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MARIANI’S Virtual Gourmet June 28, 2026
NEWSLETTER Founded in 1996 ARCHIVE ![]() The Walrus and the Carpenter in "Alice Through the Looking Glass" illustration by Sir John Tenniel
❖❖❖ THE RIDICULOUS MYTH OF FRENCH RESTAURANTS IN AMERICA BY JOHN MARIANI NEW YORK CORNER GUSI By John Mariani THE BISON CHAPTER TWENTY-SEVEN By John Mariani NOTES FROM THE WINE CELLAR MARPAOUT: A LEFT BANK BORDEAUX FOLLOWS THE RIGHT BANK MODEL TO PRODUCE AN EXCEPTION MERLOT By John Mariani ❖❖❖
THE RIDICULOUS MYTH OF FRENCH RESTAURANTS IN AMERICA By John Mariani ![]() Mr Creosote In last week's Food Section of the New York Times, restaurant critic Ligaya Mishan awards four stars to an Israeli restaurant in Washington named Albi (right). Congratulations. But one sentence at the end caught my eye:
"There is no hushed reverence, nor the
careful distance often maintained at other
temples of food." I'm not sure what she
means by "careful distance," unless it's the
space between tables, but the negative
connotation that "temples of food" have a
"hushed reverence" struck me as dated at
least and naive at worst.![]() Les Ambassadeurs at Le Crillon, Paris The fact is, at a time when even the most high-end restaurants in America are awash in intrusive piped-in music, usually Euro-Techno, the idea that there is any such thing as a hushed reverence is pure piffle. In fact, in a lifetime of dining at high and low restaurants in many countries, I can count on the fingers of one hand the kind of restaurant she is suggesting still exists. One was at an Alain Ducasse restaurant in Paris that had the atmosphere of a grim grandmother's parlor. But that was forty years ago, and subsequent visits to Paris have not revealed any such dreariness anywhere. ![]() Of course, when Mishan refers to hushed temples of food, she means, largely, French restaurants (as well as a few preciously modernist restaurants in Chicago where you are told how to eat a dish) of a kind where the decor is Louis this or that, the maître d' is in white tie, the menu all in French and the reception is as icy as an intermezzo sorbet. Many, many years ago there might have been restaurants like this, where snootiness was often the rule and haughty class distinctions marked, places one simply didn't really enjoy being in all night. Back in the 1950s and 1960s in New York there were a few places like this––though none was hushed––like Le Pavillon (not the current Daniel Boulud restaurant by that name), where the rotund owner Henri Soulé (above) ruled over his red banquettes not like a mother hen but like a Queen of the Roses. La Grenouille and La Côte Basque had something of this tenor, but Le Cirque, which was always lively and exciting and glamorous, had an ill-founded reputation for treating favorites to exquisite food and service while newcomers were shunted to some imaginary Siberia and served sub-par food. The truth is, regulars and celebrities do get special treatment in restaurants that attract them, but that did not mean everyone else was treated with disdain. There
most certainly was a number of French
places, not all of them fine dining,
where captains and waiters wore
tuxedos, even if, as at the dingy Le Veau
d'Ór, they were shiny from wear. But the
idea, perpetuated by the movies––remember
Ferris Bueller bluffing his way past a
haughty maître d' at L'Orangerie in Los
Angeles (left)?––that this was the
rule rather than the exception was
out-of-date by the mid-1960s. It was
certainly not the case with a new generation
of French restaurants that came after, like
Le Bernardin, Chanterelle, Jean-Georges,
Bouley, Picholine, Daniel, Lespinasse and Le
Périgord. Nor was it true outside of New York: Not at Jean-Louis in Washington, Citrus in West Hollywood, Mélisse in Santa Monica, Maisonette in Cincinnati, Tony's in Houston, Le Perroquet in Chicago, Déja-Vu in Philadelphia or Maison Robert in Boston. The boom in America of modern restaurants loosened things up into a more casual
style, as at places like Michael's in Santa
Monica (right), Providence in Los
Angeles, Chez Panisse in Berkeley and Gary
Danko and Stars in San Francisco,
where restaurant design by the finest
architects became among the most exciting of
any industry. Out went the crystal
chandeliers, the furled curtains, the silver
candlesticks and the brocade wallpaper.
