Personal Space – Why Italians Seem to Require Less of it

Proxemics, the study of interpersonal communication, defines “personal space” as the cylinder of air surrounding each person which people consider as an extension of their body. The personal radius is largest between strangers and shrinks down the more people know one another, reaching zero (physical contact) for parent-child relationships and for couples. The personal radius also varies according to the difference in social ranking: individuals seem to demand more personal space when surrounded by people that they consider of lower social status, as a form of respect they think they deserve.

In North America, the standard socially acceptable distance between acquaintances having a conversation is around 4 feet. In Italy, instead, the norm is 2-3 feet(1), a distance that North Americans tend to reserve for intimate relationships. In Italy, it’s also common for people to establish extended physical contact when having an exchange. For instance, a person may reach for a friend’s forearm as a way to communicate openness and honesty or walk arm in arm with a coworker (of any gender) as they discuss something confidential.

The difference in the amount of personal space that people require can also be seen in the way they greet one another. In Italy, especially in the south, the double kiss on the cheeks is the standard greeting between acquaintances, not the business-like handshake. In North America, the hug (which is the equivalent of the double kiss) is instead reserved for close friends and family.

When forced in a tight environment such as an overcrowded transit vehicle, people adopt strategies to cope with the invasion of personal space. A theory is that they start to see others as lifeless(2), avoid eye contact, and wear their don’t-talk-to-me face. But things get even more interesting when there is enough space for people to decide how to arrange themselves, but not enough for them to fulfill their personal space requirements. This is the case for instance in a 10-person occupancy elevator, with 6 people in it.

  • In North America, people tend to line up towards the door, staring at the void and trying to move to the back when they know they’re going to be the last out, and to the front, if they’re going to be first.
  • In Italy people consider it rude to turn their back to others. This, combined with their general tendency to refuse to line up, results in people orienting themselves in a circle, turning their backs to the elevator’s walls.

people in an elevator

The higher tolerance of Italians for an invasion of their personal space also reflects in their inclination to violate somebody else’s. As an example, when queuing up in a crowded post office, it’s relatively normal for people to end up shoulder to shoulder or in physical contact with the person in front, leaning against them slightly as to apply a gentle push (perhaps under the unconscious assumption that it can make the line go faster). This can also be observed when people crowd towards the counter when waiting to order their espresso, an operation which requires catching the barista’s eyes as soon as they inquire into who’s next.

But what is the cause of the different social behaviors and the varying level of interpersonal contact? One theory is that less personal space may be the result of living in densely populated cities. But this is not a sufficient condition. The Japanese, for instance, live in even tighter spaces than the Italians, and yet they are notoriously a no-contact society.

A more likely theory is that the populations of southern Europe and Latin America belong to highly expressive cultures traditionally devoted to living a communal life centered around churches and piazzas. This is likely due to the necessity of helping one another in regions of scarce resources and facilitated by the clemency of the weather. People belonging to these populations have become accustomed to collaborating with one another, which has made them emotionally and physically closer.

Besides the need for interaction, the tendency to grab people’s arm and pull them closer during a conversation may also derive from the necessity to be discrete when sharing private information. In that regard, a great example of confidential exchange is the one that catholic Italians are exposed to during confession, a sacrament bound to secrecy which requires the penitent and confessor to come close and whisper to one another.

But personal space can also be violated from far apart. This can be seen for instance in the way some Italians choose to be overly loud in public. Even if they are having a business conversation on the phone, they may raise their voice and begin gesticulating in order to establish their territory. In doing that they project confidence and power, they establish their social status and therefore enlarge their personal space.

There is one place, however, where Italians seem to require more privacy than North Americans: public toilets. In North America, the stalls are often only partially enclosed and the urinals can be side by side without any screens between them, or they may even be replaced with a communal trough. In Italy, instead, public bathrooms are often built with urinals that are well divided and stalls that are fully enclosed. One possible explanation for this difference is that by building open bathrooms, people are forced not to take advantage of these spaces as if they were personal (e.g. to conduct something illegal or immoral in it). Italians instead are less concerned with illegality or immorality, they care more about how they appear in public and therefore demand more privacy when they can’t look at their best.

___________
(1) Edward T. Hall (1990). The Hidden Dimension.
(2) Sommer, Robert (1967). Sociofugal Space. American Journal of Sociology.
Featured Image: Palio di Siena by Janus Kinase [CC BY-SA 2.0], via Wikimedia Commons.

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[Thoughts on the Table – 44] A Culinary Tour of Abruzzo with Domenica Marchetti

Food writer and cookbook author Domenica Marchetti is back on the show to talk more about her mother’s native land – the Abruzzo region in central/southern Italy. In the episode, Domenica paints a colorful picture of the region – from its geography which spans from majestic natural parks on the Apennines to beautiful beaches on the Adriatic coast, to its people, and – naturally – to its traditional food.

