Virtual Gourmet

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Virtual Gourmet

May 4, 2025 NEWSLETTER

Founded in 1996

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THIS WEEK
THE GOLDEN AGE OF
AMERICAN CHEFS ENDED IN 2000
By John Mariani

NEW YORK CORNER
VESTRY
By John Mariani

HÔTEL ALLEMAGNE
CHAPTER TEN
By John Mariani

NOTES FROM THE WINE CELLAR
THE WINES OF ALTO ADIGE
By John Mariani

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THE GOLDEN AGE OF
AMERICAN CHEFS ENDED IN 2000

By John Mariani

André Soltner of Lutèce

Two weeks ago dozens of illustrious chefs attended a luncheon to pay homage to André Soltner, who died at 93 in January, as an icon of their profession as owner of the New York French restaurant Lutèce. The show of so many colleagues for Soltner was out of respect for a man who never wavered from setting high standards for cuisine and for himself over more than three decades in the kitchen.

Soltner was one of those chefs who in the 1980s and 1990s helped American gastronomy garner world-wide recognition for innovations and creativity that spurred chefs everywhere to break from stultifying molds and to explore regional foods once felt too common to be served in an upscale restaurant.
The recognition of chefs as true cultural influencers began in the 1970 when a handful of French cuisiniers like Paul Roger Vergé, Gaston Lenȏtre and Paul Bocuse (left) made news with an exciting style of haute cuisine respectful but not bound to archaic culinary traditions. The U.S. media glorified them as chefs willing to step into the limelight rather than stay in the shadows, which, in turn, led to chefs in America to showcase new ideas that would radically––though tastefully––transform the way we eat, championed by a young cadre of Californians like Alice Waters (right) in Berkeley and Wolfgang Puck in Los Angeles to challenge the idea that chefs rely on frozen and processed foods instead of searching out the very best seasonal provender available, even to paying farmers to grow it.

Puck, who wore a baseball cap in the kitchen at Spago, created an enticing new, lighter style of casual California dining, including “gourmet pizzas,” for a Hollywood crowd that made his restaurant Spago celebrated and glamorous. In Boston Jasper White fostered New New England cuisine, based on abundant seafood and vegetables, while in New Orleans chef Paul Prudhomme (below) put highly spiced Cajun food into a national spotlight. In Chicago

Rick Bayless of Topolobampo elevated Mexican fare to a true cuisine, while Dean Fearing did the same for Texas cooking at his namesake restaurant in Dallas. Nobu Matsuhisa, first in Beverly Hills, then New York and internationally, set a style of sushi wholly new and put Japanese elegant and sexy. These had enormous impact on American gastronomy and inspired another generation that included Marcus Samuelsson, Mario Batali, Ming Tsai, Bobby Flay and many more. (See my not-at-all comprehensive list of others below.)
Meanwhile French chefs working in America came to be considered transformative for their exquisite menus, like Jean-Louis Palladin in Washington DC, Michel Richard and Joachim Splichal in Los Angeles and Daniel Boulud, Eric Ripert

(right) and Jean-Georges Vongerichten in New York. An American named Thomas Keller set the bar ever higher with his highly inventive, multi-course California dinners at The French Laundry in Yountville. With the onset of TV food shows and magazines like Bon Appetit and Food & Wine, these chefs became stars, some making Time magazine’s Most Influential People” of the year list.
Yet while became stars and the food media fell over themselves to find the next big name, very few chefs of the last 25 years have had much of an impact on American or global gastronomy beyond show bis pizzazz. David Chang, cast as the “bad boy” of American chefs (below) for his foul language, dismissal of vegetarian

food and litigious nature, opened the innovative, seat-of-the-pants menu, highly personalized New York 12-seat restaurant named Momofuku with backless stools, daily menus and blasting house music in 2008.