Restaurants started to look like modern art
galleries. The staff, once resolutely
geriatric French or Italian, was becoming
younger and more American. Wonderful new
kinds of restaurants like Union Square Café,
An American Place, The Quilted Giraffe (below)
changed ideas about service, removing the
starch and adding bonhomie. The
very idea of being a hushed temple of food
went out decades ago, replaced by enticing
restaurants of every stripe, including
French bistros like Le Gratin, Brasserie
Cognac, Orsay, Benoit and the scrubbed new
version of Le Veau d'Or. And that's a
problem when that piped-in music blasts from
speakers above your table. Moreover, the
decibel level of the modern dining
population has risen to the levels of a
crowd at an NFL game. It is literally
impossible for me to think of even one
contemporary restaurant, French or
otherwise, where the room is hushed. Nevertheless, the buoyant atmosphere of dining at a contemporary haute cuisine restaurant like Jean-Georges, Per Se, Gabriel Kreuther, Le Coucou or Essential by Christophe is wholly opposite to any conceived notions that the experience will be a dreary exercise in self-abnegation. Now if they just turn down the music, all will be ideal. ❖❖❖
NEW YORK CORNER GUSI 432 Sixth
Avenue
646-370-5413 By John Mariani ![]() Gusi mural Slavic restaurants have always had a small presence in New York’s dining scene, although the Russian Tea Room still thrives after a century in business. There is also a Russian community in Brighton Beach that supports a number of banquet hall-size restaurants and a few cafés that have their Eastern European adherents. Gusi,
open
only two months, is an attempt to modernize and
bring some Slavic snazz to the West Village with a
two-story venue whose name means “goose,” which
oddly enough is not on the menu but evokes how the
bird flies “across
borders and regions, much like the cuisine
itself.”Founded by husband-and-wife team Boris Artemyev and Elena Melnikova, with Galina Bovtun in the
kitchen, the aim here is to explore the food
culture of Eastern Europe on “two distinct
moods”: The low-lighted ground floor (above),
called "Geese,
Earthbound,” uses elements of charred wood,
vintage mirrors and tactile surfaces referencing a
grandmother's farmhouse but one with modern taste
via a textile installation rendered in the style
of Soviet era rugs, appended with sculptural
art objects. The shadowy (watch yourself!)
stairway is hung with an oversized crystal
chandelier leading to the second floor (above)
called “Swans, Airy and Elevated," done with gray
green walls, parquet floors, curtains
and artwork touched, with the ceilings and walls
hand-painted with abstract expressionist murals.
It is intended as a space for a slower, quieter,
more elegant dinner; downstairs modern music of
various kinds is played a bit too loud. I
dined downstairs with my guests, and, since my
wife is of Russian extraction, she was a savvy
critic. The menu begins with a selection of
spreads and pickles, including hummus with tahini,
and the puff pastry baked called pirozhki
stuffed with potatoes, cabbage and beef tongue
that were warm and delicious as starter.
The blinis are marvelously thin and have the right
yeasty flavor, rolled with house-made salmon or
red roe. of pelmeni,
a Russian version of ravioli stuffed with a variety
of meats that includes exotica like elk, bison and
yak, as well as beef, pork and potatoes with caramelized
onions (right). They come in a
steamy, rich chicken broth in a ceramic
bowl. There is, of course, borscht (below),
with its lovely
color of beets and full of duck or mushrooms and
dollops of sour cream, as well as the tangy solyanka
(“settler’s soup”) made with cucumbers, olives
and lemons in a tomato broth.
One could easily make a meal of these dishes, but
there are some good main courses, including a
hearty, deeply flavorful beef stroganoff rich with
sour cream.