Domenica also describes a culinary tour of Abruzzo that she organizes along with her partners at Abruzzo Presto. The 2016 edition took place on September 18-25.

Music by: www.purple-planet.com.

   

Chard and Spinach Gnudi, the Naked Ravioli

This recipe was adapted from Domenica Marchetti’s “Swiss Chard and Spinach Ravioli Nudi”, part of her great cookbook The Glorious Vegetables of Italy, entirely dedicated to the prominent role of vegetables in Italian food.

I chose this recipe because I wanted to recreate the gnudi I tasted in a restaurant in Florence during a recent Italian trip, which also happen to have been the first gnudi I ever tasted! Florence is a mere 300 kilometres from my hometown, but regional specialties often remain confined to their native areas.

As pointed out by Domenica, “nudi” (or “gnudi” in Tuscan dialect) means naked. This is because essentially they are “naked” ravioli, i.e. ravioli filling without the pasta wrapper. The use of ricotta makes them light and fluffy, unlike potato gnocchi, which are much denser. It’s important to note that gnudi are used in first courses instead of pasta or gnocchi, they’re not meant to be served with pasta like some kind of vegetarian meatballs!

Gnudi can be prepared in several different ways. The version chosen by Domenica (and which I recreated) sees the addition of spinach and chard (“bietola” in Italian) for a “green” dough that is delicate and smooth, and which pairs well with plain tomato sauce (described here). The process of rolling the gnudi into shape is relatively easy, but it requires time and some patience. The result is spectacular – gnudi are a great first course which can set the tone for a very special meal.

Chard and Spinach Gnudi, the Naked Ravioli

Yield: 2-3 servings

Total Time: 1 hour

Prep Time: 40 minutes

Cook Time: 20 minutes

Chard and Spinach Gnudi, the Naked Ravioli

Ingredients

  • 8 oz (225 g) green chard* leaves, ripped (*a.k.a. Swiss chard)
  • 4 oz (115 g) fresh spinach leaves
  • 6 oz (170 g) cow ricotta, well drained
  • 1 yolk
  • 1/2 cup (50 g) Parmigiano, grated
  • 1/8 cup (15 g) white flour, plus 1/4 cup (30 g) to coat the gnudi
  • 1/4 teaspoon salt
  • 1/4 teaspoon ground nutmeg
  • 1/4 teaspoon ground black pepper
  • 1 cup (240 g) tomato sauce

Preparation

  1. Wash the green chard, coarsely rip the leaves and place them, still damp, into a large pot. Cover with a lid and cook for 10 minutes at a medium heat until wilted, stirring occasionally. They will reduce their volume considerably.chard, cooking
  2. Meanwhile, wash the spinach leaves and cook them in the same way as the chard, but only for 5 minutes.spinach, cooking
  3. Remove the greens from the heat and place them in a colander to cool. When cold enough to handle, squeeze them vigorously with your hands or by wrapping them into a clean tea towel. As Domenica predicted, these quantities yielded about ½ cup of squeezed, cooked greens. Place the greens on a cutting board and chop them finely.gnudi greens
  4. In a mixing bowl, combine the chopped greens, the ricotta, the yolk, Parmigiano (keeping 1 tablespoon aside), flour, nutmeg, salt, and pepper. Mix thoroughly.gnudi mix
  5. As you bring a large pot of salted water to a gentle boil, start forming the gnudi. Prepare one bowl filled with flour, next to a plate coated in parchment paper. Using your hands, make balls of dough of about 1 inch (2.5 cm) in diameter. Roll them in the flour until uniformly coated, then place them on the parchment paper.ready to cook gnudi
  6. Boil the gnudi a batch at a time making sure not to overcrowd them (so that they don’t stick to one another, and to ensure the water remains boiling). Gently place them into the simmering water and allow them to cook undisturbed for 6-8 minutes. About half-way through the cooking, they will start floating.
  7. Gently remove the gnudi from the water using a perforated ladle, and place them into a colander. Keep them warm as you cook the next batch.
  8. Have the tomato sauce ready and kept warm in a skillet. Place 2-3 tablespoons of tomato sauce in preheated bowls. Roll the gnudi into the skillet with the sauce until coated, then gently place them into the bowls. Sprinkle with grated Parmigiano, serve immediately.
https://www.disgracesonthemenu.com/2016/03/chard-and-spinach-gnudi-the-naked-ravioli.html

[Thoughts on the Table – 43] Introducing David Scott Allen from Cocoa & Lavender

This episode’s guest is writer, photographer David Scott Allen, author of the amazing blog: Cocoa and Lavender.

I discovered David’s work only recently, but I got very quickly into it, joining its large fan base. David writes stories about food, and in doing that he provides detailed step-by-step recipes with plenty of information on each dish. And he has been doing this with strict weekly cadence since 2010!