Given the torrent of media exposure he received––including several TV shows––investors lined up to give him a global empire of restaurants. These days, after closing a slew of his original restaurants, he is mainly partner in a fast food chain called Fuku with 15 branches, and whatever influence he once had on young chefs seems slight.
Certainly Anthony Bourdain had tremendous impact within the industry, but not as a chef, which he left behind

after becoming a media star; rather he became a food-focused travel guide on TV, and no one has come along to replace him since his suicide in 2018. So, too, Guy Fieri burst upon the scene with a clown-like act, not as a chef and he, too, became chain restaurant entrepreneur. And I doubt anyone who credit Gordon Ramsay with giving any positive spin on his profession.
One has only to look at the lists of great and promising chefs given awards by the James Beard Foundation since the 1990s through 2005, in which the “Rising Star” candidates and winners included young chefs who themselves became highly influential chefs, including Michael Mina, Marcus Samuelsson, Todd English, Douglas Rodriguez, Nancy Silverton, José Andres and Bobby Flay who have mentored so many more.

But in recent years there have been few chosen by the Foundation's vague criteria “who set high culinary standards and has served as a positive example for other food professionals.” For this year’s upcoming 2025 awards there are some extremely talented chefs on this list, including Gabriel Kreuther, Suzette Gresham-Tognetti and Jungsik Yin, but none, at least not yet, has had any impact on American gastronomy, even within their respective cities. Most seem chosen merely for geographic diversity–– Ann Ahmed, Khâluna, Minneapolis, MN; Francis Guzmán, Vianda, San Juan, PR; Sarah Minnick, Lovely's Fifty Fifty, Portland, OR; or Ricky Moore, Saltbox Seafood Joint, Durham, NC––but outside those regions is there really reason to believe they will have any impact on other food professionals or American

gastronomy overall?

The Golden Age of great chefs in America was born out of imitation, adaption and innovation by young cooks buoyed by receptive media to get a national, even global, audience. For their efforts American gastronomy has never been better, more diversified or solid, from coast to coast. But these days it seems we want “stars” who will fare brightly on dramatically crafted Food Network and "Top Chef" competition shows and be lucky enough to ride the publicity before next season’s contestants show up.

Here are but a few of those chefs from the 1980s and 1990s who had significant impact on the way cooks cook and Americans dine today:

Emeril Lagasse, Susanna Foo, Jody Adams, Lydia Shire, Judy Rogers, Larry Forgione, Jeremiah Tower, Charlie Trotter, Patrick O’Connell, Gary Danko, Georges Perrier, Mark Militello, Norman van Aken, Stephan Pyles, Robert Del Grande, Julian Serrano, Roy Yamaguchi, George Mavrothalassitas, Alan Wong, Joyce Goldstein and many others.

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NEW YORK CORNER

Vestry

240 Spring Street
212-784-1350

By John Mariani

Washington Wagyu

I have with pleasure followed Chef Shaun Hergatt’s career since he left his native Australia to work in the U.S., where, after a stint at the Ritz-Carlton New York, he opened SHO Shaun Hergatt, an eclectic, very personal restaurant that drew on his Pacific background and Japanese technique as well as his Scandinavian grandmother’s cooking. He was then briefly at JUNI before taking over the kitchen at Vestry, within the Dominick Hotel in Soho, where his menu reflects the same exacting balance of Asian flavors and design with the best American ingredients of the season.

The dining room itself is awkwardly broken up and has low lighting, with a concentration on fine wood for the floors and tables. Stemware is of high quality, forks and knives oddly skinny.

I like the size and categories of the menu, which allows a table of four ample opportunity to savor his range, beginning with an array of oysters and shellfish. Ideal as an appetizer in May, a pea leaf salad comes enriched with herbed ricotta, Tokyo turnips and a Dijon vinaigrette, while Hen of the Woods mushrooms nestle with pearl barley, fiddlehead ferns and sugar snaps.

