration of why food matters.

It is a book to delight in—and to savor.

Synopsis:

<a name="iti1"></a>Linguine with Clams

If you're tempted to make linguine with clams according to the kitchen's preparation, you should understand that the only ingredient that's measured is the pasta. (A serving is four ounces.) Everything else is what you pick up with your fingertips, and it's either a small pinch or a large pinch or something in between: not helpful, but that, alas, is the way quantities are determined in a restaurant.

The downside of measuring by hand is what happens to the hands. At the end of an evening your fingertips are irretrievably stained with some very heady aromatics, and there's nothing you can do to eliminate them. You wash your hands. You soak them. You shower, you scrub them again. The next day, they still stink of onion, garlic, and pork fat, and, convinced that everyone around you is picking up the smell, you ram them into your pockets, maniacally rubbing your fingers against each other like an obsessive-compulsive Lady Macbeth.

Ingredients

small pinch of chopped garlic

small pinch of chili flakes

medium pinch of chopped onion

medium pinch of pancetta

olive oil

butter

white wine

4 oz. linguine per serving

A big handful of clams

parsley

NOTE: the ingredients and preparations in this recipe are approximate—experiment with proportions to make it to your taste.

Begin by roasting small pinches of garlic and chili flakes and medium pinches of the onion and pancetta in a hot pan with olive oil. Hot oil accelerates the cooking process,and the moment everything gets soft you pour it away (holding back the contents with your tongs) and add a slap of butter and a splash of white wine, which stops the cooking. This is Stage One—and you are left with the familiar messy buttery mush—but already you've added two things you'd never see in Italy: butter (seafood with butter—or any other dairy ingredient—verges on culinary blasphemy) and pancetta, because, according to Mario, pork and shellfish are an eternal combination found in many other places: in Portugal, in amêijoas na cataplana (clams and ham); or in Spain, in a paella (chorizo and scallops); or in the United States, in the Italian-American clams casino, even though none of those places happens to be in Italy.

In Stage Two, you drop the pasta in boiling water and take your messy buttery pan and fill it with a big handful of clams and put it on the highest possible flame. The objective is to cook them fast—they'll start opening after three or four minutes, when you give the pan a swirl, mixing the shellfish juice with the buttery porky white wine emulsion. At six minutes and thirty seconds, you use your tongs to pull your noodles out and drop them into your pan—all that starchy pasta water slopping in with them is still a good thing; give the pan another swirl; flip it; swirl it again to ensure that the pasta is covered by the sauce. If it looks dry, add another splash of pasta water; if too wet, pour some out. You then let the thing cook away for another half minute or so, swirling, swirling, until the sauce streaks across the bottom of the pan, splash it with olive oil and sprinkle it with parsley: dinner.

The first glimpse I had of what Mario Batali’s friends had described to me as the “myth of Mario” was on a cold Saturday night in January 2002, when I invited him to a birthday dinner. Batali, the chef and co-owner of Babbo, an Italian restaurant in Manhattan, is such a famous and proficient cook that he’s rarely invited to people’s homes for a meal, he told me, and he went out of his way to be a grateful guest. He arrived bearing his own quince-flavored grappa (the rough, distilled end-of-harvest grape juices rendered almost drinkable by the addition of the fruit); a jar of homemade nocino (same principle, but with walnuts); an armful of wine; and a white, dense slab of lardo—literally, the raw “lardy” back of a very fat pig, one he’d cured himself with herbs and salt. I was what might generously be described as an enthusiastic cook, more confident than competent (that is, keen but fundamentally clueless), and to this day I am astonished that I had the nerve to ask over someone of Batali’s reputation, along with six guests who thought they’d have an amusing evening witnessing my humiliation. (Mario was a friend of the birthday friend, so I’d thought—why not invite him, too?—but when, wonder of wonders, he then accepted and I told my wife, Jessica, she was apoplectic with wonder: “What in the world were you thinking of, inviting a famous chef to our apartment for dinner? Now what are we going to do?”)

 

