MARIANI’S

 

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August 17, 2025                                                                                                                                                                                                                                                          NEWSLETTER

 


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India Travel Poster 1934

        

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THIS WEEK


SULMONA, ITALY
By John Mariani


NEW YORK CORNER
GRAND BRASSERIE

By John Mariani


HÔTEL ALLEMAGNE
CHAPTER  TWENTY-THREE

By John Mariani

NOTES FROM THE WINE CELLAR
THE LAST ROSÉS OF SUMMER
MAKE FOR GOOD AUTUMN WINES

By John Mariani



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 A DAY TRIP FROM ROME:
SULMONA, ITALY

By John Mariani





      If you’ve ever attended an Italian wedding you were probably given a netted bag of confetti­­––white sugar-coated almonds , as a parting gift. And chances are they came from the town of Sulmona in Italy’s Abruzzo region, and very probably from Confetti Mario Pellino, which has been producing them since 1783.

    Were you ever to visit Sulmona, which is a small, reclusive town two hours' drive from Rome, there are several touristic attractions outside of its Cathedral and the medieval-Renaissance Palazzo Annunziata and Church of Saint Annunziata, where you will find dozens of shops selling confetti, brightly colored and knitted into various shapes of flowers and wreaths. There is also a Piazza Garibaldi with a large baroque fountain, where at Easter at the ceremony of the Madonna che Scappa, a  bronze statue of the Virgin Mary is carried by the remarkably well-preserved 12th century Gothic aqueduct. Sulmona gave the Catholic world a pope, Innocent VII in the 15th century. Piazza XX Settembre is the location of Sulmona’s foremost town’s historical figures, the greatest Roman poet Ovid, whose bronze statue stands sternly atop a pedestal. As the author of the witty Metamorphoses, he was a canny observer of the goodness and follies of the Romans, and wrote, ““I am the poet of the poor, because I was poor when I loved; since I could not give gifts, I gave words.”

    Located up a winding road, Sulmona itself is fairly flat and easy to walk through, and there are several very good restaurants that feature the cooking of Abruzzo. Semina Cucina Agricola, which is committed to locality and seasonality within a 39 tasting menu of five courses. There’s a lavish antipasto table at Ristorante Hostaria del’Arco, and the pasta to have is the tagliatelle with zucchini cream.

    On my last visit to the town I ate at the charming, sunny Ristorante Clemente Sulmona (Via Solimo 25), located just inside the town’s ancient gate. Begin with some local Abruzzese cheeses from Casari e Pastori,  like Pecorino, caciocavallo and pampanella goat’s cheese along with salami like salamella di tratturo made form mutton and  the locally revered salsiciotto di Guilmi of simply salt-cured pork,  served with puffy pizza-like bread. Next came the Abruzzese specialty spaghetti alla ghitarra, cut on a guitar-string-like interment, served with crispy pancetta bacon and local saffron. Risotto made from Canaroli rice also had saffron with an addition of anise, along with ricotta and salami-studded lamb ragù. (Half portions are also available.)  For dessert the signature sweet here is pan dell’Orso semi-freddo.

         The wine list is especially good for bottlings like Montepulciano d’Abruzzo––the Faraie label is very good and Trebbiano d’Abruzzo. The menu has English translations.

 
   Ovid,  by the way, seems to have been something of a vegetarian, writing, “I am the poet of the poor, because I was poor when I loved; since I could not give gifts, I gave words.”  O mortals, do not pollute your bodies with food so impious [the flesh of animals]! You have the fruits of the earth, you have apples, bending down the branches with their weight, and grapes swelling in ripeness on the vines, you also have sweet herb.” And not much of a drinker, saying,
"There is more refreshment and stimulation in a nap, even of the briefest, than in all the alcohol ever distilled", notes Ovid. 

 

 

 


 

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NEW YORK CORNER


GRAND BRASSERIE
Grand Central Terminal

By John Mariani


 

 

 

    I am very greedy when it comes to using two words: “grand” and “unique.” Though the name of the restaurant in this review is a form of self-description, it truly is in every way grand. And indeed, it is unique, meaning one of a kind and nothing like it.

    It could hardly be otherwise, located as it is within the glorious cavern of what had once been Grand Central Terminal’s once dismal waiting room, called Vanderbilt Hall, facing East 42nd Street. Opened in 1913 and stunningly restored in 1998, the 6,000 square foot space with 55-foot ceilings and gold chandeliers, the room is now divided into exhibition space and Grand Brasserie, whose décor by the Rockwell Group respects all the finest features of the Beaux Arts original, so that it would fit equally well into a Paris train station of this size, similar to Le Train Bleu in the Gare de Lyon, though not as flamboyant.