Golubtzi are cabbage rolls with beef,
tongue and rice. Chicken Kiev, which is quite a
familiar dish, was a disappointment, largely
because the traditional seasoned butter stuffed
within the bird is supposed to emerge in a
decadent gush. Which it did not. Desserts stay true to form, with a condensed milk sweet called sirnicki, and blinis to be rolled with sweet condiments. And a lovely light-textured cake called grilaz, a hazelnut praline confection (right). ![]() Gusi’s wine and beverage list is more than up to expectations, and the bar stocks a wide array of infused vodkas and has a number of signature cocktails. The owners have gone far to imbue Gusi with tonality, nostalgia and modern versions of traditional foods without any of the kitschy Romanovian décor so often found in Russian restaurants. Settled where it is the Greenwich Village, it brings something very welcome to a neighborhood that is enriched by Gusi. Currently open daily from 4 PM; daytime and breakfast hours to come this summer. ❖❖❖
THE BISON By John Mariani ![]()
Donald Trump, Melania Knauss,
Jeffrey Epstein and Ghislaine
Maxwell
“Well, it’s from one of the girls who used to work and live at Epstein’s. Her name is Susannah Haley, apparently. She told Katie she heard about it from a girl still there.” “When was this supposed to have happened?” “I don’t know. Recently.” “Not much to go on. Will this girl speak?” “I know she’s scared to. She wants Epstein nailed and expects that your office is going to do the nailing. She’s afraid if Epstein finds out she’s talking her life isn’t worth a dime.” “We can get her in here without anyone knowing,” said Rush. “Well, meanwhile, how about putting out some feelers in the community about anything anyone might have heard about a murder? What about confronting Epstein himself? Spook him. In New York I would have been at his front door ten minutes after you and I stop talking.” “C’mon, David,” said Rush, “we’re not all that inept down here. And how many whorehouses did you close down in New York?” “Not many. They ceased to exist as soon as the mob found out we were looking for them. But I can’t imagine Epstein will let you into his house to look around unless you have a court order.” “Well, that’s definitely not going to happen unless we have a body.” David thought for a moment and said, “Well, I don’t need a writ to knock on his door.” “David, don’t even think of it. You do and Epstein will really be spooked, and then he’s got the advantage. Promise me you won’t go near his place.” “Maybe neither of you will have to,” said a voice from the doorway. It was a sergeant with a piece of paper in his hand.
“What do you mean,
Javier?” asked Rush of the
sergeant, putting his hand over the phone. “Your friend Epstein is apparently on his way to Cuba on his Lolita Express (left). Left Miami about an hour ago.” Rush took the paper, which was a manifest of passengers the police obtained whenever Epstein flew anywhere or arrived back in Florida. He told David the news. “What the hell’s he doing in Cuba?” asked David. “Maybe running away from us,” said Rush. ![]() “Why Cuba?” “Believe it or not, Uncle Fidel invited him and the president of Colombia, Andrés Pastrana Arango (right), to Cuba and Epstein flew him on his private jet. I’m sure Epstein made overtures to Castro with money and information about American politicians. Castro must owe him, and Epstein knows Castro would never extradite him for any reason.” “Holy shit.”
“Nothing holy about it,” said Rush.
