playing with fire and water

red red rose

 

 
  

nesselrode pie

One of my clients, an elegant elderly woman, has an insatiable sweet tooth. Seriously— how she has survived as long without developing diabetes should make her a medical curiosity. Because her disposition is as sweet as her tooth, I made her something special for the holidays: marrons glacés. I knew she would like them because of her fondness for all things sweet and French.

Making marrons glacés is a labor of love. It's a four day process that requires an investment of time and careful attention— though not the kind that one would lavish on creating one of the Great Gateaux. The bulk of the labor is in peeling the pellicle from the chestnuts— a tedious task that I have yet to find a shortcut for. I did experiment with microwaving them in 10-second intervals, with mixed results. While some of the nuts peeled easily and cleanly, one out of five turned out hard and dry. But once they're peeled, the rest of the process requires little time and effort. Twice a day, a sugar and glucose syrup is brought to an increasingly higher temperature and viscosity, then poured over the chestnuts for a twelve hour soak. The process is repeated six times, followed by a drying period. Impregnated with sugar, the chestnuts become a denser, silkier version of themselves. 

As I'd hoped, Ms. Sweet Tooth loved them. She ate her way through the box while recounting stories of childhood holidays in Paris, where her mother treated her to the candied chestnuts. Curiously, she stopped in mid-sentence, her attention clearly swept away by another memory, turned to me with wide eyes and whispered "Can you make Nesselrode pie?"

Not knowing what else to say, I told her the truth: I had no idea what Nesselrode pie was.

Apparently, I wasn't alone— the internet is full of people who were as much in the dark as I was. And some of those who knew what it was confessed that they had never laid eyes on one. And yet others waxed about it in mythical proportions. Was Nesselrode pie the unicorn of desserts?

Further searching led to several articles in the New York Times. One, from 1988, stated the following: "While for years it was a popular American Christmas dessert, Nesselrode pie left our collective culinary consciousness about 30 years ago and has hardly been heard from since."  Another, on thefoodmaven.com, Arthur Schwartz claims "It's extinct now— no restaurant serves it, no bakery makes it— but this old New York dessert still lives vividly in the taste memories of many." 

So, Nesselrode pie isn't a unicorn after all. It's more of a Javan tiger. But what exactly is it?

In the 1988 edition of "Larousse Gastronomique", Nesselrode is described as "The name given to various cooked dishes and pastries, all containing chestnut purée, dedicated to Count Nesselrode, the 19th century Russian diplomat who negotiated the Treaty of Paris after the Crimean War." It goes on to describe a salted chestnut purée, served with sauteed sweetbreads or roebuck steaks or used to fill profiteroles that are served with game consomme. Larousse makes no mention of Nesselrode pie, but says of its predecessor Nesselrode pudding "It consists of custard cream mixed with chestnut puree, crystallized fruit, currants, sultanas, and whipped cream." This edition of Larousse doesn't mention that original versions of the recipe include maraschino liqueur and were served frozen.

By most accounts, Nesselrode pudding was created by Count Nesselrode's chef, Monsieur Mouy, although that claim was contradicted by Eliza Acton and Mrs. Beeton, who both give credit to the French chef Antonin Careme in the recipes that are published in their books. In fact, Careme himself accused Mouy of copying his chestnut pudding and was outraged that he named it after a [non-French] foreigner. The feud was put to rest when E. S. Dallas published Mouy's recipe in "Kettner's Book of the Table" in 1877, pronouncing it "the most perfect of iced puddings."

In the late nineteenth century and early twentieth, Nesselrode pudding was a fashionable holiday dessert in Europe and then in New York. As was popular at the time, iced puddings, or coupes, were molded into fanciful shapes by skilled pastry chefs. The pudding did not freeze hard because of the liqueuer, challenging Victorian pastry chefs to devise ways to prevent them from melting on the table. In "The Royal Pastry and Confectionery Book" (London:1874), Jules Gouffé illustrated a meringue cloche modeled after a thatched beehive that he designed to slip over an iced pudding to act as an insulator. 

 

Because of the skill needed to make and serve an iced dessert, Nesselrode pudding was exclusively available in restaurants and hotels that catered to the upper classes or in private homes that employed a capable staff. It was just a matter of time before a creative and enterprising baker adapted the challenging iced version into a more approachable pie. 