    The Grand Brasserie itself is split into a 300-seat dining hall and an enclosed 100-seat Green Room (formerly a New Nordic restaurant that quickly went pffft!) with cherry red leather banquettes and marble bar (left). Given its height and expanses of marble, the dining hall is very, very loud at dinner, the Green Room less so, and by nine o’clock quite comfortable. We sat in the latter, with white marble tabletops, flattering lighting and green walls filled up with historic black-and-white photos.

The service staff, beginning at the host’s station, is as affable as they come, and, as at any good Parisian brasserie, the kitchen sets a brisk pace for serving the dishes from its highly traditional French menu.

For some reason, French bistro/brasserie food has become something of the rage in New York, with entries like Le Veau d’Ȏr and Chez Fifi joining established examples like Benôit and Bar Boulud. The food is easy to love and familiarity breeds contentment. It’s difficult not to love a menu full of items like onion soup, trout amandine, cassoulet and profiteroles. And it’s impossible to resist the good crisp bread and butter (though one small ramekin of butter was hardly enough for a table for four people).

         There is a formidable wine list, French heavy, as well as a short list of regional wines available the glass, carafe (very good idea) or bottle.

Mark-up prices for many bottles are actually below what you’ll find at other restaurants.

         There is a prix fixe dinner of three courses for a very reasonable $65, though citing seven dishes with supplements of $4 to $8 seems a tad disingenuous. There’s also a three-course pre-theater dinner for five dollars less, from 4 PM-6 PM.

         Executive Chef Guillaume Thivet, previously at Veronika at Fotografiska, Bouley, Brasserie Les Halles and La Grande Bouchérie, is a dyed-in-the-wool classicist who has been making these dishes for decades, which is obvious among the appetizers, like the paragon of an onion soup gratinée with a coffee-dark broth and a half-inch thick topping of bubbly golden Gruyère, all buoyed by sweet caramelized onions (right). Its equal in the soup rankings was a richly flavorful lobster bisque with an abundance of lobster morsels (left). Leeks vinaigrette were a good light starter, and the smooth, silky foie gras mousse came with buttery brioche. Of the two tartares, the beef, laid out in a pancake-like circle, was perfect, finely chopped with an good dose of subtle seasonings. The tuna tartare used fish of high quality but could have been dressed with a little more zest.

    There is a section of dozen salads and sandwiches true to  brasserie form, from a tangy salade lyonnaise with frisée, lardons and poached egg to a ham-and-cheese croque monsieur, even a California French dip made with wagyu and a New England lobster roll.

    Among the main courses I enjoyed the plump, crisp-skinned roast chicken––which can feed two­­––and the trout with buttered almonds and haricot verts. A saddle of lamb might have had more of a wine-rich reduction.

    The steak frites section allows you to choose a filet,  a bone-in strip at 14 ounces, an entrecôte at 14 ounces and a skirt steak. I ordered the strip steak, which was good but not stellar. I think the skirt steak, with its fatty chew might have been a better option.

    The frites, by the way, are terrific, with plenty of potato flavor and light crispiness.

The kitchen really excels with its desserts, including an always welcome crème brûlée, an egg-shaped scoop of dark chocolate mousse with crème Chantilly. The profiteroles were big and fat with vanilla ice cream and poured dark chocolate sauce. My favorite of all was the tarte Tatin––the real McCoy, for its being two-inches thick and dark with caramel, not the skimpy flat tarte you so often get.

 

There are all sorts of options, for brunch, pre-theater, lunch and dinner, no matter what you feel like at any time up until two AM, when the trains stop running––a late night (and early morning) bonus you rarely find anywhere else, especially at Manhattan’s bistros and brasseries.

It also needs mention that prices are lower than trendier competitors around town. As noted, dinner here is $65, while it’s $125 at Le Veau d’Or; at Grand Brasserie you’ll pay $69 for a whole roast chicken and $72 for Dover sole Meunière, while at Chez Fifi they’ll run you, respectively, $78 for half a chicken and $148 for the sole.

And for all that you also get a unique experience of dining in one of America’s most wondrous public spaces, and even catch a late train home after the theater.

         Coming into Grand Central Terminal into the Great Hall is always an awe-inspiring experience, then to find this spectacular Brasserie in the next room should take anyone’s breath away.