I eat a lot of tuna or beef tartare in restaurants and am often surprised at how variously they are treated by chefs. In Hergatt’s case yellowfin tuna is deftly chopped and seasoned, then formed into a circle, with citrus, cured egg yolk and tendrils. Hergott is exemplary in his use of acids both as a balance and as a spark to every dish.

There are two housemade pastas, both quite beautiful. A sweet corn Canaroli risotto is bright golden yellow, swirled with mascarpone cream cheese and topped with barbecued eel––an East-West marriage I applaud, though the eel that night was a bit fishy. Gnocchi came with fresh Carolina shrimp, grana Padano cheese and espellette peppers to perk up the flavors.

Clearly Hergatt favors seafood, and his diver’s scallops were wonderfully sweet and briny, with more peas and a delicious blue crab sauce. Cod being cod, it needed the added fennel, asparagus and PEI mussels to bring it alive. A nice, firm black bass was delicately treated with dill, cucumber and––that important acid bite again––green apple.

There are two wagyu steaks on the menu, and the size and heft of the Wash ribeye from Washington’s Lindsey Farms would have been daunting had it the overkill of fat Japanese wagyu has. Instead, though from an Japanese breed, this American beef had plenty of flavor without being cloying, so that a trencherman at my table polished off the whole slab.

For dessert I enjoyed the strawberry parfait with Tahitian vanilla; the jasmine panna cotta with honeycomb and rich dulce de leche caramel; and deeply flavorful chocolate cigar.

Vestry’s wine list is yet another extraordinary screed of labels, very strong in French bottlings; with 20 by the glass, but few bottles are available under $100. Given Hergatt’s background I was surprised there were no more than a handful of Australian wines. There are also many quality sakes that go well with Hergatt's food.

I would never rate service at a restaurant based on just one visit, but our three-course meal dragged on for two hours and 45 minutes, and after nine PM the staff was hard to find on the dining room floor.

Though the setting is downtown stylish at Vestry, Hergatt’s cuisine is seriously conceived with a global reach that doesn’t always work in other chef’s hands. He is the rare chef in New York who shows just how well it can be done.

Open Mon.-Sat. for dinner. Closed Sunday.

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HÔTEL ALLEMAGNE
By John Mariani

CHAPTER TEN

David looked at Katie in astonishment.
            “The virus was manufactured? By whom?” she asked.
             “Every virus has its own DNA, so we can see if this one compares with that one or had evolved from another one. It is clear now that this virus is unique, meaning someone had to create it in a laboratory.”
         “You mean, like in chemical warfare?” asked David.
         “Yes, which is usually spread by gas from canisters. This was not the case with this one. Someone or some institution created this for reasons we do not know. It is entirely possible that it was created as an experiment to be researched and commented upon. The more we know about individual viruses the more we find out about them all.”
         “And is this information shared with other scientists?”
         “Generally, yes, after they learn something worth revealing. The World Health Organization publishes a Weekly Epidemiology Report on what’s new in the field.”
            “But I take it this one has not yet been reported on?”
             “No. We will, as soon as we know more.”
             “Well,” said David, “have you any idea who or what organization might have created this one?"
            “Yes.”
             Feeling like they were pulling teeth, Katie nodded and asked, “And can you share that information with us?”                           “We think it came from a Russian lab. Probably the Institute of Epidemiology in Kiev. There are certain markers in the DNA that strongly suggest it was manufactured there.”
         “As one of those experimental viruses?”
         “Yes, I think so. The Russians have biological weapons, but they would not be created at a lab like Kiev. But someone got hold of a sample and somehow brought it to Paris.”
         “To be used specifically to infect people in those hotels?”
         “At the moment, that seems the logical premise. Though if it hits other parts of Paris, we have to look for a different reason or motive.”
         “And how would the infestation work?”