Enter Mrs. Hortense Spier, credited with serving the original pie at her restaurant on the Upper West Side of New York City. The restaurant closed before World War II, but Mrs. Spier continued to make the pie for many of the city's leading restaurants including Lindy's and Longchamps. According to Bernard Gwertzman in a NYT article, "My memory [of Mrs' Spier's pie] is of a lot of whipped cream, chocolate shavings on top, candied fruits in the custard of the pie, and a rum flavor throughout. The original Nesselrode had chestnut puree; later recipes omit this ingredient." Sounds delicious, doesn't it?  So, what happened?

Like all things popular and trendy, Nesselrode pie ran it's course. As the neighborhoods surrounding the restaurants where the pies were served changed, so too did the tastes of the residents. Unceremoniously, Nesselrode pie faded from our tables and now lives in the realm of forgotten dessserts alongside Baked Alaska and Charlotte Russe. I'm told that they're holding a place for Molten Chocolate Cake.

So now that I know more than I ever thought I'd care to know about Nesselrode pie, I could answer Ms. Sweet Tooth's question; "Yes, I can make Nesselrode pie". And I did.

 

But I did one better. I made my version of Nesselrode— with marrons glacés, and candied buddha's hand citron, and real maraschino cherries (sour cherries macerated in simple syrup, cherry juice, maraschino liqueur, and some toasted cherry kernels tossed in for a boost of benzaldehyde). 

For Ms. Sweet Tooth, I made a traditional pie, based on the the description of Mrs. Spier's, with a creme bavaroise base in a pastry crust, studded with the candied chestnuts and citron and the maraschinos, crowned with whipped cream and a dusting of chocolate shavings. She was very grateful.

For myself— well, I just played around with the components in a modern design.

And— I made Monsieur Mouy''s recipe for Nesselrode pudding* (it's actually just a very decadent ice cream), mainly because I wanted to taste its origin, but also because It provided me with an excuse to dig out my vintage jello molds. Abandoned and forsaken— the Nesselrode, just like the molds— were begging to be unearthed. Dusted off and polished up, they look shiny again. 

*Monsieur Mouy's (Mony) original recipe can be viewed in Kettner's Book of the Table. Scroll to page 312 for Nesselrode Pudding. (note: 1 gill= 142g/5oz) 
Caremes recipe (from Mrs. Beeton) can be found here. Scroll halfway down the page for Nesselrode Pudding.

Download recipe:  candied buddha's hand citron

Download recipe:  marrons glaces

Download recipe:  real maraschino cherries

Download recipe:  nesselrode pie

confitures

candied buddha's hand citron

 

marrons glacés

 

 

real maraschino cherries

 

If you're a bit long in the tooth— or just have a sweet one— you might already know what these are destined for.

 
 

thai pie

 

With the last of the kaffir limes I wanted to make a variation of Key Lime Pie. Have you ever wondered what prompted the use of sweetened condensed milk in this classic American dessert? I have. Apparently, the first pie was made in the Florida Keys in the late nineteenth century, shortly after Gail Borden introduced the product in the US in 1856. Before modern refrigeration, cooks in the hot climate of Key West had to rely on canned milk as fresh milk was not readily available. The rest, as they say, is history.

Although there are many applications for sweetened condensed milk, I can recall only ever using it for two things: Key Lime Pie and dulce de leche. See where I'm going?

 

Despite the warnings on the cans, I still make dulce de leche by boiling the sealed can in a pot of water. It's so easy. Unless you let the water boil away and the can explodes. Years later, I'm still cleaning that mess.

The caramelized flavor of the dulce de leche reminded me of the palm sugar in the Nahm Jeem Plah Poa Ubon sauce of the previous post. Along with the kaffir lime juice, I had the base in which to build the flavor profile of the sweet, tart, salty, spicy sauce that I so love. Don't worry— I left out the garlic and fish sauce. The salt is in the pastry crust and the spice, along with coconut powder, is in the meringue topping.