 

The restaurant is open from 5:30 am to 2 am, 7 days a week, 365 days a year, operating at the same hours as Grand Central Terminal.

 

 






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HÔTEL ALLEMAGNE
 
By  John Mariani






CHAPTER  TWENTY-THREE


         Yves Collard’s apartment was in Montparnasse (below), not far from where David and Katie had had their first meal together in Paris. He was tall, lanky sandy-haired and in his thirties, with horn rimmed glasses. He apparently lived with a woman in the one-bedroom apartment, and it appeared she had been the decorator.              Yves spoke impeccable English, as demanded by his job. He also spoke some Spanish, Italian and, given the Anastasia’s history, a smattering of Russian. He was as gracious off-duty as he needed to be on-duty, deferential to his guests. Katie asked him to call her and David by their first names, but he kept addressing them as Madame and Monsieur.
         “I do not know if I can help you,” he said. “I told Catherine pretty much all I knew about that night. It all happened very fast.”
         “But you did  not get infected, right?” asked Katie. 
        
“No, Madame. I was lucky.”
         “Did you have to help guests exit the hotel?” asked David.
         “Ah, oui, it was pandemonium until the police and ambulances arrived. People were very, very sick, mostly coughing and trying to get some air.”
         “And I think you told Catherine there was nothing suspicious about any of the clientele that day?”
         “No, nothing I recall. We were not very full, because the fashion shows had not yet begun, so we did not have the number of guests we would normally have had this week, if the hotel was open. We are always fully booked a year in advance for the shows.”
         David thought to himself that that must be the reason the perpetrator had acted the week before, in case he would have failed to get a room reservation during the shows, when all the luxury hotels were booked solid. That would also apply to both the Hôtel de la Reine and the Prince de Carignan. He wondered how all those people must have scrambled to find rooms when three of the most desirable were shut down; he also realized that the loss of income during fashion week would have been enormous. The prospects that the attacks were very well-coordinated by someone or some group were obvious.
         “Do you know Messieurs Kōvar and Bazarov, the two ambassadors,” asked Katie?
         “Ah, oui, they are regular guests. They almost always stay at the Anastasia when they are in Paris.”
         “What time did they check in?”
         “I was not on duty, but the registry showed Monsieur Kōvar checked in around noon and Monsieur Bazarov around three.  I came on duty at seven.”
         David took on the interview from there.
         “Did you see either or both of them when you came on duty?”
         Oui, I saw them in the lobby when they came down to go to dinner. I believe they were going together. There was a reservation in our book that the concierge had made for two people under Bazarov’s name at Le Stresa; it’s a casual little Italian bistro nearby.”
         “And that was about seven, when you came on duty?”
         Oui, I had just arrived.”
         “So, you saw them come back soon afterwards?”
         Oui, they were back by eight o’clock, then they went to our bar to have a drink. About fifteen minutes later they went upstairs to their rooms.”
         “Can you tell me what rooms Kōvar and Bazarov were staying in?”
         Yves looked at his laptop, which had the hotel’s registry on it, and said, “Here it is. Monsieur Kōvar was in Room 310, and Monsieur Bazarov was in 316 down the hall.”
         “I ask because Kōvar told us that he got off at the third floor but Bazarov continued to a higher one.”
         Yves shook his head and said, “I do not know, Monsieur. I was not watching the elevator. But Bazarov did check out of the hotel around nine-thirty.”
         Katie and David looked at each other, and she said, “Well, that’s odd. Isn’t it?”
         “He said that he had unfortunately been ordered to Brussels for an impromptu business meeting and had a flight early the next morning, but first he had to collect papers and things at his embassy, so he would spend the night there.”
         Katie joined in, asking, “And as far as you remember, there was no one suspicious entering or leaving the hotel, maybe people visiting guests?”
         “There may have been one or two, but they would have to come to see me to so that I could call upstairs and get the guest to allow them to come up to their room.”
         “Nobody went up to Bazarov’s room?”
         “It is possible someone can simply get in the elevator and go up, but I do not recall seeing anyone that night do so.”
         “So, as far as you know, everybody was upstairs asleep by, say, midnight?” asked David.
         “I think so. We usually make a notation as to when or if a guest was in the room.”
         “And is there another way to exit the hotel without passing by you in the lobby?”
         “Ah, oui, you could go out the side door onto the Rue Daru.”
         “And you saw no one else coming or going from, say, eight till midnight?”
         Yves rubbed his chin, then said, “Ah, I forgot. There was a technician from T-Mobile who came in around eight o’clock. He said he was called to check into a problem in service on the seventh floor and asked if he could gain access to an empty room.  I told him we had several that night, and I asked a security man to accompany him to go up.”
         “Can you tell me what room he used?”
         “I believe it was. . . oui, it was Room 702.” 
        