“And we’re not going to parachute into the
Bay of Pigs and extract him.”“What about MI6?” asked David. “MI6? British Secret Service? What are you talking about?” “Send in James Bond. He’ll turn Castro’s mistress and kidnap Epstein.” “Sounds like a great plan, David. I’ll call up ‛M’ and see if 007 is available.” “Send him a picture of Castro’s mistress.” Katie waited for the call from Pierce she thought would never come. Meanwhile she called Ramona Sanchez to ask what she might know about the supposed murder. “I heard about it from Susannah, like you did,” said Sanchez. “So you don’t know anything more?” “I tried to call Jeffrey—not that I thought he’d admit to anything—but I was told he’s out of the country.” “Yeah,” said Katie. “Apparently he’s in Cuba.” Sanchez laughed. “Well, I hope he stays there. He and Ghislaine can run girls in on his private jet.” “I want to ask you about Ghislaine. I get the feeling that she’s trying to really distance herself from the investigations, and if there really was a murder, she’s definitely going to want to stay clear of any allegations.” “I don’t know. Ghislaine is always going to try to save her own skin, and ever since she stopped being Jeffrey’s girlfriend and became his pimp, she started to look different, act different. But you know that she’s deep in Jeffrey’s pocket for a shitload of money. She’s got to play it very careful if she’s going to try to get out of his clutches. I’m sure, like everybody Jeffrey gets his hooks into, she’s afraid of what he’d do.” “Okay,” Katie said, “If you hear anything, any leads on the girl who got murdered, let me know, will you?” “Absolutely. Jeffrey’s got to pay for all the lives he’s ruined.” Katie thought that was a little disingenuous coming from a supplier of call girls but knew that Sanchez really meant what she said. David knew he had to speak to Vargas (below). He didn’t expect to get much out of him, but he also knew Vargas feared what David could do to put him in jail. Once a criminal agrees to help a cop, he’s usually willing to do so again. David felt he could twist more out of him. He’d had to work with despicable people before in order to get an even more despicable one. Compared to Epstein, Vargas was just a low-class pimp. So he was not surprised when Vargas picked up his phone on the second ring from David. “What you
want?” said Vargas.David went right to the heart of the matter. “What do you know about the murder of a teenage girl at Epstein’s?” Vargas paused, then said, “That was bad shit, man. It wasn’t one of my girls, I swear to you. I never knew her either. But I heard from some other girls what happened.” David was not about to ask if one of them was Susannah. “And what’d you hear?” “This girl, she was like fifteen and a favorite of one of Jeffrey’s best friends.” “Angus Pierce?” “Yeah, that’s the guy. South African or something. Liked weird sex, man, and used a shitload of drugs.” “Who supplied the drugs?” Vargas laughed, “You fuckin’ kidding me? You could walk out on your front lawn in Palm Beach and buy drugs across the street. Those people are always doing expensive shit. The dealers are all Cubans from West Palm, of course.” “So, you have any idea what happened after the girl died?” “The girls say a van pulled up near the house, and they saw her body being carried out. The wrapped a blanket around her.” “I don’t suppose they told you the color of the van.” “No, I don’t suppose they did.” “So you weren’t driving that van?” “Me? Fuck, man, I was here in Miami. I haven’t been to Palm Beach in a month. That’s all I know. Swear to God.” David asked, “Does this kind of thing bother a lowlife like you?” “Yeah, y’know, it does. This shit goes too far. Me, I’m a businessman, and this shit is bad for business.” “Not to mention for the girl. Would you tell what you just told me to the Palm Beach Police?” “What do I know? Hearsay from some whores?” David wasn’t going to thank Vargas for the information but just said he’d be in touch if he found out anything else. “I don’t need to know nothing else. Don’t call me about this shit again.” “Can’t promise anything,” said David and hung up. Despite Vargas’s attempt to kill David with the spider, David felt that was personal, and it had nothing to do with business and that Vargas would refuse any request by Epstein to get involved by getting rid of Katie or himself. That gave him some small sense of relief.
❖❖❖ NOTES FROM
THE WINE CELLAR FOLLOWS THE RIGHT BANK MODEL TO PRODUCE AN EXCEPTIONAL MERLOT By John Mariani ![]()
Nevertheless Pen and a partner persisted
and are about to release their 2022 vintage,
with only 900 bottles and
50 magnums made. Those few who have tasted the wine
have been amazed by its
quality, as was I when Pen visited this month and
had dinner with me in New
York for an interview. I found it a wine that would
rank with the best in
Pomerol and priced accordingly. How
were you involved in the wine business before
becoming an estate owner and
winemaker? My family background is in agriculture, and I
always knew that one day I
would become a farmer and winemaker. The first 15
years of my professional life
were spent in the airline industry, heading sales
and marketing teams across
Germany, France, Switzerland and the Netherlands. My
most senior role was as a
board member of Swiss International Airlines – which
made it particularly
gratifying, 20 years on, to see them serve Château
Branas Grand Poujeaux in its
First-Class lounges in Geneva and Zurich. I spent a year at KLM before Air France
acquired the company. This was
in 2004 – a career crossroads and the ideal moment
to return to my roots and
search for my first terroir on which to grow grapes.