         “Through the air ducts.”
         “And how would someone go about getting the virus into them.”
         “All it would take is a small amount in an aerosol form sprayed into an air duct in any room. The air would flow throughout the hotel and begin infecting people immediately.”
         David asked, “Wouldn’t that be extremely dangerous for the perpetrator?”
         Dr. Baer said, “If that person wore a surgical mask, gloves and gown, then immediately after using the spray took a very thorough shower, no, it shouldn’t be too dangerous.”
         “And so it would take three different people in the three hotels to introduce the virus?” asked Katie.
         “I assume so. The fact that the virus seemed to hit so many people so fast over one night indicates that it was timed that way by three individuals.”
         “And if it did come from a Russian laboratory, could someone have stolen it in a vial or aerosol?”
         “Quite possibly. But that is a police matter.”
         “Well, then, would it be possible to somehow rig up a timer on the virus container to go off days after the perpetrator had checked out?”
         “No, because it is very delicate. It would have to be kept at a cold temperature to allow it to survive. And I do not think you could, how do you say? Rig such a thing?”
         David wondered if the Russian lab would share information with the World Health Organization, including the Pasteur Institute.
         “Is there any way they might know if someone had stolen some of the virus? And would the Russians admit it?”
        “It would not be impossible to steal the virus, no,” said Dr. Baer, “but I do not know if the Russians would be forthcoming about it. Such a thing would be a great embarrassment and hurt their reputation.”
         “How good is their reputation?” asked Katie.
         “Scientifically, they are quite good. In practice of prevention and following the trail of a virus, they have sometimes been less than forthcoming. Nothing comes out of Russia unless approved by the Kremlin.”
         “Dr. Baer,” said David. “Are you on good terms with any of the Russian scientists at their lab that you could trust to tell you the truth?”
         The physician paused, then said, “I have professional colleagues with whom I correspond. I do not know if they would answer the kinds of questions you are asking. I do, however, have a telephone call to one of them so that we can share information.”

“If you hear back from him . . . "
        “Her,” she corrected.
        “Okay, her: is that information something you might share with us? Or the French police, of course?”
       “I have no idea if they have any information that would help you, but for the moment it would be privileged. If the information would help us to track the virus and the police asked for our help, we would do so. Speaking to the press is another thing.”
            Dr. Baer had been looking at her watch, so Katie and David knew the interview was drawing to a close.
         “Well,” said Katie, “you have my card and number. If there is anything else you would be willing to share with us—after you speak to the police first, of course—we’d really like to hear from you. As I said, if there is a continuing story here, my magazine would want to take the time to track it. We wouldn’t be publishing till months from now.”
         With that Dr. Baer stood up and extended her hand, which David thought was a small gesture of trust. “If I find anything of interest, and if it is all right with the Institute and the police, I may call you.”
         David didn’t like her using the word “may.” Katie didn’t like that the physician didn’t bother to ask how long they would be staying in Paris, as if to suggest it was of no concern to her.

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NOTES FROM THE WINE CELLAR

THE WINES OF ALTO-ADIGE
By John Mariani

Italy's northernmost wine region produces distinctive wines that share profiles of opening. Many wish to export to the USA and are monitoring the tariffs situation carefully. I spoke with Alexandra Cembran, Head of Marketing at Consorzio Alto Adige Wines when she visited New York last month.

Alto Adige wines have a long history that straddles Italy and Austria and can be confusing to the American consumer. Can you distinguish the types and differences of modern AA winemaking?

Wines from Alto Adige are distinguished by their exceptional terroir, where Alpine and Mediterranean climates converge, creating ideal conditions for viticulture. The region's diverse soils, shaped by the Alps, support over 20 grape varieties, allowing each to thrive in its optimal environment. With over 300 sunny days annually, the area benefits from warm days and cool nights, enhancing the development of aromatic and fresh wines. Alto Adige's winemaking community is deeply rooted in tradition, yet embraces innovation and sustainability, ensuring the continued evolution of its wine culture.

Schiava was for a long while the predominant grape of AA, yet it was not held in high regard. How is this changing?