A Classical musician by training and profession, David has traveled in Europe for extended periods and around the world, learning languages and absorbing people’s cultures, especially through their food. But out of all cultures, as you will hear, David considers himself “Italian in spirit”, having found in the Italian lifestyle his deepest connection (possibly also due to his exposure to Italy through his aunt’s marriage into an Italian family).

Join our conversation to hear David’s fascinating story directly from his own voice, with entertaining anecdotes and plenty of useful information on Italy and its true cuisine.

You can follow David Scott Allen on his blog, Cocoa and Lavender, as well as on Instagram (davidscottallen), Facebook (facebook.com/cocoaandlavender), and Pinterest (pinterest.com/cocoalavender).

   

Passato di Verdure (Strained Vegetables Soup)

Growing up, I was used to my mother’s soup made from chunky vegetables in clear broth. I can’t say I loved it – certainly not as much as I enjoy it now – but I clearly remember liking its strained variant: the “passato” (passed throughstrained), the first time I tasted it.

This memory goes back to when I was a kid, during a summer vacation. My family and I were staying at our usual “pensione” on the Adriatic coast of Emilia Romagna, in the days before bed and breakfasts. The most common vacation accommodations were “full pensions”, with three meals a day included, and “half-pensions”, which only served breakfast and dinner, and so allowing time for day trips.

The Romagna region is famous for its delectable cuisine, and the pensione was no exception. Each day was special, but the Sunday menu was even fancier than usual, often featuring baked pastas, stews, roasts, a variety of sides, and dessert (which was only fruit on weekdays). Things however were less fancy on the chef’s weekly day off! On that day, reduced kitchen staff used to serve a simple dried pasta for lunch and a soup for dinner, both of which were followed by cold cuts and cheeses. One of those soups was my first passato, and it made a strong impression! Not only do I remember its complex flavor, its dark green color, and its velvety texture, I even remember the corner of the restaurant in which we were seated!

Over the years I learned to appreciate all kinds of soups, but passato still holds a special place in my memory. Like most Italian soups, passato di verdure is made by first roasting the aromatic vegetables (celery, carrot, onion) in olive oil, then adding water and the rest of the vegetables, then cooking everything for a long time to allow for the flavor to develop. To make a passato, however, the cooked vegetables are finally strained in a food mill (or by hand in a kitchen strainer), then allowed to cook some more. The straining process retains the fibrous content, and finely mashes the vegetables releasing all of their flavor into the broth. Mashing also emulsifies the olive oil used for roasting, bringing out even more flavor.

Passato di Verdure (Strained Vegetables Soup)

Yield: 2-3 servings

Total Time: 2 hours, 10 minutes

Prep Time: 10 minutes

Cook Time: 2 hours

Passato di Verdure (Strained Vegetables Soup)

Ingredients

  • 2 tablespoons olive oil
  • 1/4 onion, minced
  • 1 big carrot, minced
  • 2 celery sticks, minced
  • 1 medium leek, sliced
  • 2 yellow potatoes, diced
  • 1/2 lb squash, diced
  • 1/4 of a cabbage, coarsely cut
  • 5-8 leaves black kale, coarsely cut
  • 2 Roma tomatoes, halved
  • 2 oz Parmigiano, grated
  • salt and black pepper

Preparation

  1. Roast onion, carrot, celery in olive oil at high heat until soft.
  2. Add the leek, potato, squash and continue roasting for a few minutes.
  3. Add enough water to fully cover the vegetables.
  4. Add cabbage, kale and tomatoes (which don't need to be peeled, since the skin will remain in the strainer).
  5. Simmer for 2 hours, covered with a lid, or pressure cook for 1/2 hour (using the vegetable setting if available), which is what I did.
    cooked veggies
  6. Strain the cooked vegetables in a food mill or by hand.
  7. Put the vegetables back in the same pot, add most of the grated Parmigiano.
  8. Adjust with salt and simmer for 15 more minutes. If necessary, use an immersion blender to make the soup even smoother.
  9. Serve sprinkled with the rest of the Parmigiano and freshly ground pepper.

Notes

Like for any other vegetable soup, for a more filling dish you can add pasta/rice to the finished product, and continue boiling until cooked. Because of its density, however, the passato will require pasta or rice to cook for longer, since it will take longer to absorb water (up to 50% more in my experience).

https://www.disgracesonthemenu.com/2016/02/passato-di-verdure-strained-vegetables-soup.html

 

[Thoughts on the Table – 42] A Chat with Domenica Marchetti, Cookbook Author and Food Writer

Domenica Marchetti is an American food writer and cookbook author of Italian heritage. In 2012, I gave her a much deserved Cannolo Award, and I’ve been following her since. I knew she was busy working on her next book, so I was very happy she found time and kindly accepted to be in the podcast. After our extensive chat, I must say that Domenica is exactly how I imagined her – she is approachable and funny, genuinely passionate about Italian food, and very knowledgeable on the topic.