In the event, there was little comedy, mainly because Mario didn’t give me a chance. Shortly after my being instructed that only a moron would let his meat rest by wrapping it in foil after cooking it, I cheerfully gave up and let Batali tell me what to do. By then he’d taken over the evening, anyway. Not long into it, he’d cut the lardo into thin slices and, with a startling flourish of intimacy, laid them individually on our tongues, whispering that we needed to let the fat melt in our mouths to appreciate its intensity. The lardo was from a pig that, in the last months of its seven-hundred-and-fifty-pound life, had lived on apples, walnuts, and cream (“The best song sung in the key of pig”), and Mario convinced us that, as the fat dissolved, we’d detect the flavors of the animal’s happy diet—there, in the back of the mouth. No one that evening had knowingly eaten pure fat before (“At the restaurant, I tell the waiters to call it prosciutto bianco”), and by the time Mario had persuaded us to a third helping everyone’s heart was racing. Batali was an impressively dedicated drinker—he mentioned in passing that, on trips to Italy made with his Babbo co-owner, Joe Bastianich, the two of them had been known to put away a case of wine during an evening meal—and while I don’t think that any of us drank anything like that, we were, by now, very thirsty (the lardo, the salt, the human heat of so much jollity) and, cheered on, found ourselves knocking back more and more. I don’t know. I don’t really remember. There were also the grappa and the nocino, and one of my last images is of Batali at three in the morning—a stoutly round man with his back dangerously arched, his eyes closed, a long red ponytail swinging rhythmically behind him, an unlit cigarette dangling from his mouth, his red Converse high-tops pounding the floor—playing air guitar to Neil Young’s “Southern Man.” Batali was forty-one, and I remember thinking it had been a long time since I’d seen a grown man play air guitar. He then found the soundtrack for Buena Vista Social Club, tried to salsa with one of the women guests (who promptly fell over a sofa), moved on to her boyfriend, who was unresponsive, put on a Tom Waits CD instead, and sang along as he washed the dishes and swept the floor. He reminded me of an arrangement we’d made for the next day—when I’d invited Batali to dinner, he’d reciprocated by asking me to join him at a New York Giants football game, tickets courtesy of the commissioner of the NFL, who had just eaten at Babbo—and then disappeared with three of my friends, assuring them that, with his back-of-the-hand knowledge of downtown establishments open until five, he’d find a place to continue the evening. They ended up at Marylou’s in the Village—in Batali’s description, “A wise guy joint where you can get anything at any time of night, and none of it good.”

 

It was daylight when Batali got home. I learned this from his building superintendent the next morning, as the two of us tried to get Batali to wake up—the commissioner’s driver was waiting outside. When Batali finally appeared, forty-five minutes later, he was momentarily perplexed, standing in the doorway of his apartment in his underwear and wondering why I was there, too. (Batali has a remarkable girth, and it was startling to see him clad so.) Then, in minutes, he transformed himself into what I would come to know as the Batali look: the shorts, the clogs, the wraparound sunglasses, the red hair pulled back into its ponytail. One moment, a rotund Clark Kent in his underpants; the next, “Molto Mario”—the clever, many-layered name of his cooking television program, which, in one of its senses, literally means Very Mario (that is, an intensified Mario, an exaggerated Mario)—and a figure whose renown I didn’t appreciate until, as guests of the commissioner, we were allowed onto the field before the game. Fans of the New York Giants are so famously brutish as to be cartoons (bare-chested on a wintry morning or wearing hard hats; in any case, not guys putting in their domestic duty in the kitchen), and I was surprised by how many recognized the ponytailed chef, who stood facing them, arms crossed over his chest, beaming. “Hey, Molto!” they shouted. “What’s cooking, Mario?” “Mario, make me a pasta!” At the time, Molto Mario was shown on afternoons on cable television, and I found a complex picture of the working metropolitan male emerging, one rushing home the moment his shift ended to catch lessons in braising his broccoli rabe and getting just the right forked texture on his homemade orecchiette. I stood back with one of the security people, taking in the spectacle (by now members of the crowd were chanting “Molto, Molto, Molto”)—this very round man, whose manner and dress said, “Dude, where’s the party?”

 

“I love this guy,” the security man said. “Just lookin’ at him makes me hungry.”

 

Mario Batali is the most recognized chef in a city with more chefs than any other city in the world. In addition to Batali’s television show—and his appearances promoting, say, the NASCAR race track in Delaware—he was simply and energetically omnipresent. It would be safe to say that no New York chef ate more, drank more, and was out and about as much. If you live in New York City, you will see him eventually (sooner, if your evenings get going around two in the morning). With his partner, Joe, Batali also owned two other restaurants, Esca and Lupa, and a shop selling Italian wine, and, when we met, they were talking about opening a pizzeria and buying a vineyard in Tuscany. But Babbo was the heart of their enterprise, crushed into what was originally a nineteenth-century coach house, just off Washington Square, in Greenwich Village. The building was narrow; the space was crowded, jostly, and loud; and the food, studiously Italian, rather than Italian-American, was characterized by an over-the-top flourish that seemed to be expressly Batali’s. People went there in the expectation of excess. Sometimes I wondered if Batali was less a conventional cook than an advocate of a murkier enterprise of stimulating outrageous appetites (whatever they might be) and satisfying them intensely (by whatever means). A friend of mine, who’d once dropped by the bar for a drink and was then fed personally by Batali for the next six hours, went on a diet of soft fruit and water for three days. “This guy knows no middle ground. It’s just excess on a level I’ve never known before—it’s food and drink, food and drink, food and drink, until you feel you’re on drugs.” Chefs who were regular visitors were subjected to extreme versions of what was already an extreme experience. “We’re going to kill him,” Batali said to me with maniacal glee as he prepared a meal for a rival who had innocently ordered a seven-course tasting menu, to which Batali added a lethal number of extra courses. The starters (all variations in pig) included lonza (the cured backstrap from the cream-apple-and-walnut herd), coppa (from the shoulder), a fried foot, a porcini mushroom roasted with Batali’s own pancetta (the belly), plus (“for the hell of it”) a pasta topped with guanciale (the jowls). This year, Mario was trying out a new motto: “Wretched excess is just barely enough.”