The Schiava grape, also known as Vernatsch, has a long history in Alto Adige, gaining prominence centuries ago and for most of the 20^th century was by far the most cultivated variety in Alto Adige. After the 1980’s, Schiava's popularity waned in favor of international varieties, but in recent decades, it has seen a revival due to its unique, expressive characteristics and ability to reflect the region’s terroir.

Today, less than 10% of Alto Adige’s vineyards are planted with Schiava, meaning its cultivation has been reduced to those vineyard areas where the variety, which is quite demanding in cultivation, finds ideal growing conditions. These growing areas are, among some others, the areas historically known for growing Schiava, such as Santa Maddalena, Lago di Caldaro or the surroundings of Merano.

Are there young winemakers––sometimes within an old family––who are leading the innovations?

Yes, Alto Adige is fortunate to have many small winegrowing families, where the fortunes of the businesses are passed down from generation to generation. However, there has also been an exciting generational change in many wine estates and cooperative in recent years. Responsibility is handed over to the younger generation with pride and high expectations. They are given full confidence, which means that the region is constantly renewing itself and moving with the times. The young generation of winemakers in Alto Adige is in many cases highly trained and globally networked, breaking new ground without forgetting the achievements of their predecessors.

These winemakers are all about innovation, sustainability, and authenticity, ensuring that Alto Adige’s wines remain dynamic and future-forward while honoring their historical roots. The great diversity in viticulture in Alto Adige is also reflected in the many different styles and personal philosophies of many (young) winegrowers, many with their own personal signature and the special features of the local terroir in the wines they produce.

Some examples:

- From cooperatives: St. Michael Eppan winery, Cantina Caldaro, Sankt Pauls winery

- From wine estates: Elena Walch, Muri-Gries

- From independent winegrowers: St. Magdalena nextgen, a group of young winegrowers from the Santa Maddalena subzone

AA wines have historically been made by co-operatives. Has this changed to single estates?

Wine cooperatives in Alto Adige have a long history dating back to the late 19th century, when local grape growers came together to pool resources and improve wine production. The first wine cooperative in Alto Adige was Cantina Andriano, founded in 1893. Economically, these cooperatives have been and still are crucial for small farming families, providing a vital support system for local, small-scale agriculture, producing high-quality wines, which is unique in the world. Today, cooperatives are still responsible for around 70% of Alto Adige’s wine production, along with 32 private wine estates and around 100 independent wine growers.

How many wine growers and how many wineries are there in AA?

There are 4.800 farmers cultivating 5.850 ha (14,456 acres) of vineyards, which is less than 1% of Italy’s total winegrowing surface. We speak of small-scale agriculture as the average vineyard area per winegrower is just 1 ha (2.5 acres). 70 % of the grapes are vinified by 12 cooperatives, 25 % by private wine estates and the rest by around 100 families of independent winegrowers.

What are your top three export countries?

Our top market is Italy with the regional home market in Alto Adige being highly relevant. This is followed by Germany and the USA, then Switzerland, Japan, United Kingdom the Netherlands Belgium and Canada.

How do you see the Trump tariffs affecting AA's wine industry?

We are convinced that there is great potential in the USA for the fresh, mineral and aromatic white wines from our region and we are also noticing interest in our autochthonous grape varieties.

We are watching the current developments on the US market with concern. The lack of a coherent customs policy together with the many contradictory statements we are hearing from the American government are creating an increasingly precarious and uncertain situation for our American customers. Our wineries notice that some importers are reacting with a wait-and-see attitude. We are very sorry to see that the current American government is causing considerable difficulties for the American wine industry. Nevertheless, many Alto Adige wineries have long-standing business relationships in the USA, and we are of course committed to ensuring that these continue to exist and can be expanded in the future.

AA has a colder climate than most of Italy. What grapes are best suited to that climate?