In this episode-interview, Domenica talks about her Italian origins and her relationship with food, as well as how her former career as a journalist led her to becoming a cookbook author. Domenica also brings her authoritative contribution on various themes with plenty of examples and colorful stories. For instance, we discuss the existence of the Italian palate, the importance of technique as well as ingredients in Italian cuisine, and the role of tradition as the necessary base for innovation.

During the podcast, Domenica mentions the following resources:

You can follow Domenica Marchetti on her website and blog, as well as on Twitter, Facebook, Google+, Instagram, and Pinterest.

You can also join Domenica in her upcoming Abruzzo culinary tour! It will take place September 18-25, 2016. Check out the tour’s page for more info.

   

[Thoughts on the Table Transcript] The Italian Wine Culture, with Diana Zahuranec

Last summer, in a podcast episode Diana Zahuranec discussed the differences between Italy and North America in how wine is produced, as well as socially perceived. Diana also went over Piedmont’s native grape varieties and wine appellations. As part of Thoughts on the Table Transcripts, this post contains the textual version of Diana’s episode.

 

Listen to the original episode

 

Paolo Rigiroli
Hello and welcome to thoughts on the table, the audio blog on food and food culture. Paolo here back with a recurring guest today, with me is Diana Zahuranec! Hi Diana.
Diana Zahuranec
Hi Paolo, it’s great to be back!
Paolo Rigiroli
I’m super happy to have you back, Diana, people have been commenting on your podcast – one of the most successful podcast [we had] was the one on the mediterranean diet we just had in January, this year.
Diana Zahuranec
Oh, that’s great – yeah.
Paolo Rigiroli
You know, you have this amazing ability to capture Italian culture and describe the Italians better than I would be able to do, being maybe too Italian…
Diana Zahuranec
Well, that must be the anthropologist in me that can observe.
Paolo Rigiroli
Yeah, it’s possible – you’re studying us. That’s what it is. But, anyway, Diana has been living in Italy for 4 years now and she works at Wine Pass, an online magazine on wine in the Piedmont area, correct?
Diana Zahuranec
Yes, it’s exactly correct, it’s in Italian and English, and it’s geared towards wine tourists that are coming to Piedmont.
Paolo Rigiroli
Excellent, and so wine – we can say – is pretty much your job right now, right?
Diana Zahuranec
Pretty much, yes (laughs)
Paolo Rigiroli
Which is fantastic because we finally get on the topic. So, yes, wine is defining of the Italian culture itself and I’d love talking about wine [in this podcast]. But, how did you get to be interested in wine – how did it start?
Diana Zahuranec
Well, my interest in wine naturally started over here, in Italy, because I moved here after college, therefore most of my time in the US I was younger and didn’t actually drink wine. And so I came to Italy, I went to the University of Gastronomic Sciences in Pollenzo [Piedmont] for a one-year masters program in Food Culture and Communications-
Paolo Rigiroli
That’s the Slow Food university, right?
Diana Zahuranec
Exactly, it’s the Slow Food university. And, during this year-long program, we had a lot of different kinds of classes and many of them would last just a couple of weeks because [we had several professors which] came from all over the world. And several kinds of these classes were tasting classes on salumi, or chocolate, or cheeses and there was also a tasting class on wine.
Paolo Rigiroli
Mhh, pretty tough there! (laughs)
Diana Zahuranec
Yeah (laughs)… “Difficult year” in Italy… And in these tasting classes there were black glasses set up in the classroom – they were opaque of course. Each one had a smell that you could find in a wine. And what we did we smelled these without looking inside and we would write down what we thought the scent was. Whether it was vanilla, or pineapple, or… something. And then we would look and see if we got it right. And it was incredible – the more we did it, after just a couple of lessons we started being able to identify it right away and we could even identify the same smell in the wines. And it was just incredible how much of a difference that made in tasting wines.
Paolo Rigiroli
Interesting.
Diana Zahuranec
Yeah, I don’t like how wine is often a very intimidating drink to people, because just knowing a little bit more about wine […] it makes it so much more enjoyable. And it’s not that difficult. So, that’s how I started getting interested in wine.
Paolo Rigiroli
It’s amazing. And now you work at Wine Pass, so I suppose you have been continuing to discover more and more about wine. And tasting more wines?
Diana Zahuranec
Yes, exactly. At Wine Pass I write a lot about the different wines of the region, or wine makers, or we go on itineraries for wine tourists and we write them out, we map them out, tell people where they could eat or buy a bottle of wine, and so forth. And the more I write about this, the more I learn about wines and wine makers in the region, and it’s very interesting. I’m always learning more about wine here.
Paolo Rigiroli
Yeah. I’m very interested to know if there is any differences in wine production between North America and Italy, for what you were able to observe there, in Piedmont.
Diana Zahuranec
There are huge differences! Of course I didn’t actually ever go and visit wineries in Napa, and I don’t know a ton about American wine, but I know a lot more about the differences in the American and Italian culture. And I do know… that a big difference is the size of wineries. In general, the average Piemonte winery is small – it’s a family production. I think that it goes without saying for all of Italy that a lot of the wineries here are small. You can consider a big winery to make about maybe 500 thousand bottles a year, and a really big one maybe a million bottles in a year, whereas in the United States a big winery could make several million cases, and in a case are 12 bottles of wine! So that’s a huge difference.
Paolo Rigiroli
I see, I see, so the size… Which I suppose goes with the size of the territory.
Diana Zahuranec