 

Batali was born in 1960 and grew up outside Seattle: a suburban kid with a solid Leave It to Beaver upbringing. His mother, Marilyn, is En-glish and French Canadian—from her comes her son’s flaming red hair and a fair, un-Italian complexion. The Italian is from his father, Armandino, the grandson of immigrants who arrived in the 1890s. When Mario was growing up, his father was a well-paid Boeing executive in charge of procuring airplane parts made overseas, and in 1975, after being posted to Europe, to supervise the manufacturing close-up, he moved his family to Spain. That, according to Gina, Mario’s youngest sibling, was when Mario changed. (“He was already pushing the limits.”) Madrid, in the post-Franco years (bars with no minimum age, hash hangouts, the world’s oldest profession suddenly legalized), was a place of exhilarating license, and Mario seems to have experienced a little bit of everything on offer. He was caught growing marijuana on the roof of his father’s apartment building (the first incident of what would become a theme—Batali was later expelled from his dorm in college, suspected of dealing, and, later still, there was some trouble in Tijuana that actually landed him in jail). The marijuana association also evokes a memory of the first meals Batali remembers preparing, late-night panini with caramelized locally grown onions, a local cow’s-milk Spanish cheese, and paper-thin slices of chorizo: “The best stoner munch you can imagine; me and my younger brother Dana were just classic stoner kids—we were so happy.”

 

By the time Batali returned to the United States in 1978 to attend Rutgers University, in New Jersey, he was determined to get back to Europe (“I wanted to be a Spanish banker—I loved the idea of making a lot of money and living a luxurious life in Madrid”), and his unlikely double major was in business management and Spanish theatre. But after being thrown out of his dorm, Batali got work as a dishwasher at a pizzeria called Stuff Yer Face (in its name alone, destiny was calling), and his life changed. He was promoted to cook, then line cook (working at one “station” in a “line” of stations, making one thing), and then asked to be manager, an offer he turned down. He didn’t want the responsibility; he was having too good a time. The life at Stuff Yer Face was fast (twenty-five years later, he still claims he has the record for the most pizzas made in an hour), sexy (“The most booooootiful waitresses in town”), and very buzzy (“I don’t want to come off as a big druggy, but when a guy comes into the kitchen with a pizza pan turned upside down, covered with lines of crack, how can you say no?”). When, in his junior year, he attended a career conference hosted by representatives from major corporations, Batali realized he had been wrong; he was never going to be a banker. He was going to be a chef.

 

“My mother and grandmother had always told me that I should be a cook. In fact, when I was preparing my applications for college, my mother had suggested cooking school. But I said, ‘Ma, that’s too gay. I don’t want to go to cooking school—that’s for fags.’ ” Five years later, Batali was back in Europe, attending the Cordon Bleu in London.

 

His father, still overseeing Boeing’s foreign operations, was now based in England. Gina Batali was there, too, and recalls seeing her eldest brother only when she was getting ready for school and he was returning from his all-night escapades after attending classes during the day and then working at a pub. The pub was the Six Bells, on the King’s Road in Chelsea. Mario had been bartending at the so-called American bar (“No idea what I was doing”), when a high-priced dining room opened in the back and a chef was hired to run it, a Yorkshire man named Marco Pierre White. Batali, bored by the pace of cooking school, was hired to be the new chef’s slave.

 

Today, Marco Pierre White is regarded as one of the most influential chefs in Britain (as well as the most foul-tempered, most mercurial, and most bullying), and it’s an extraordinary fortuity that these two men, both in their early twenties, found themselves in a tiny pub kitchen together. Batali didn’t understand what he was witnessing: his restaurant experience had been making strombolis in New Brunswick. “I assumed I was seeing what everyone else already knew. I didn’t feel like I was on the cusp of a revolution. And yet, while I had no idea this guy was about to become so famous, I could see he was preparing food from outside the box. He was a genius on the plate. I’d never worked on presentation. I just put shit on the plate.” He described White’s making a deep green puree from basil leaves and then a white butter sauce, then swirling the green sauce in one direction, and the white sauce in the other, and drawing a swerving line down the middle of the plate. “I had never seen anyone draw fucking lines with two sauces.” White would order Batali to follow him to market (“I was his whipping boy—’Yes, master,’ I’d answer, ‘whatever you say, master’ ”) and they’d return with game birds or ingredients for some of the most improbable dishes ever to be served in an English pub: écrevisses in a reduced lobster sauce, oysters with caviar, roasted ortolan (a rare, tiny bird served virtually breathing, gulped down, innards and all, like a raw crustacean)—“the whole menu written out in fucking French.”