The combination of cool Alpine climate, sunny days, and cool nights creates a unique terroir ideal for producing high-quality wines, in particular, to preserve acidity and to enhance aromatic complexity in the wines. The region benefits from plenty of sunshine, especially on south-facing slopes, ensuring optimal grape ripening. The mountainous terrain creates microclimates, allowing for a diverse range of grape varieties. It is important to notice that in Alto Adige there are to be found variegated microclimates in the different winegrowing subzones. Next to cool climates, there are also very warm terroirs i.e. in the valley basin of Bolzano, known for growing heat-loving Lagrein.

Has global climate change affected grape farming and harvest timing?

The Alps are an extremely sensitive ecosystem affected by climate change more than other regions in the world, mainly due to an increasing number of extreme weather events, such as hail or early periods of warm weather that may lead to early bud burst. The most obvious sign is that the timing of the harvest has been brought forward in recent decades. Nevertheless, the continuity of winegrowing in Alto Adige is not threatened by the changing climate. Farmers are very attentive and answer the new challenges together with researchers from the field, i.e. by exploring growing grapes at elevated altitude, by adapting new grape varieties, an innovative canopy management as well as the use of technical means to improve the water management.

Trentino and AA have long been linked as a territory and wine region. How are they distinct?

Although Trentino and Alto Adige are neighboring provinces that together constitute the region of Trentino-Alto Adige and share centuries of common history as part of the Austria-Hungary Empire, winegrowing in the two areas is drastically distinct, which becomes especially evident in the great difference in grape varieties grown.

Alto Adige is situated further north and has greater temperature variations between day and night due to its higher altitudes and steep, mountainous terrain. Trento, located slightly south of Alto Adige, has a more moderate climate. Trento, while also producing high-quality still wines, is better known for its sparkling wines, with its Trento DOC being one of the top sparkling wine designations in Italy.

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ESPECIALLY AFTER THEY FIND OUT THEY'RE ALLOWED TO BUY ONLY ONE LOUIS VUITTON BAG PER PERSON!

"Have you heard of Paris syndrome? Japanese tourists suffer from it most. In a nutshell, those visitors’ view of Paris is so idealized that when they finally get to visit the French capital, some of them experience such acute disappointment that they end up at psychiatric hospitals’ emergency rooms suffering from hallucinations, tachycardia, fainting spells and feelings of persecution. Every year, a few of them need repatriation."–––Agnes Poirer," Traveling in Japan Gives Me Paris Syndrome in Reverse," London Times (4/22/25).

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Any of John Mariani's books below may be ordered from amazon.com.

The Hound in Heaven (21st Century Lion Books) is a novella, and for anyone who loves dogs, Christmas, romance, inspiration, even the supernatural, I hope you'll find this to be a treasured favorite. The story concerns how, after a New England teacher, his wife and their two daughters adopt a stray puppy found in their barn in northern Maine, their lives seem full of promise. But when tragedy strikes, their wonderful dog Lazarus and the spirit of Christmas are the only things that may bring his master back from the edge of despair.

WATCH THE VIDEO!

“What a huge surprise turn this story took! I was completely stunned! I truly enjoyed this book and its message.” – Actress Ali MacGraw

“He had me at Page One. The amount of heart, human insight, soul searching, and deft literary strength that John Mariani pours into this airtight novella is vertigo-inducing. Perhaps ‘wow’ would be the best comment.” – James Dalessandro, author of Bohemian Heart and 1906.

“John Mariani’s Hound in Heaven starts with a well-painted portrayal of an American family, along with the requisite dog. A surprise event flips the action of the novel and captures us for a voyage leading to a hopeful and heart-warming message. A page turning, one sitting read, it’s the perfect antidote for the winter and promotion of holiday celebration.” – Ann Pearlman, author of The Christmas Cookie Club and A Gift for my Sister.