Yes, it does, definitely. And so that kind of gives a difference in the mentality. Because if you’re a small winery, you’re doing all the work, you’re doing everything. From the wine-making, you’re in the cellar, you’re in the vineyard. You are producing the wine, and you are promoting it too – you’re inviting guests into the wineries, so you’re doing everything. Whereas these big wineries [in the US] are great at accommodating people and making a profit off of it… because they can charge people when they come in and taste wines. These wineries in Italy, I can think of maybe one that would charge you to actually go on a tour…
Paolo Rigiroli
Well, I guess they’re proud of it. And they’re not used to having too many visitors as well, I suppose. It’s their family business. So, it’s not just a job – they will take you through and show you everything. As oppose to, you know, you [meeting] the public relations representative for the company. And maybe tours are one of the services offered – whether it’s for money or not – but it’s still just your job – right?
Diana Zahuranec
Exactly, exactly. There’s a lot of passion. It’s their life. It’s what they do all year round, all the time.
Paolo Rigiroli
Yeah, I remember my experience about Piedmont and wine is [that] my dad used to order wine from Piedmont, a place called Lu [in the Monferrato region] – a very small town. This maker was extremely small, and I remember every year we would go and he would order the wine and then he would get it shipped and then he would bottle it himself in my grandma’s basement. And, me and my brother, which we were like 8 and 4, were there to help bottling the wine. Which may sound crazy to North Americans… that kids are involved in the production… But that’s the thing – kids don’t like wine because it’s kind of an acquired taste and we were never interested… But, going back to Piedmont, I remember visiting this production and particularly the cellars – this super cool, dark place, and cool in temperature too – it was like, maybe 16 Celsius? – And then they would get a little bit of wine out of these kegs and pour it in a nice glass, and bring it upstairs, to taste it on the kitchen’s table. And this is how my dad would choose which wines to order.
Diana Zahuranec
Ohh, that’s so nice!
Paolo Rigiroli
Yeah. It was fantastic, that’s still my memory. So I’m imagining that this scales to the entire region, pretty much…
Diana Zahuranec
Yes.
Paolo Rigiroli
And, what about the process itself… the actual production. Do you know of any differences, on the technical side?
Diana Zahuranec
I don’t know a lot about the technical processes of winemaking, in the two different countries, but I do know that California uses a lot of water and irrigation, whereas in Piedmont they don’t, it’s a lot of dry cropping. As of maybe two years ago, I think, they allowed certain regions to use water in extreme droughts… but I know that in general they don’t use irrigation at all. They kind of look at [irrigation] as “forcing the plant”, you know, it’s not its natural habitat, you’re forcing it to drink water when nature wouldn’t give it to it.
Paolo Rigiroli
Mm-hmm (affirmative).
Diana Zahuranec
And actually this is another thing that is different between here and the US, as much as I know. This goes hand in hand with their practices in the field, which are very often organic, but not actually certified. They’re organic and they are sustainable, but they’re not certified. Because they do it out of respect for the vine and for the vineyard, they don’t try to find loopholes in organic [food] certification where they can use a little bit of one chemical, or not, but they really try not to use any chemicals at all, many winemakers don’t. So this is good news…
Paolo Rigiroli
Yes, absolutely and I noticed this in general, in Italy and Italian products, ‘organic’ (or “agricoltura biologica” as they say) is present and you can find it even in supermarkets, there’s a section on organic food, but it’s not as trendy as it is here.
Diana Zahuranec
Right.
Paolo Rigiroli
I think that in general the consensus is that there isn’t much difference with respect to regular produce and there certainly isn’t much [difference] in flavor in Italy, I find.
Diana Zahuranec
Oh, no. No, there’s not a difference in flavor at all.
Paolo Rigiroli
Mm-hmm (affirmative).
Diana Zahuranec
Actually, the organic might even be not less flavorful, but “older” because people don’t really buy it and so the products get old quickly.
Paolo Rigiroli
Exactly. Not as fresh. Yeah. What about instead the differences in culture? What is your experience with that? How do you see Italians relate to wine?
Diana Zahuranec
Yes, that’s a very big difference from the US and Italy because wine is really a part of [the Italian’s] daily life and it always has been.
Paolo Rigiroli
Mm-hmm (affirmative).
Diana Zahuranec
Even a glass of wine at lunch time is not looked down upon and it’s always drunk with food. It’s not really this special drink for only special people during parties or other holidays, but it’s an everyday drink that you have with your food. The difference with that in the U.S. is that I see often in movies or television shows or pictures on Instagram, for example, people will have their full glass of wine by their computer as they work.
Paolo Rigiroli
Mm-hmm (affirmative).
Diana Zahuranec
Or they’ll have one right as they come home from work to unwind and de-stress and it’s seen … To an Italian, I think that would be like taking it out of its context. I’m not saying it’s bad to drink it like that, but it doesn’t make sense to an Italian to drink it like that. It makes sense to drink wine with food. It’s part of the meal.
Paolo Rigiroli
Yeah, appreciation of food itself is to have it with a little bit of wine and pair it. If you’re having fish, of course you’re going to prefer a white wine and red wine will go, of course, with meats and cheeses, especially hard cheeses.
Diana Zahuranec
Yes. And a lot of the times these reds, or these white wines, if you have it without food, it just isn’t the same. Piedmont is famous for having very tannic wines.
Paolo Rigiroli
Mm-hmm (affirmative).
Diana Zahuranec
Which is tannins are that feeling on your tongue of having a dry wine. It can get a little bit tiring on your palate if you just keep drinking wine after wine.
Paolo Rigiroli
Mm-hmm (affirmative).
Diana Zahuranec
Which I’ve noticed at different tastings with Nebbiolo, [which] is one in particular that’s very tannic. We can talk about that later, but… If you just drink this wine without having any food with it, you miss out on a lot of flavors and a lot of the enjoyment because… it’s just too much to handle, basically.