“And that’s the highest floor?” Yves said yes.
         “And do you have security cameras in all the hallways?”
         Oui, ever since 9/11, we installed them. It took some time because it is an old building.”
         Katie asked when the technician came down and if he said anything.
         “He came down around nine or nine-fifteen, I believe, and he came over and asked me to sign a receipt for the service.”
         “But he was the one who told you that there was a problem with the Internet or some technical problem. No one at the hotel on the seventh floor called you to complain?”
         Yves thought very hard and said, “No, no one called me. But it is possible they called the switchboard and asked for the engineer.”
         “Would there be a record of that?” asked David. Yves said there should be, but it would not be on his laptop.
         “These are things I think we need to find out, Yves. Can we get that information quickly?”
         “You mean you think this T-Mobile guy was an imposter and he put the virus into the air ducts?”
         “If he got access to an air duct on a higher floor, that’s the way it would have been done.”
         Yves looked blanched, thinking that he may have been the one who let in a man who could commit such a crime. He was always so careful. It was his job to know and handle everything while he was on duty.
         “Well, let’s see what we can find out about this T-Mobile guy. Can you call the local office and see if they actually sent a guy over?” Yves nodded, yes, yes, of course, and looked up the T-Mobile office closest to the Anastasia. After going through three different personnel, he got the service agent who sent technicians out on calls. Yves asked about the night of the attack. A few moments passed and the man spoke to Yves, who put the call on speaker.  The man said, “I
l n'y a pas eu de demande de service,” and, “Non, nous n'avons envoyé aucun technicien à l'hôtel ce soir-là.”
         Yves thanked the man and hung up.
“No, they had no request for service and sent no one to the hotel.”
         David was constructing a time line in his head. “So, let me make sure I have this correct: Kōvar and Bazarov come back from a quick dinner about eight o’clock, then they have a quick drink in your bar, then they both go up in the elevator.”
         Oui, Monsieur.”
         “Meanwhile, the T-Mobile guy arrives to fix something on the seventh floor, and he leaves about nine, nine-fifteen. Then Bazarov comes down with his suitcase and checks out.”
         Oui, Monsieur.”
         “How big a suitcase?”
         “Oh, it was one those, how do you call them? Suiters. You put in your suit and zip it up and you can hang it in the closet.”
         David turned to Katie and said, “A good piece to carry a HAZMAT outfit in. Yves, what was the T-Mobile guy carrying?”
         “Just a small tool kit, as far as I could see.”
         “You think Bazarov helped plant the virus?” Katie asked David.
         “No, I think he gave the suiter with a HAZMAT outfit in it to the fake T-Mobile guy, the guy put it on, put the virus in an air duct, put the HAZMAT outfit and his mask and gloves into the suiter, waved goodbye to Yves and left the hotel,  and then Bazarov took the suiter out of the hotel.”
         “Back to the Russian Embassy?”
         “If that’s where he really went, yes. They would know how to dispose of poisonous material like that, especially if they knew he was coming over with it.”
         Katie and David could see the concierge was deeply troubled by all he’d heard. Katie said, “As far as I can see, Yves, you just followed your protocol. How could you have any idea this guy was going to plant a virus in  the hotel?”
         Yves was not convinced his superiors would see it that way, but said, “If there is any possible way I can help you, please let me know.”
         “Well,” said David, “you’re going to have to speak with the police about all this. They want to catch this guy. He’s the last of three, and they’ve got a pretty good case against the other two. You can do nothing but help them tremendously with the information you gave us. You’ll come out of it a hero. Meanwhile I need you to check those security camera tapes of the seventh floor hallway. The police will want to see them, too, I’m sure.”
         “Whatever they need,” said Yves.
         “I’m going to give you the phone number for a Detective Borel we’ve been working with. I suggest you call him and tell him everything you told us, and he’ll take it from there.”
         Yves was anxious to clear himself of any wrong-doing as a professional and called Borel as soon as the Americans left. Borel asked him to come to the Sûreté headquarters as soon as possible. Meanwhile the police would contact the hotel manager and ask to see the security video. Within a couple of hours, the manager was able to transfer the videos to the police headquarters, and Borel called Katie and David in to watch them.