My parents had moved to
France when I was 18 and were living in Jurançon,
but having grown up drinking
red wines from Saint-Estèphe, my focus was firmly on
Bordeaux, a region I have
called home for the past 20 years. The first property where I made wine, from
2005, was a small estate
called Château Richelieu, in the under-the-radar
Right Bank appellation of
Fronsac. I co-owned it with a group of wine-loving
shareholders, including my
parents, before it was sold to an investor in 2011.
Château Branas Grand Poujeaux came into the
picture shortly afterwards.
I had long heard about the exceptional quality of
the Grand Poujeaux plateau
and had met Justin Onclin, owner since 2002, who had
invested heavily in both vineyard and
cellar with the guidance of his friend, the late,
great Michel Rolland. Some background on Château Branas Grand
Poujeaux: Grand Poujeaux is the
name of the local village that several wineries have
incorporated it into their
labels. The word “Poujeaux” derives from Old French
for “stony hill”; the
land is slightly elevated. Justin Onclin purchased
the estate in 2002, when it was
comprised of just five parcels across six hectares.
In 2006, following the
death of a neighboring estate owner who had no
heirs, he was able to acquire an
additional seven exceptional hectares, including the
prized Marpaout plot. In 2019, a merger with Château Granins Grand
Poujeaux brought the total
to 25 hectares. The estate now consists of 25
individual parcels, each
fermented separately in its own vat to preserve the
distinct identity of each
terroir. Justin Onclin has since retired and now
serves as brand ambassador in
Belgium. Today, I run the estate alongside Dutch
businessman and majority
shareholder, Hindrik Gommer. All the vineyards lie on
the celebrated Terrace No. 3
(T3) – the same geological platform as the vineyards
of Lafite and Mouton
Rothschild in Pauillac. The terrace, in geological terms, is a
deep seam of Garonne gravel deposited roughly two
million years ago. Topsoil
and subsoil composition varies considerably from
parcel to parcel, which is
precisely why we ferment each one separately, to
capture the distinct profile
of each plot. On a map, our holdings
resemble those of a Burgundian
domaine: many small parcels scattered across the
Moulis appellation.
Marpaout
is a new Merlot from the Left Bank, which has a
soil rich in gravel and
limestone, whereas the Right Bank, where most of
the finest Merlot is made, is
rich in clay. What is the composition of your
vineyards? The
Marpaout parcel occupies what is sometimes called
the “rooftop” of Terrace No.
3: at 25 meters above sea level, it occupies one of
the highest positions in
the area. The Marpaout vineyard was replanted in
2000 with Merlot, a variety
that proved an ideal match for the terroir. With 4.5
meters depth, the parcel
conceals a thick layer of blue clay, which gives the
vines access to moisture
during the hot summer months – critical for Merlot,
a variety sensitive to
water stress. Above that lies a layer of brownish
clay, a small layer of grey
sand with small river stones, and more than three
meters of deep gravel and
river stones, threaded throughout with a high
concentration of oxidized iron –
in French, “crasse de fer”. This iron plays a
key role in
photosynthesis, contributing to tannin quality and
ripeness, as well as lending
the wine its distinctive minerality. Until recently,
terroir specialists believed that the combination of
blue clay and oxidized
iron was unique to a small corner of the Pomerol
plateau, but we now know that
the rooftop of the Médoc’s Terrace No. 3 shares
similar parameters, with a
slightly higher concentration of iron. Marpaout also
benefits from a cool
microclimate, moderated by the proximity of the
Atlantic Ocean and the Gironde
Estuary. How
was this small parcel of 1.7 hectares brought to
your attention? Hubert de Boüard and his team of oenologists
have been working with
Branas since 2012, before I joined the estate.
