New York

The Love in Food

2An earlier version of this post appeared on the One Week in Love website. I grew up knowing that food is love. My mother taught me how to cook. I remember standing in the kitchen on weeknight, following her around as she showed me how to roast a chicken, or bustling around at a dinner party, making a stew stretch to feed an unexpected guest. My father taught me how to bake. He would let me kneed bread dough and roll out pie crusts with my childish hands, making me feel very grown up because this food was actually going to feed people.

Later, in college where dorm cafeteria meals are meant to get you through the day rather than satisfy the inner foodie in you, I would cook for my friends. Big pots of spaghetti Bolognese and chicken noodle soup would come steaming off of my dorm’s tiny electric stove. We would pile up mismatched plates and bowls to eat together in the lounge with our eclectic family chosen out of the people we loved best at school.

When I moved to New York for graduate school and then work, I learned to cook in a miniscule New York studio apartment in Morningside Heights with a kitchen that didn’t have an inch of counter space. I’d host little dinner and cocktail parties, feeling very grown up that all of my plates and dishes matched. That I had glassware was seen as a sign of maturity.

Now I cook for my boyfriend, a man doesn’t turn on the stove except to insist on making me a hot breakfast before I head to work. I started cooking for him within a few weeks of us meeting, teaching him little things here and there in the kitchen because he wanted to learn. But more than anything, I wanted to feed him. All my life, I’ve understood that we feed the people we care about because food is about more than sustenance.

Right in the middle of my novella “The Wedding Week”, Chris cooks for Annie. He’s a chef, so I knew it would be important for him to show his love of the heroine through food. It’s his language. I wound up writing a scene I think of as being deceptively intimate. Right in the middle of the book, Chris rolls out of Annie’s bed and makes he tomato soup and grilled cheese sandwiches. But the scene isn’t just about amazing, post-coital food preparation. It’s an early sign of what the reader already suspects: Chris is already falling for Annie.

I’ve gotten a couple of requests from early readers to share Chris’ romantic but simple tomato soup recipe, so here it is. I only hope you will make it for someone you love whether husband, wife, girlfriend, boyfriend, child, parent, or friend.

 

Tuscan Roasted Tomato Soup

Adapted from 5 Ingredient Fix: Easy, Elegant, and Irresistible Recipes, by Claire Robinson 

Ingredients

1 pound vine ripened tomatoes, seeded and quartered*

2 whole garlic cloves, peeled

2 tablespoons olive oil

One 28-ounce can crushed San Marzano tomatoes

1 ½ cups water

1/3 cup basil leaves, chopped finely

Salt & pepper to taste

Preheat over to 400.

Toss chopped, fresh tomatoes with olive oil, salt, and pepper on a rimmed baking sheet. Add whole garlic cloves. Roast in oven for 15 minutes until tomatoes start to shrivel and their sweetness concentrates.

While tomatoes are cooking, add San Marzano tomatoes and water to a large saucepan over medium-high heat. Add basil and stir. Bring to a boil, then reduce head to medium-low and simmer for about 15 minutes.

Once tomatoes are done, remove from oven and reserve garlic cloves. Add to the pot with all cooking juices. Smash garlic with the flat of a knife, and chop finely into a paste. Add to soup. Simmer for another three minutes. Adjust seasonings to taste. Ladle into bowls and serve immediately alongside grilled cheese sandwiches.

This soup freezes well.

*I often make this recipe in the winter when tomatoes are out of season and the greenhouse grown ones are prohibitively expensive. During those months, ripe grape tomatoes sliced in half make a great alternative.

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I Went to the Death Becomes Her Exhibit at the Met

Death Becomes Her, The Metropolitan Museum of Art. This Sunday was Marathon Day here in NYC. I, like many New Yorkers, live right near the route. While I love the marathon, sometimes the crowds can get a little rough. This year I cheered on some of the runners earlier in the day and then left the neighborhood to do something I never do. Dear Reader, I went to the Met on a Sunday and took a boatload of photographs.

Normally the Metropolitan Museum of Art is a mess on the weekends (even more so when it's raining). I try to avoid it as much as possible, but I was determined to see the museum's new exhibit Death Becomes Her: A Century of Mourning Attire. Victorian fashion? Death? Mourning? This is pretty much right in my wheelhouse, so off I went to a delightfully empty Met thanks to all of the crowds being diverted to the marathon.

Arriving so early, I had the gallery mostly to myself which was an incredible experience. The exhibit is small but incredibly details and representative of several trends in mourning attire. The curator's notes addressed some major themes:

  • Women bore the brunt of the responsibility when it came to mourning. Rules for men were much more flexible, but women were strictly regulated in what they could wear and when as well as the social activities they could partake in while in mourning.
  • The stages of mourning and the way that fabrics mirrored the gradual coming out of mourning. The exhibit discusses the use of crepe as well as the incorporation of more lustrous fabrics like silk moire and taffeta in the later stages. Color also comes into play.
  • The tension between fashion and grief. Especially in the later examples of the dresses, the curator's notes emphasizes that the wearer, despite being in a deep state of mourning, was still at the cutting edge of fashion when it came to silhouette.

And speaking of silhouette, I was delighted to see that the exhibit shows the progression of the Grecian-inspired dresses of the 1810s-1820s through the bell-shaped crinolines of the 1850s all the way to the princess cut dresses of the lat 1870s to early 1880s and then into the very late Victorian period (there's even an Edwardian dress or two in there). Oh! And one of Queen Victoria's dresses is on display (which I sadly did not photograph because I was overwhelmed by seeing one of Her Majesty's dresses in the flesh)!

 

 

If you have the chance to see this wonderful exhibit, definitely do. Sadly there is no museum catalog for Death Becomes Her, and photographs do not do these works of art justice (all of the detailing gets lost on black fabric, and these are rich with details).

Death Becomes Her is on until February 1, 2015.