About the Author

Bill Buford is a staff writer for the New Yorker, where he was the fiction editor for eight years. He was the founding editor of Granta magazine and was also the publisher of Granta Books. His previous book, Among the Thugs, is a nonfiction account of crowd violence and British soccer hooliganism. He lives in New York City with his wife, Jessica Green, and their two sons.

What Our Readers Are Saying

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Average customer rating based on 7 comments:

Elizabeth Lenaghan, November 9, 2009 (view all comments by Elizabeth Lenaghan)
Heat combines incredible writing with hunger-inspiring topics. Buford is both an honest critic of his own attempts to learn to cook, as well as an incredibly astute observer of the strengths and weaknesses of the astounding culinary talent that surrounds him. This is a must-read for anyone who loves books about food, but would be enjoyed by anyone who admires great prose.
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(3 of 4 readers found this comment helpful)
worldtravel04, June 27, 2007 (view all comments by worldtravel04)
Have you ever wondered what it would be like to work in Babbo, ?Molto? Mario Batali?s three star restaurant? Buford enters the frantic, crude, macho world of a NY chef as Batali?s non-paid kitchen slave?learning first hand how large the gulf between an enthusiastic amateur and professional is. Part-culinary history, part-behind-the-scenes look at Mario?s Babbo, part-travelogue and entirely entertaining.
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(14 of 27 readers found this comment helpful)
Ben Pearlman, November 28, 2006 (view all comments by Ben Pearlman)
Reading Heat is an experience of experiencing what a Chef really is. These men, and women, live a life unlike any other. They actually "slave" to become proficient at their trade, or should we say Art.

You and I might eat at various restaurants without ever giving a thought to the people preparing our food. Watching the Food Network is not learning anything about the true torture, humiliations or joys that a kitchen person must endure to become the leader of an establishment that feeds the masses.

I doubt that there are more than a few of the restaurant customers who would consider, for even a moment, undergoing all that these folks must go thru to succeed.

Bill Buford has painted a vibrant, disturbing, celebratory portrait, of dedication, to which these culinary artisans have devoted themselves.

Hats off to Buford and the people in toques.
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Product Details

ISBN:
9781400041206
Subtitle:
An Amateur's Adventures as Kitchen Slave, Line Cook, Pasta-Maker, and Apprentice to a Dante-Quoting Butcher in Tuscany
Author:
Buford, Bill
Author:
Buford, Bill
Publisher:
Knopf
Subject:
General
Subject:
Literary
Subject:
Cookery, italian
Subject:
Food
Subject:
Cooking
Subject:
Personal Memoirs
Subject:
Entertainment & Performing Arts - General
Subject:
Cookery, Italian -- Tuscan style.
Subject:
Food - Italy - Tuscany
Subject:
General Cooking
Copyright:
Publication Date:
May 30, 2006
Binding:
Hardback
Grade Level:
General/trade
Language:
English
Illustrations:
Y
Pages:
336
Dimensions:
9.61x6.60x1.27 in. 1.51 lbs.

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Related Subjects

Biography » General
Cooking and Food » Food Writing » Gastronomic Literature
Cooking and Food » Food Writing » General
Featured Titles » General

Heat: An Amateur's Adventures as Kitchen Slave, Line Cook, Pasta-Maker, and Apprentice to a Dante-Quoting Butcher in Tuscany Used Hardcover
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Product details 336 pages Alfred A. Knopf - English 9781400041206 Reviews:
"Staff Pick" by ,

Much like Anthony Bourdain's sensational account of the culinary trenches of Amercian restaurant kitchens, Bill Buford's Heat gives readers an authentic look at his tenure as "kitchen slave" to celebrity chef Mario Batali. Including chapters on Batali's progress toward becoming a chef and star; Buford's developing skills as an untrained amateur within the kitchen at Batali's restaurant, Babbo; and interesting musings on polenta, pasta, and the butcher's trade, Buford's delightfully descriptive adventure left me craving a big meal and a wicked night in a restaurant kitchen corner.

"Staff Pick" by ,

Much like Anthony Bourdain's sensational account of the culinary trenches of Amercian restaurant kitchens, Bill Buford's Heat gives readers an authentic look at his tenure as "kitchen slave" to celebrity chef Mario Batali. Including chapters on Batali's progress to becoming a chef and star; Buford's developing skills as an untrained amateur within the kitchen at Batali's restaurant, Babbo; and interesting musings on polenta, pasta, and the butcher's trade, Buford's delightfully descriptive adventure left me craving a big meal and a wicked night in a restaurant kitchen corner.