Hubert and Philippe Nunes are
both passionate winemakers and excellent sparring
partners, helping us optimize
decisions in the vineyard and cellar. With nearly 45
vintages at Château
Angélus behind him, Hubert is an invaluable
authority on Merlot. In 2018, I was walking the vineyards with
Hubert to discuss the optimal
picking window for each parcel and variety (we grow
Merlot, Cabernet Sauvignon
and Petit Verdot). In the Marpaout vineyard, as he
tasted the berries, Hubert
told me that this Merlot was from another planet. At
the time, I was still
bound by the long tradition of blending, and it took
time to appreciate that
single-vineyard wines can also offer a true and
maybe purer expression of a
place. Four years later, in a moment of conviction,
I selected four barrels
from the Marpaout vineyard. After 12 months in
French oak, I decided to age the
wine for a further 12 months in an Italian amphora,
a choice that proved
transformative. The amphora’s gentle stirring
together with its
micro-oxygenation fully integrated the oak tannins
with those of the fruit,
achieving something that barrel ageing alone could
not. The reception from critics and fellow
winemakers has been beyond my
wildest dreams. Bordeaux
has a long and international history, with many of
its oldest estates developed
and owned by Dutch, German, Scottish, Irish, and
English families. That
heritage dates back to the 17th century,
when, as
it happens, my own ancestors were
among the Dutch engineers who drained much of the
Médoc – and it means that
both foreigners and newcomers are well received
here. Early
on some significant wine collectors and masters
recognized the quality of
Marpaout. Tell me of some of their remarks. One
early champion was Oliver Dixon, Fine Wine Director
of MMI and Emirates.
He organized
a dinner for ten private
clients around the theme, “The Best Merlots in the
World”. Having been poured
alongside Masseto and Petrus, there was no question
that Marpaout held its own
among these greats. Xavier
Thuizat (former Head Sommelier at Hôtel de Crillon,
Best Sommelier of France
2022, MOF 2022, Michelin Guide Sommelier Award
2024), was equally taken with
the wine, writing that “We believe in the potential
of Marpaout to become the
next icon wine from Bordeaux.” It is these comments that reaffirm my
conviction in the potential of this plot. Not
all buyers purchased blind. A group of private
collectors in Dubai tasted the
wine before purchasing, as did a group of private
collectors in Hong Kong. The
majority of our other customers have placed their
trust in their wine importer
or distributor, and all exclusive importers had
tasted Marpaout before
committing to offering it to their clients. In
smaller markets such as the
Netherlands and Switzerland, allocations are as few
as 24 bottles. Larger
markets such as China and the USA have received
allocations of 200 bottles.
Why did
you not make a 2023 vintage? In
2023, we lost more than half of our Merlot crop to
the most severe mildew
pressure in a century, compounded by a hailstorm. We
decided not to produce
Marpaout that year. There will definitely be a 2025.
The 2024 is currently
ageing in amphora, and we will make a decision at
the end of the year as to
whether we will release Marpaout. Petrus
makes 30,000 bottles on average per year, and
L’Église-Clinet makes about
18,000. Won’t you have to increase production at
least double or triple to make
it profitable, and how much can you actually get
from such a small parcel? For
now, we are content with the current volume – 900
bottles and 50 magnums. For
the moment we do not plan to increase the
production, we select the best
barrels from the block. Where
did you sell most of the 2022 wines––restaurants,
wine stores, individuals––and
in what countries? We
have sold Marpaout to a mix of private clients,
leading restaurants and hotels,
and premium retailers – across the China,
France, Hong Kong, Italy,
Netherlands, Switzerland, UAE, UK. How did
you come up with a price for the 2022s? Following
comparative tastings against its peers and
conversations with several
London-based wine merchants, we settled on a release
price of €1,500 per bottle
ex-VAT. This is a price we intend to hold across
future vintages. Marpaout is
not offered en primeur. Instead, it is
released after bottling to a
carefully selected group of fine wine importers and
distributors. Private
clients may join an allocation list. ❖❖❖ ![]() FOOD WRITING 101: TAKE A DEEP BREATH BEFORE WRITING A SENTENCE
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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. |
"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.
"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.
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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.
If you wish to subscribe to this
newsletter, please click here: http://www.johnmariani.com/subscribe/index.html
© copyright John Mariani 2026