Paolo Rigiroli
Interesting.
Paolo Rigiroli
We already mentioned that you are based in Piedmont, of course, and Nebbiolo is one of the wines that you have been tasting. Would you say that that’s one of your favorites?
Diana Zahuranec
It is definitely my favorite. The favorite. It makes… several famous wines that come from Piedmont, such as Barolo and Barbaresco. But it also makes a lot of other wines, always from Piedmont, such as a Langhe Nebbiolo, there’s a Roero Nebbiolo, or different Nebbiolos from Alto Piemonte, like Boca, and Ghemme, and Gattinara.
Paolo Rigiroli
Mm-hmm (affirmative).
Diana Zahuranec
There’s so many, and every time you taste them, even though it’s 100% Nebbiolo grape, they all taste different.
Paolo Rigiroli
Yes.
Diana Zahuranec
They all have a very different profile, and it’s so interesting and I just love Nebbiolo. Never disappoints.
Paolo Rigiroli
All these wines are based on the same grape and they’re just aged in different ways to achieve a different product, a different wine that is a different denomination, correct?
Diana Zahuranec
Right. Or maybe people would understand more appellation? I don’t which one is used more, but that’s right. Although the differences come also from the soil or altitude.
Paolo Rigiroli
Right. Nebbiolo itself is also an appellation. It’s not just the name of a grape.
Diana Zahuranec
Right.
Paolo Rigiroli
It’s also one of my favorites, by the way. I do like that family of wines as well. I don’t like wines that are too mellow. I don’t know, if I can describe that…
Diana Zahuranec
Yeah, it’s definitely … No, it’s definitely not a mellow wine. They’re very… At the same time, they’re elegant and powerful.
Paolo Rigiroli
Mm-hmm (affirmative).
Diana Zahuranec
It’s hard to explain that unless you actually drink it and understand how the wine is. It’s a really great wine.
Paolo Rigiroli
Yeah, and [about] Nebbiolo, also there’s a curiosity about the name, which I happen to know. I’m sure you want to talk about it.
Diana Zahuranec
Sure. Yeah, Nebbiolo comes from the word ‘nebbia’, which means fog in Italian and it takes its name from this because the fog is a big part of the landscape in Piedmont… And Nebbiolo is a late maturing grape that has a very long growing cycle. It’s harvested whenever the mists start to roll in, in the late fall. That’s why it takes it’s name from ‘nebbia’.
Paolo Rigiroli
Fantastic. It’s always fascinating to picture it. When I think of Nebbiolo, I do see the rolling hills covered in fog. It kind of makes it really magic. It’s really cool. What about other grapes in Piedmont?
Diana Zahuranec
Oh, yes. Piedmont has a lot of different native varieties. The big ones (that actually are produced even more than Nebbiolo) are Barbera [and] Dolcetto, two big red grape varieties.
Paolo Rigiroli
Mm-hmm (affirmative).
Diana Zahuranec
White ones are Moscato and Arneis. Then there are lots of others. I mean, tons of these obscure names, especially in the higher hills.
Paolo Rigiroli
Mm-hmm (affirmative).
Diana Zahuranec
But others that you might come across, for red wines are the Verduno Pelaverga.
Diana Zahuranec
And there’s Grignolino, Ruché and Freisa, these are all red wines. And red grape names as well, the wine is named after the grape. For other whites that you may find, there’s Gavi, Erbaluce, Nascetta, and Favorita. And these are all other names that you might find around. I think, Gavi and Erbaluce for the white wines, you will find more commonly abroad than the others, but obviously the Moscato and Arneis and the big names that I’ve already named, you will be able to find those abroad.
Paolo Rigiroli
Mm-hmm (affirmative). Do you have more information on any of these wines? Like Barbera or Dolcetto?
Diana Zahuranec
Yeah, Barbera and Dolcetto are the names of the grapes and then they make a lot of different wines and you’ll find them named after like Barbera d’Alba, Barbera d’Asti. The same thing with Dolcetto and that comes from where they’re made. So ‘d’Alba’ means ‘from Alba’, ‘d’Asti’, ‘from Asti’, which is in the Monferrato, a winemaking region in Piedmont. Dolcetto, for example, you might find Dogliani. It might just be called Dogliani, even though it’s Dolcetto di Dogliani. That’s another place where it’s made, or Dolcetto di Ovada, which is a really great Dolcetto.
Paolo Rigiroli
And all these are wines which are D.O.C., as we say in Italy, so that the denomination of origin is controlled.
Diana Zahuranec
Yes.
Paolo Rigiroli
Which means that they are certified to be produced from grapes from that particular region that their appellation refers to. Is that correct?
Diana Zahuranec
Exactly. Yes, it also puts some different guarantees on the quality and the time that it’s aged.
Paolo Rigiroli
Mm-hmm (affirmative).
Diana Zahuranec
How many months or in what kind of material it’s aged in, wood or stainless steel. It depends of course on the wine. And then there’s D.O.C.G., which is, you could say one step higher.
Paolo Rigiroli
Yes.
Diana Zahuranec
And of course you can find wines of great quality that aren’t even certified at all.
Paolo Rigiroli
Mm-hmm (affirmative).
Diana Zahuranec
But this is just a general rule to figure out what those letters mean on the labels.
Paolo Rigiroli
Yeah, absolutely. I think if you’re not familiar with the wine, it’s a good thing to look for the certification because it will give you certain guarantees. Diana, it has been fantastic, of course, talking with you. It’s so fascinating and I wish really to take a tour now in Piedmont and go through all those valleys and try all the wines that you mentioned, because I do know a few of them, but I can’t say that I’m an expert, so I definitely have work to do.
Diana Zahuranec
Oh yeah, you should visit. You’re invited and anyone listening to the podcast is invited to come to Piedmont.
Paolo Rigiroli
Absolutely. You’ll take them around personally.
Diana Zahuranec
Yes (laughs).
Paolo Rigiroli
That’s what Diana is promising you (laughs).
Paolo Rigiroli
So, for you listening, if you have enjoyed this podcast, please do us a favor. Go on iTunes or whichever podcast player you use and subscribe. It really means a lot to us, and if you’re inclined, please leave a review as well on iTunes. Feedback is always welcome. Leave your comments there or on the blog. We’re very happy to hear anything you may have to say and it’s really important to us. Diana, again, thank you so much. It’s been awesome.
Diana Zahuranec
It has been great – thank you.