"Review A Day" by , "[D]elightful....Heat lets readers share Buford's adoration for Italian food; one of the book's highlights is a show-stopping, hilariously insecure riff on the country's culinary neuroses....Buford was clearly already a rather impressive cook before he came to Babbo, but he becomes — after stints in Porretta to learn how to make real Italian pasta and Panzano to learn how to become a real Tuscan butcher — a truly exceptional one." (read the entire Washington Post Book World review)
"Review" by , "An all-too-rare description of the real business of cooking, its characters and its subculture. I lingered over every sentence like a heavily truffled risotto."
"Review" by , "I have never read a funnier or more authentic account of the making of a serious cook. Give Mr. Buford three stars."
"Review" by , "Through [Buford's] eyes, we see what 'heat' truly is and why so many cooks have a penchant for Dante: cooking is hell. The pacing is quick, and the writing often mirrors the intensity of the kitchen....A well-seasoned cast of characters rounds out this culinary odyssey."
"Review" by , "The book is part memoir, part biography and part tutorial, and its deftly intertwining narratives include everything from high-end restaurant gossip and kitchen secrets to a passionate homage to the rapidly declining traditions of handmade food."
"Review" by , "Exuberant, hilarious, glorying in its rich and arcane subject matter."
"Review" by , "A tour de force piece of immersion reportage."
"Review" by , "Buford breezes along with charmingly chaotic anecdotes of his travels and cooking....[W]hen Molto Mario swaggers onto the page, Heat rocks."
"Review" by , "Bill Buford learns that Italians take their cuisine very seriously....Heat is more than just a tasty treat; it's a memorable meal made with passion and served with brio."
"Review" by , "Its meaty morsels will leave most readers pining for a second helping."
"Review" by , "However uncertain he is of his culinary skills, Buford needn't worry about his exceptional gift of writing words to esteem and savor."
"Synopsis" by , From Bill Buford, one of our most interesting literary figures--eight years as fiction editor at "The New Yorker"--comes a sharp, funny, exuberant, close-up account of his headlong plunge into the life of a professional cook. A marvelous hybrid, "Heat" offers a memoir of Buford's kitchen adventure as well as an illuminating exploration of why food matters.From Bill Buford, one of our most interesting literary figures--eight years as fiction editor at "The New Yorker"--comes a sharp, funny, exuberant, close-up account of his headlong plunge into the life of a professional cook. A marvelous hybrid, "Heat" offers a memoir of Buford's kitchen adventure as well as an illuminating exploration of why food matters.
"Synopsis" by , Bill Buford&#8212;author of the highly acclaimed best-selling Among the Thugs&#8212;had long thought of himself as a reasonably comfortable cook when in 2002 he finally decided to answer a question that had nagged him every time he prepared a meal: What kind of cook could he be if he worked in a professional kitchen? When the opportunity arose to train in the kitchen of Mario Batalis three-star New York restaurant, Babbo, Buford grabbed it. Heat is the chronicle&#8212;sharp, funny, wonderfully exuberant&#8212;of his time spent as Batalis “slave” and of his far-flung apprenticeships with culinary masters in Italy.

In a fast-paced, candid narrative, Buford describes the frenetic experience of working in Babbos kitchen: the trials and errors (and more errors), humiliations and hopes, disappointments and triumphs as he worked his way up the ladder from slave to cook. He talks about his relationships with his kitchen colleagues and with the larger-than-life, hard-living Batali, whose story he learns as their friendship grows through (and sometimes despite) kitchen encounters and after-work all-nighters.

Buford takes us to the restaurant in a remote Appennine village where Batali first apprenticed in Italy and where Buford learns the intricacies of handmade pasta . . . the hill town in Chianti where he is tutored in the art of butchery by Italys most famous butcher, a man who insists that his meat is an expression of the Italian soul . . . to London, where he is instructed in the preparation of game by Marco Pierre White, one of Englands most celebrated (or perhaps notorious) chefs. And throughout, we follow the thread of Bufords fascinating reflections on food as a bearer of culture, on the history and development of a few special dishes (Is the shape of tortellini really based on a womans navel? And just what is a short rib?), and on the what and why of the foods we eat today.

Heat is a marvelous hybrid: a richly evocative memoir of Bufords kitchen adventure, the story of Batalis amazing rise to culinary (and extra-culinary) fame, a dazzling behind-the-scenes look at the workings of a famous restaurant, and an illuminating exploration of why food matters.

It is a book to delight in&#8212;and to savor.

"Synopsis" by , <a name="iti1"></a>Linguine with Clams

If you're tempted to make linguine with clams according to the kitchen's preparation, you should understand that the only ingredient that's measured is the pasta. (A serving is four ounces.) Everything else is what you pick up with your fingertips, and it's either a small pinch or a large pinch or something in between: not helpful, but that, alas, is the way quantities are determined in a restaurant.