©
John Mariani, 2024



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NOTES FROM THE WINE CELLAR

 

 

 

 

THE LAST ROSÉS OF SUMMER MAKE
 FOR GOOD WINE IN AUTUMN

By John Mariani



 

    Having dutifully written my annual rosé wine article at the beginning of summer, it seems worthwhile to end off with a few more examples of the genre that make for wonderful drinking well into fall or winter.

Many of the American rosés, Italian and Pacific Rim I find are often too sweet and some have a strange almost fuchsia color that can be off-putting.

        Of course, the rosés of France’s Provence have long been a standard that others either strive to meet or go in another, bolder direction. Provence rosés do tend to be light, though their alcohol may reach 13.5% and easy to drink as an apéritif  before dinner. But they are also fine accompaniments for first and main courses, too.

When I was in my salad days, the rosé of Domaine Ott was my choice for dinner with a sophisticated girl who merited a better wine than Mateus. Founded in 1896 by Alsatian engineer Marcel Ott and now owned and managed by Champagne Louis Roederer, the estate’s three vineyards are quite different from one another in terms of terroir: Château Romassan are in the Bandol appellation, Clos Mireille and Château de Selle both Côtes de Provence.
  


 Château de Selle
is located inland from the Mediterranean Sea, on limestone hillsides, planted in arid limestone soil––the earth is actually mechanically tilled to crush the rocks; yields from the 345-acre organic (since 2022) estate are low. Mourvèdre is the principal grape. The estate is considered their flagship wine, with an array of soft ripe fruits on the palate and a touch of saltiness from the sea, making it a fine wine for shellfish and a good bouillabaisse. The 2024 vintage sells for $65.

Château Romassan 2024  ($69) has a  bigger profile, reflecting the terroir of Bandol, a port town located just to the west of Toulon, best known for its red wines (although the majority of the grapes grown are used for rosés). It has a very pale, opalescent color and, served either more or less cold, is brisk and silky. Ott acquired the château in 1956 in the foothills of the village of Le Castellet. The soil is actually quite poor––limestone, sandstone, and marine upper cretaceous marls––and the vineyards terraced, so the grapes have to struggle a bit to prove their worth. But sea salt from the bay helps the wine’s acidity and the Mourvèdre, Cinsault and Grenache grapes are very selectively picked and sorted by hand, then fermented and aged in thermo-regulated stainless steel vats  4-6 months. It is very refreshing, terrific with mild cheeses and a fish like branzino or red mullet. Ott’s website contends it will be just as good in 2029, though this is not a wine to save but to savor.

2023 Étoile Rosé  2023 ($175) is a cuvée, that is, a blend of 85% Grenache and 15% Mourvèdre from the finest parcels from Clos Mireille and Château de Selle. It has considerable depth––it should for $175, although I’ve seen it on-line for less––and has more of a saline character than Ott’s other rosés, owing to limestone coils of  Selle  and calcareous sandstone and sandy marl soils at Romassan. It is peach-colored, has a citrus tang as well as faintly sweet fruit notes. Here’s a rosé to consider for bluefish and grilled chicken or seafood risotto.

 

 

    Sparkling rosés are increasingly popular, not least Champagnes, and the Telmont Estate  has put a big push into being among the most environmentally correct producers, aiming to convert 100% of its  cultivated areas and its partners’ to organic agriculture by 2031. In addition they are going after the small details, like using recycled glass and green bottles, not using cardboard gift boxes and shipping all wines to the U.S. aboard wind-powered Neoline ships.

Telmont’s 60 acres are located in Damery, Épernay, established in 1912 and now a fourth generation estate making eight crus, since 1999 under Bertrand Lhôpital. (Actor Leo DiCaprio is an investor.) Its Reserve Rosé ($87) is a blend of grapes from four different harvest, made from 87% Chardonnay and 13% Meunier. Oddly, for a rosé there is no Pinot Noir in the blend, though Meunier is a red grape. It has a lovely rosy color, rich flavor and fruitedness but is quite dry on the palate and finish. Its finesse makes it fit for sole meunière, lobster and crab and aged cheeses.

 

 

 

 





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THEY ALSO SELL FAKE ROLEXES


In its attempt to reduce 
the negative impact of over-tourism, the  Tuscan town of Lucca has banned the buttadentro from the historic center to preserve the city’s calm and quality of life. A buttadentro (meaning “throwers in”) is a  restaurant hawker who identifies well-heeled visitors and to use his wit and persistence to lure them into the restaurant.  The rule will be enforced by the police, and repeat offenders face a three-day ban on placing tables outdoors.

 





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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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