 

 

Download recipe:  Thai pie

 
 

Indian Summer :: the woods :: oak maple hickory

 

     The day had started as any other.
     Onatah was the first to wake. She gathered wood to revive the dying fire, choosing the hot-burning oak logs for the cooking fire. In the dim morning light, she watched her tribe as they slept, covered with bear and buckskins, on the ground. Since their retreat into the woods, they had taken to sleeping under the stars for as long as the weather held. It had been warm and dry since leaving their village, but with autumn coming to a close, winter was not far behind. They hoped to reach their brethren tribe at the edge of the Great Plains before the first snow.    
    Her sisters and aunts would wake soon to tend the fire and prepare the morning meal. There was enough corn to get them through to the new moon, but only enough acorn meal for this day. There was a sack of dried acorns that needed to be peeled, pounded, and leached of their bitter tannins. In another sack were hickory nuts, gathered just before their departure from a stand of shagbark hickory trees that grew behind their longhouse. She loved the sinuous texture of the bark almost as much as the sweet oily nuts. She would miss those trees and savor their last offering. 
    There were more sacks and baskets of roots and tubers, both fresh and dried, maple sugar, sumac, mushrooms, dried venison and pumpkins, smoked fish, chokecherries, beans, and tallow. All of their food, save the fresh sunchokes and mushrooms that they had foraged along their journey, had been gathered from their storage pits and packed in haste.

     On the last full moon, the elders from coastal tribes had come with stories about them.
     The salty people.
     They came from the Great Sea in large vessels, pushed by the wind caught in white sheets. There were many of them and more came with each moon.
     The elders took turns telling stories of how their tribes had shared their food and taught them how to forage and grow The Three Sisters. They made houses from logs, stacked one upon the other on their sides. They had brought with them hoofed animals that they kept in pens. They drank the milk and used it to make butter as their people did with nuts. They made a fine bread from a grain they call wheat. 
     They also brought with them illnesses that spread through their people and that medicine men could not cure. Many had died in their tribes. 

     The elders came to warn Onatah's tribe. They said that the salty people wanted to possess the rich fertile land along the rivers and lakes; the land where their ancestors had lived and where their children were living now. 
      Onatah's husband had laughed then, saying "Don't they know that land can not be owned any more than the stars or the sky?"
      An elder shook his head and said "No, they live by different ways than ours."
     "Then we will fight them!"
     "Their diseases will kill many of you and others will die by their weapons, which are more powerful and deadly than ours. My ancestors have come to me in dreams. They revealed that a Great War is coming and that we should warn others and seek protection in numbers so that our people and our ways will persevere. "

autumn pudding

 

from behind cascading leaves
the sun emerges like a sleepy child

heavy eyelids
blink
fractals of gilded light
a gentle yawn
exhale 
a universe of scent
both familiar and exotic

leaves drift
fall
rustle a lullaby

I bid it sweet dreams
and eat my way across the autumn sky  

 

 

parsnip vanilla pudding
butternut squash, autumnberry, kaffir lime gelee
candied pumpkin

Download recipe:  Autumn pudding

ginger pumpkin black sesame yuzu

I often get questions and comments on plating. It's not a process that I over analyze or can easily define. Composing a plate of food is just one of the many creative processes involved in cooking.

When working with a pre-conceived plating design, the challenge is in finding the right flavors and forms to flesh out the concept. Sometimes this approach works, sometimes it evolves into something else. When the flavors and textures aren't right— even when they fit the concept— the entire dish is scrapped. This happens more often than I care to admit.

Mosty, I'm working with components that I want to bring together in a dish. In this case, I had ginger pumpkin cake, sweetened cream cheese with fresh yuzu juice and zest, black sesame paste emulsified with cocoa butter, and sandy brown butter crumbs. The flavors and textures captured the rich and mysterious tones of autumn; a mood that I wanted to express on the plate.

When it came time to plate, I didn't have a clear vision of the finished dish. When this happens, I look to the forms and colors for guidance, using intuition and experience through a filter of personal aesthetics. I'd like to say that I am always mindful of the creative process, but sometimes I just play around and hope for the best. Either way, regardless of what I tried, this dish was not coming together on the plate. I needed to step back and take a break. 

I woke my dog from one of his power naps and headed out for a walk. My neighbor had just taken down a birch tree in his front yard where I found him splitting logs. We chatted about the majestic birch and the splendid fires he would have. Later, I returned home with my head clear but I still had no direction for the dish. Yet, just minutes later, I was snapping the photo that you see above.