The downside of measuring by hand is what happens to the hands. At the end of an evening your fingertips are irretrievably stained with some very heady aromatics, and there's nothing you can do to eliminate them. You wash your hands. You soak them. You shower, you scrub them again. The next day, they still stink of onion, garlic, and pork fat, and, convinced that everyone around you is picking up the smell, you ram them into your pockets, maniacally rubbing your fingers against each other like an obsessive-compulsive Lady Macbeth.

Ingredients

small pinch of chopped garlic

small pinch of chili flakes

medium pinch of chopped onion

medium pinch of pancetta

olive oil

butter

white wine

4 oz. linguine per serving

A big handful of clams

parsley

NOTE: the ingredients and preparations in this recipe are approximate—experiment with proportions to make it to your taste.

Begin by roasting small pinches of garlic and chili flakes and medium pinches of the onion and pancetta in a hot pan with olive oil. Hot oil accelerates the cooking process,and the moment everything gets soft you pour it away (holding back the contents with your tongs) and add a slap of butter and a splash of white wine, which stops the cooking. This is Stage One—and you are left with the familiar messy buttery mush—but already you've added two things you'd never see in Italy: butter (seafood with butter—or any other dairy ingredient—verges on culinary blasphemy) and pancetta, because, according to Mario, pork and shellfish are an eternal combination found in many other places: in Portugal, in amêijoas na cataplana (clams and ham); or in Spain, in a paella (chorizo and scallops); or in the United States, in the Italian-American clams casino, even though none of those places happens to be in Italy.

In Stage Two, you drop the pasta in boiling water and take your messy buttery pan and fill it with a big handful of clams and put it on the highest possible flame. The objective is to cook them fast—they'll start opening after three or four minutes, when you give the pan a swirl, mixing the shellfish juice with the buttery porky white wine emulsion. At six minutes and thirty seconds, you use your tongs to pull your noodles out and drop them into your pan—all that starchy pasta water slopping in with them is still a good thing; give the pan another swirl; flip it; swirl it again to ensure that the pasta is covered by the sauce. If it looks dry, add another splash of pasta water; if too wet, pour some out. You then let the thing cook away for another half minute or so, swirling, swirling, until the sauce streaks across the bottom of the pan, splash it with olive oil and sprinkle it with parsley: dinner.

The first glimpse I had of what Mario Batali’s friends had described to me as the “myth of Mario” was on a cold Saturday night in January 2002, when I invited him to a birthday dinner. Batali, the chef and co-owner of Babbo, an Italian restaurant in Manhattan, is such a famous and proficient cook that he’s rarely invited to people’s homes for a meal, he told me, and he went out of his way to be a grateful guest. He arrived bearing his own quince-flavored grappa (the rough, distilled end-of-harvest grape juices rendered almost drinkable by the addition of the fruit); a jar of homemade nocino (same principle, but with walnuts); an armful of wine; and a white, dense slab of lardo—literally, the raw “lardy” back of a very fat pig, one he’d cured himself with herbs and salt. I was what might generously be described as an enthusiastic cook, more confident than competent (that is, keen but fundamentally clueless), and to this day I am astonished that I had the nerve to ask over someone of Batali’s reputation, along with six guests who thought they’d have an amusing evening witnessing my humiliation. (Mario was a friend of the birthday friend, so I’d thought—why not invite him, too?—but when, wonder of wonders, he then accepted and I told my wife, Jessica, she was apoplectic with wonder: “What in the world were you thinking of, inviting a famous chef to our apartment for dinner? Now what are we going to do?”)

 