Squash Risotto, a Comfort Dish for Winter

Squash risotto (or risotto con la zucca), is a traditional risotto common in all northern Italy. The squash gives an especially mealy texture, and a sweeter flavor to it, along of course with a beautiful orange color. But what is squash, exactly?

Along with melon, watermelon, cucumber, zucchini, pumpkin, and gourd, squash belongs to a plant family called cucurbitaceae. Even though they’re all fruits, with the exception of melon and watermelon, the cucurbitaceae are used as vegetables. There are two kinds of squash: summer squash (e.g.: zucchini, straightneck squash), harvested as they ripen in the summer, and winter squash (e.g.: acorn squash, butternut squash, spaghetti squash), harvested in fall, when they are fully mature, their seeds have dried out, and their skin has hardened. Winter squashes have historically played a significant role in the kitchen because they can keep for several months (lasting well through winter) and because when cooked they develop an agreeable flavor, and a starchy, mealy texture similar to sweet potatoes*. Out of the various kinds of winter squash, the sub-family called ‘cucurbita maxima’ is particularly notable because of its size. In Italy, it’s generally called zucca gialla o dolce (yellow or sweet pumpkin), an example of which is the zucca mantovana (Mantua’s pumpkin) used to make the renowned tortelli con la zucca (pumpkin tortelli). In North America, cucurbita maxima includes several common squashes: hubbard, turban, kabocha, buttercup, and banana squash. Banana squash is especially suitable for this recipe because of its moderate sweetness and firm texture.