I wish that I could tell you how it came together, why decisions were made in the process, but the truth is that although my hands did the work, there was no logic or reason guiding them. Or so I thought...

When I uploaded the photo, it looked alien yet strangely familiar like something I had dreamt. "Did I really create that?" asked my left brain. The right brain replied, heckling, "Throw that log on the fire, will ya!"  I recognized the voice— it was the sound of my preconscious mind cracking open to reveal the path from a crisp autumn day, a pile of pale wood and dark twigs, the promise of a fire— to a composition on a plate. It was the voice of creativity.

What is creativity and where does it come from?

Anyone who has flirted, courted, or slept with it has surely asked this question. We all want to contribute something to the world that did not exist before and carries our unique imprint. It's why we procreate and generate ideas and art. But creativity doesn't fall from the sky and land in our hands— it is the manifestation of our collected experiences, from the banal to the transcendent, that weave through our conscious and subconscious minds, gestating, waiting for the trajectory of expression in order to find new life outside of ourselves. Is it then an attempt to immortalise that which is mortal?... a longing for eternity?

According to Juan Mari Arzak, "Creativity comes from where it can". It was not an answer to a question, but an off-the-cuff remark that substantiated how an ordinary event inspired the creation of a dish. Chef Arzak's observation resonated with me because it hinted at the wonder and mystery of the elusive force, and, also because it is a simple truth— creativity does, indeed, come from where it can. 

ginger pumpkin cake

More play with dehydrated flavor sheets in batter.

This time— dehydrated pumpkin in a fresh ginger root cake. This sheet, because it contains solids, is more of a chewy leather than a brittle crisp and converts to a soft, melting texture in the moist environment of the batter.

On the left are random strips embedded in the batter. On the right, strips were layered horizontally. Notice how the as the cake rose, it broke and disrupted some of the sheets. Interesting pattern, but I was going for a layered cake look. Next time, I'll try laying them in vertically.

Besides adding visual and textural interest, I think the true merit of this technique is in producing a cake with a baked-in filling. Now, to figure out how to get the frosting in there too.

Download recipe:   ginger pumpkin cake

perfect apple pie

A standard of perfection is as fluid as the emotions that define and measure it. Because it is an arbitrary judgement, it evolves with time and varies from person to person, with no one being wrong.

I thought that the very first apple pie that I made was perfect because it looked like the picture in the cookbook. It came out of the oven all golden and full of promise. Everything but its appearance was a disappointment. 

I had piled the apples high in the center and carefully draped the top crust over them, but when I cut into it, the top crust collapsed into the cavity that was left by the shrunken apples. And although the crust was crisp on the outside-- inside, it was pasty from the steam created by the cooking apples (even though I had cut vents in it). The filling, too, was a disaster. I had used the wrong apples (this was before I understood the difference between a cooking apple and an eating apple) and had sliced them too thin, causing them to break down into mush. And even though I had followed the recipe precisely, the juices turned into starchy glop. 

In all of my subsequent attempts at achieving my vision of pie perfection, I came to the realization that tossing a bunch of ingredients into a sealed crust, with no way of adjusting the texture and flavor as it cooked, was a leap of faith.

At one point, I thought that I had found the perfect apple pie when I tasted Tarte Tatin: crisp, flaky pastry; crisp-tender caramelized apples, cooked only in butter and sugar. It set a new standard in texture and flavor, but it wasn't really a pie-- not in the American-as-apple-pie sense.

Later, I discovered that blind-baking the bottom crust ensured that it would be crisp and flaky all the way through, and that caramelizing the apples separately allowed me full control of their texture, But then there was the problem of the top crust. Not wanting to compromise the perfectly cooked apples with further cooking, I topped the compressed apple filling with pre-baked streusel crumbs. By my standards, I had created the perfect apple pie, but it was a Dutch apple pie-- not the double-crusted, golden-domed, All-American apple pie.

I don't know what took me so long to figure out that the top crust could also be pre-baked and then 'glued' to the bottom crust to produce the iconic form with all of the components cooked separately to their respective states of perfection, but I'm glad that I did. It reinforces my belief that techniques are sometimes perpetuated because of tradition, not because they are perfect, and in the search for perfection-- everything needs to be reexamined. 

peach melba pie

frozen raspberry ice cream... cold peach curd... warm peach compote... all wrapped up in flaky pastry...

How?