In the event, there was little comedy, mainly because Mario didn’t give me a chance. Shortly after my being instructed that only a moron would let his meat rest by wrapping it in foil after cooking it, I cheerfully gave up and let Batali tell me what to do. By then he’d taken over the evening, anyway. Not long into it, he’d cut the lardo into thin slices and, with a startling flourish of intimacy, laid them individually on our tongues, whispering that we needed to let the fat melt in our mouths to appreciate its intensity. The lardo was from a pig that, in the last months of its seven-hundred-and-fifty-pound life, had lived on apples, walnuts, and cream (“The best song sung in the key of pig”), and Mario convinced us that, as the fat dissolved, we’d detect the flavors of the animal’s happy diet—there, in the back of the mouth. No one that evening had knowingly eaten pure fat before (“At the restaurant, I tell the waiters to call it prosciutto bianco”), and by the time Mario had persuaded us to a third helping everyone’s heart was racing. Batali was an impressively dedicated drinker—he mentioned in passing that, on trips to Italy made with his Babbo co-owner, Joe Bastianich, the two of them had been known to put away a case of wine during an evening meal—and while I don’t think that any of us drank anything like that, we were, by now, very thirsty (the lardo, the salt, the human heat of so much jollity) and, cheered on, found ourselves knocking back more and more. I don’t know. I don’t really remember. There were also the grappa and the nocino, and one of my last images is of Batali at three in the morning—a stoutly round man with his back dangerously arched, his eyes closed, a long red ponytail swinging rhythmically behind him, an unlit cigarette dangling from his mouth, his red Converse high-tops pounding the floor—playing air guitar to Neil Young’s “Southern Man.” Batali was forty-one, and I remember thinking it had been a long time since I’d seen a grown man play air guitar. He then found the soundtrack for Buena Vista Social Club, tried to salsa with one of the women guests (who promptly fell over a sofa), moved on to her boyfriend, who was unresponsive, put on a Tom Waits CD instead, and sang along as he washed the dishes and swept the floor. He reminded me of an arrangement we’d made for the next day—when I’d invited Batali to dinner, he’d reciprocated by asking me to join him at a New York Giants football game, tickets courtesy of the commissioner of the NFL, who had just eaten at Babbo—and then disappeared with three of my friends, assuring them that, with his back-of-the-hand knowledge of downtown establishments open until five, he’d find a place to continue the evening. They ended up at Marylou’s in the Village—in Batali’s description, “A wise guy joint where you can get anything at any time of night, and none of it good.”

 

It was daylight when Batali got home. I learned this from his building superintendent the next morning, as the two of us tried to get Batali to wake up—the commissioner’s driver was waiting outside. When Batali finally appeared, forty-five minutes later, he was momentarily perplexed, standing in the doorway of his apartment in his underwear and wondering why I was there, too. (Batali has a remarkable girth, and it was startling to see him clad so.) Then, in minutes, he transformed himself into what I would come to know as the Batali look: the shorts, the clogs, the wraparound sunglasses, the red hair pulled back into its ponytail. One moment, a rotund Clark Kent in his underpants; the next, “Molto Mario”—the clever, many-layered name of his cooking television program, which, in one of its senses, literally means Very Mario (that is, an intensified Mario, an exaggerated Mario)—and a figure whose renown I didn’t appreciate until, as guests of the commissioner, we were allowed onto the field before the game. Fans of the New York Giants are so famously brutish as to be cartoons (bare-chested on a wintry morning or wearing hard hats; in any case, not guys putting in their domestic duty in the kitchen), and I was surprised by how many recognized the ponytailed chef, who stood facing them, arms crossed over his chest, beaming. “Hey, Molto!” they shouted. “What’s cooking, Mario?” “Mario, make me a pasta!” At the time, Molto Mario was shown on afternoons on cable television, and I found a complex picture of the working metropolitan male emerging, one rushing home the moment his shift ended to catch lessons in braising his broccoli rabe and getting just the right forked texture on his homemade orecchiette. I stood back with one of the security people, taking in the spectacle (by now members of the crowd were chanting “Molto, Molto, Molto”)—this very round man, whose manner and dress said, “Dude, where’s the party?”

 

“I love this guy,” the security man said. “Just lookin’ at him makes me hungry.”

 

Mario Batali is the most recognized chef in a city with more chefs than any other city in the world. In addition to Batali’s television show—and his appearances promoting, say, the NASCAR race track in Delaware—he was simply and energetically omnipresent. It would be safe to say that no New York chef ate more, drank more, and was out and about as much. If you live in New York City, you will see him eventually (sooner, if your evenings get going around two in the morning). With his partner, Joe, Batali also owned two other restaurants, Esca and Lupa, and a shop selling Italian wine, and, when we met, they were talking about opening a pizzeria and buying a vineyard in Tuscany. But Babbo was the heart of their enterprise, crushed into what was originally a nineteenth-century coach house, just off Washington Square, in Greenwich Village. The building was narrow; the space was crowded, jostly, and loud; and the food, studiously Italian, rather than Italian-American, was characterized by an over-the-top flourish that seemed to be expressly Batali’s. People went there in the expectation of excess. Sometimes I wondered if Batali was less a conventional cook than an advocate of a murkier enterprise of stimulating outrageous appetites (whatever they might be) and satisfying them intensely (by whatever means). A friend of mine, who’d once dropped by the bar for a drink and was then fed personally by Batali for the next six hours, went on a diet of soft fruit and water for three days. “This guy knows no middle ground. It’s just excess on a level I’ve never known before—it’s food and drink, food and drink, food and drink, until you feel you’re on drugs.” Chefs who were regular visitors were subjected to extreme versions of what was already an extreme experience. “We’re going to kill him,” Batali said to me with maniacal glee as he prepared a meal for a rival who had innocently ordered a seven-course tasting menu, to which Batali added a lethal number of extra courses. The starters (all variations in pig) included lonza (the cured backstrap from the cream-apple-and-walnut herd), coppa (from the shoulder), a fried foot, a porcini mushroom roasted with Batali’s own pancetta (the belly), plus (“for the hell of it”) a pasta topped with guanciale (the jowls). This year, Mario was trying out a new motto: “Wretched excess is just barely enough.”