*Harold McGee. On Food and Cooking: The Science and Lore of the Kitchen. 2nd edition (2004)

Squash Risotto, a Dish for Winter

Yield: 2 servings

Total Time: 25 minutes

Prep Time: 10 minutes

Cook Time: 15 minutes

Squash Risotto, a Dish for Winter

Ingredients

  • 250 g winter squash (e.g. banana squash)
  • ¼ white onion, sliced
  • 1 tablespoon of butter, olive oil, or a mix of the two
  • 2/3 cup Arborio rice
  • 2 ½ cups vegetable stock
  • ½ glass white wine, at room temperature
  • 20 g Parmigiano, grated
  • Salt and black pepper

Preparation

  1. Finely chop onion and dice the squash.
  2. Bring the vegetable stock to a simmer in a small pan.
  3. In a larger pan, roast the onion in butter, oil, or a mix of the two until translucent, then add the squash.
  4. Season with salt and cook until the squash is soft. Put a couple of tablespoons of it aside and keep warm, mash the rest with a ricer (or in the blender).
  5. In the pan where the squash was roasted, add a bit more butter or oil, then toast the rice for a couple of minutes at medium heat until translucent. Add the white wine and stir until it fully evaporates.
  6. Add the mashed squash and stir in the stock, one ladle at a time, allowing it to be absorbed before adding more stock.
  7. Continue stirring and adding stock ensuring that the risotto and the stock continue boiling gently throughout the process.
  8. After 15 minutes of cooking, at a time when the risotto is quite moist, remove it from the heat, stir in the Parmigiano, and let it rest for a minute.
  9. Serve the risotto in bowls and decorate with the cooked squash and a sprinkle of black pepper.
https://www.disgracesonthemenu.com/2016/01/squash-risotto.html

 

Pesto alla Trapanese, with Almonds and Fresh Tomatoes

I’m from northern Italy – only been to Sicily once – and I only had heard about this dish before moving to Canada. Thanks to my friends food-bloggers, however, this dish tickled my attention, I starting making it, and I think it has already become part of my repertoire! What I love about Pesto alla Trapanese is how fresh it tastes, and that it can be prepared quickly (as the pasta cooks) and pretty much all year-round (unlike Pesto alla Genovese which requires large amounts of fresh basil, which is best in the summer).

Since I’m far from an authority on this dish, I’m presenting a variation over Frank Fariello‘s rendition. Similarly, it makes use of uncooked cherry tomatoes that are mixed in with other ingredients in a blender – a method quite common these days, as opposed to using mortar and pestle (which is traditional and at the origins of the name “pesto”). Aside from the blending technique, I substituted Pecorino for the milder (though geographically incorrect!) Parmigiano, and increased the amount of almonds for a grittier and drier sauce.

 

Pesto alla Trapanese, with almonds and fresh tomatoes

Yield: 2 servings

Total Time: 15 minutes

Prep Time: 5 minutes

Cook Time: 10 minutes

Pesto alla Trapanese, with almonds and fresh tomatoes

Ingredients

  • 6-8 (140 g, 5 oz in weight) cherry or strawberry tomatoes
  • 1 garlic clove, minced
  • 8 basil leaves
  • 40 g (1 ½ oz) almonds, blanched (chopped or whole)
  • 40 g (1 ½ oz) Parmigiano, coarsely grated
  • 3 tablespoons extra virgin olive oil
  • 140 g (5 oz) spaghetti, linguine, or even short pasta like farfalle or fusilli
  • coarse salt (1/2 Tbsp per liter, 2 Tbsp per gallon of boiling water)

Preparation

  1. Bring a big pot of water to a boil.coring and scoring a tomato
  2. Toast the almonds in a pan at high heat for a couple of minutes until they get some color, but before they turn dark.
  3. Core the tomatoes and score their skin (see illustration on the side).
  4. Boil the tomatoes for 20 seconds, then dip them in cold water to stop the cooking. Keep the water boiling, you’re going to use it to cook the pasta.
  5. Salt the water and cook the pasta according to the instructions on the box.pesto alla trapanese, blender
  6. As the pasta cooks, peel the tomatoes and squeeze them to remove seeds and excessive liquid.
  7. In a blender, mix all ingredients so that they turn creamy, but still a bit coarse. I used an immersion blender and it worked very well.
  8. When the pasta is cooked, drain it and put it back in the pot along with the pesto. Mix gently and serve immediately.
https://www.disgracesonthemenu.com/2016/01/pesto-alla-trapanese-with-almonds-and-fresh-tomatoes.html

 

pesto alla trapanese