“John Mariani’s concise, achingly beautiful novella pulls a literary rabbit out of a hat – a mash-up of the cosmic and the intimate, the tragic and the heart-warming – a Christmas tale for all ages, and all faiths. Read it to your children, read it to yourself… but read it. Early and often. Highly recommended.” – Jay Bonansinga, New York Times bestselling author of Pinkerton’s War, The Sinking of The Eastland, and The Walking Dead: The Road To Woodbury.

“Amazing things happen when you open your heart to an animal. The Hound in Heaven delivers a powerful story of healing that is forged in the spiritual relationship between a man and his best friend. The book brings a message of hope that can enrich our images of family, love, and loss.” – Dr. Barbara Royal, author of The Royal Treatment.

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The Encyclopedia of American Food and Drink by John F. Mariani (Bloomsbury USA, $35)

Modesty forbids me to praise my own new book, but let me proudly say that it is an extensive revision of the 4th edition that appeared more than a decade ago, before locavores, molecular cuisine, modernist cuisine, the Food Network and so much more, now included. Word origins have been completely updated, as have per capita consumption and production stats. Most important, for the first time since publication in the 1980s, the book includes more than 100 biographies of Americans who have changed the way we cook, eat and drink -- from Fannie Farmer and Julia Child to Robert Mondavi and Thomas Keller.

"This book is amazing! It has entries for everything from `abalone' to `zwieback,' plus more than 500 recipes for classic American dishes and drinks."--Devra First, The Boston Globe.

"Much needed in any kitchen library."--Bon Appetit.

Now in Paperback, too--How Italian Food Conquered the World (Palgrave Macmillan) has won top prize from the Gourmand World Cookbook Awards. It is a rollicking history of the food culture of Italy and its ravenous embrace in the 21st century by the entire world. From ancient Rome to la dolce vita of post-war Italy, from Italian immigrant cooks to celebrity chefs, from pizzerias to high-class ristoranti, this chronicle of a culinary diaspora is as much about the world's changing tastes, prejudices, and dietary fads as about our obsessions with culinary fashion and style.--John Mariani

"Eating Italian will never be the same after reading John Mariani's entertaining and savory gastronomical history of the cuisine of Italy and how it won over appetites worldwide. . . . This book is such a tasteful narrative that it will literally make you hungry for Italian food and arouse your appetite for gastronomical history."--Don Oldenburg, USA Today.

"Italian restaurants--some good, some glitzy--far outnumber their French rivals. Many of these establishments are zestfully described in How Italian Food Conquered the World, an entertaining and fact-filled chronicle by food-and-wine correspondent John F. Mariani."--Aram Bakshian Jr., Wall Street Journal.

"Mariani admirably dishes out the story of Italy’s remarkable global ascent to virtual culinary hegemony....Like a chef gladly divulging a cherished family recipe, Mariani’s book reveals the secret sauce about how Italy’s cuisine put gusto in gusto!"--David Lincoln Ross, thedailybeast.com

"Equal parts history, sociology, gastronomy, and just plain fun, How Italian Food Conquered the World tells the captivating and delicious story of the (let's face it) everybody's favorite cuisine with clarity, verve and more than one surprise."--Colman Andrews, editorial director of The Daily Meal.com.

"A fantastic and fascinating read, covering everything from the influence of Venice's spice trade to the impact of Italian immigrants in America and the evolution of alta cucina. This book will serve as a terrific resource to anyone interested in the real story of Italian food."--Mary Ann Esposito, host of PBS-TV's Ciao Italia.

"John Mariani has written the definitive history of how Italians won their way into our hearts, minds, and stomachs. It's a story of pleasure over pomp and taste over technique."--Danny Meyer, owner of NYC restaurants Union Square Cafe, The Modern, and Maialino.

MARIANI'S VIRTUAL GOURMET NEWSLETTER is published weekly. Publisher: John Mariani. Editor: Walter Bagley. Contributing Writers: Christopher Mariani, Misha Mariani, John A. Curtas, Gerry Dawes, Geoff Kalish. Contributing Photographer: Galina Dargery. Technical Advisor: Gerry McLoughlin.

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