 

Batali was born in 1960 and grew up outside Seattle: a suburban kid with a solid Leave It to Beaver upbringing. His mother, Marilyn, is En-glish and French Canadian—from her comes her son’s flaming red hair and a fair, un-Italian complexion. The Italian is from his father, Armandino, the grandson of immigrants who arrived in the 1890s. When Mario was growing up, his father was a well-paid Boeing executive in charge of procuring airplane parts made overseas, and in 1975, after being posted to Europe, to supervise the manufacturing close-up, he moved his family to Spain. That, according to Gina, Mario’s youngest sibling, was when Mario changed. (“He was already pushing the limits.”) Madrid, in the post-Franco years (bars with no minimum age, hash hangouts, the world’s oldest profession suddenly legalized), was a place of exhilarating license, and Mario seems to have experienced a little bit of everything on offer. He was caught growing marijuana on the roof of his father’s apartment building (the first incident of what would become a theme—Batali was later expelled from his dorm in college, suspected of dealing, and, later still, there was some trouble in Tijuana that actually landed him in jail). The marijuana association also evokes a memory of the first meals Batali remembers preparing, late-night panini with caramelized locally grown onions, a local cow’s-milk Spanish cheese, and paper-thin slices of chorizo: “The best stoner munch you can imagine; me and my younger brother Dana were just classic stoner kids—we were so happy.”

 

By the time Batali returned to the United States in 1978 to attend Rutgers University, in New Jersey, he was determined to get back to Europe (“I wanted to be a Spanish banker—I loved the idea of making a lot of money and living a luxurious life in Madrid”), and his unlikely double major was in business management and Spanish theatre. But after being thrown out of his dorm, Batali got work as a dishwasher at a pizzeria called Stuff Yer Face (in its name alone, destiny was calling), and his life changed. He was promoted to cook, then line cook (working at one “station” in a “line” of stations, making one thing), and then asked to be manager, an offer he turned down. He didn’t want the responsibility; he was having too good a time. The life at Stuff Yer Face was fast (twenty-five years later, he still claims he has the record for the most pizzas made in an hour), sexy (“The most booooootiful waitresses in town”), and very buzzy (“I don’t want to come off as a big druggy, but when a guy comes into the kitchen with a pizza pan turned upside down, covered with lines of crack, how can you say no?”). When, in his junior year, he attended a career conference hosted by representatives from major corporations, Batali realized he had been wrong; he was never going to be a banker. He was going to be a chef.

 

“My mother and grandmother had always told me that I should be a cook. In fact, when I was preparing my applications for college, my mother had suggested cooking school. But I said, ‘Ma, that’s too gay. I don’t want to go to cooking school—that’s for fags.’ ” Five years later, Batali was back in Europe, attending the Cordon Bleu in London.

 

His father, still overseeing Boeing’s foreign operations, was now based in England. Gina Batali was there, too, and recalls seeing her eldest brother only when she was getting ready for school and he was returning from his all-night escapades after attending classes during the day and then working at a pub. The pub was the Six Bells, on the King’s Road in Chelsea. Mario had been bartending at the so-called American bar (“No idea what I was doing”), when a high-priced dining room opened in the back and a chef was hired to run it, a Yorkshire man named Marco Pierre White. Batali, bored by the pace of cooking school, was hired to be the new chef’s slave.

 

Today, Marco Pierre White is regarded as one of the most influential chefs in Britain (as well as the most foul-tempered, most mercurial, and most bullying), and it’s an extraordinary fortuity that these two men, both in their early twenties, found themselves in a tiny pub kitchen together. Batali didn’t understand what he was witnessing: his restaurant experience had been making strombolis in New Brunswick. “I assumed I was seeing what everyone else already knew. I didn’t feel like I was on the cusp of a revolution. And yet, while I had no idea this guy was about to become so famous, I could see he was preparing food from outside the box. He was a genius on the plate. I’d never worked on presentation. I just put shit on the plate.” He described White’s making a deep green puree from basil leaves and then a white butter sauce, then swirling the green sauce in one direction, and the white sauce in the other, and drawing a swerving line down the middle of the plate. “I had never seen anyone draw fucking lines with two sauces.” White would order Batali to follow him to market (“I was his whipping boy—’Yes, master,’ I’d answer, ‘whatever you say, master’ ”) and they’d return with game birds or ingredients for some of the most improbable dishes ever to be served in an English pub: écrevisses in a reduced lobster sauce, oysters with caviar, roasted ortolan (a rare, tiny bird served virtually breathing, gulped down, innards and all, like a raw crustacean)—“the whole menu written out in fucking French.”

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