
Ana Bola a dizer que "não aparenta mais de 40 anos" pode ser uma boa propaganda. Excepto para uma marca de óculos. É que dá para duvidar da qualidade das lentes...
"Interacções de todo o universo, unificai-vos!"
Entabulou-se uma conversa tão pouco importante...Nem todas as traduções, nem todas as edições, nem todos os romances inspiraram o Sérgio Godinho. Duvido muito que alguma edição da Penguin o tenha feito.


Há que inventar coisas novas. É óbvio que o liberalismo solto não funciona. Os mercados não têm capacidade para se auto-regularem. O que não significa dizer que os Estados têm. Então, tem de se inventar alguma coisa que não seja nem uma imposição estatal, nem uma liberdade de mercado. Agências reguladoras, maior participação da sociedade. Algo de novo tem de ser criado. E tem de ter alguma utopia, para inventar o futuro.
Ninguém está propondo nada semelhante ao marxismo. Marx tinha o quê? Uma análise crítica do capitalismo, aliás muito bem feita. E havia no lado político a ideia de que era preciso substituir a propriedade privada dos meios de produção pela propriedade colectiva. Ninguém propõe isso hoje. Vamos ter de ter algum tipo de controlo social, algum mecanismo para gerar mais bem-estar social, não pela via só do mercado mas pela via da redistribuição.
O Estado tem que ter um papel maior. Tem que ter. Mas que Estado? O Estado democrático. Se o Estado for totalitário, também não resolve. E esse Estado democrático hoje exige participação da sociedade, mecanismos de parceria, órgãos de Estado e não de governo.
A Internet produziu uma revolução no mundo e o sistema partidário está "ilhado", não responde a boa parte da demanda da população porque ela não passa por aí, passa por outros mecanismos. Tenho cinco netos e vivem o dia inteiro no computador. Estão perdendo tempo? Não. Estão conectados. Com quê? Com o mundo. E cada um deles forma opinião e isso não passa pelos partidos.
Eu acho que uma das coisas boas do soft power do Brasil é essa. O Brasil tem uma certa capacidade de aceitar o outro. O mundo vai precisar de desenvolver essa capacidade. A Europa precisa. Está tentando. Se não, é a guerra de todos contra todos. É preciso mais espírito de tolerância, mas é preciso também que os grandes líderes se incumbam disso. Obama tem a virtude de ser ele próprio um exemplo disso. Porque ele é negro, viveu na Indonésia, o pai nasceu no Quénia, é doutor em Harvard e é Presidente dos EUA.
Acho que a Europa, apesar de ter esse espírito comum da Europa social e da Europa económica, não tem o espírito comum da Europa política, da Europa activa no mundo. Pesa menos do que poderia pesar.
A Europa, tem-se a sensação de que está a perder tempo. Tem de ter uma unificação política maior. Não pode ter peso se for só apêndice dos EUA.
Tenho a impressão que as lideranças actuais estão muito submergidas nos problemas nacionais. As lideranças do passado, como houve a guerra, tinham uma motivação muito grande. Schmidt, Kohl, Felipe González, Mitterrand, Mário Soares, tinham outro peso e outra visão. Depois, a Europa deu certo, enriqueceu, e o enriquecimento amolece. Ficou muito agradável, mas talvez tenha perdido a vontade. Tony Blair, que eu respeito, a certa altura poderia ter representado uma Europa modernizada e vigorosa. Mas aquela ligação...
Noutro dia alguém me perguntou o que é que nos faltava para sermos do primeiro mundo. Eu digo: falta educação, segurança, menos desigualdade. Hoje, o problema do Brasil não é tanto económico. A economia brasileira produz tudo, está forte, e a sociedade é dinâmica. Mas esses problemas têm de ser resolvidos.
David é tudo que há de bom. Stop Making Sense é o mais lindo filme de show de rock, possivelmente porque o show dos Talking Heads era um dos mais lindos que já houve. Ele nunca perdeu a elegância. O show quefez com Margareth Menezes foi um grande sucesso da Margareth Menezes, mas ele estava um tanto invisível. Já os outros que vi dele, foram todos simplesmente geniais. Agora ele me disse que está fazendo um show show: com dançarinos e tudo. Deve ser fenomenal, porque ele é, como eu disse no show que fizemos juntos no Carnegie Hall (e do qual há, sim, Lucre, gravação com proposta para sair em CD), o mais chique dos roqueiros. Considero o entendimento que ele teve da música no Brasil um aspecto dessa chiqueza.

Bea Arthur, Star of Two TV Comedies, Dies at 86
By BRUCE WEBER
Bea Arthur, who used her husky voice, commanding stature and flair for the comic jab to create two of the most endearing battle-axes in television history, Maude Findlay in the groundbreaking situation comedy “Maude” and Dorothy Zbornak in “The Golden Girls,” died Saturday at her home in Los Angeles. She was coy about her age, and sources give various dates for her birth, but a family spokesman, Dan Watt, said in an e-mail message she was 86.
The cause was cancer, Mr. Watt said.
Ms. Arthur received 11 Emmy Award nominations, winning twice — in 1977 for “Maude” and in 1988 for “The Golden Girls.”
She was a seasoned and accomplished theater actress and singer before she became a television star and a celebrity in midcareer, and she won a Tony Award in 1966 for playing Angela Lansbury’s best friend, the drunken actress Vera Charles, in “Mame.”
But while she was successful on stage, on television she made history. “Maude,” which was created by Norman Lear as a spinoff from “All in the Family,” was broadcast on CBS during the most turbulent years of the women’s movement, from 1972-78, and in the person of its central character, it offered feminism less as a cause than as an entertainment.
Maude Findlay was a woman in her 40s living in the suburbs with her fourth husband, Walter (played by Bill Macy), her divorced daughter, Carol (Adrienne Barbeau), and a grandson. An unabashed liberal, a bit of a loudmouth and a tough broad with a soft heart, she was, in the parlance of the time, a liberated woman, who sometimes got herself into trouble with boilerplate biases just the way her cultural opposite number, Archie Bunker, did. She was given a formidable physicality by Ms. Arthur, who was 5 feet 9 ½ inches and spoke in a distinctively brassy contralto.
The show was considered a sitcom, but like “All in the Family,” it used comedy to take on serious personal issues and thorny social ones — alcoholism, drugs, infidelity.
“We tackled everything except hemorrhoids,” Ms. Arthur said, sounding much like Maude, in a 2001 interview with the Archive of American Television, a collection of video oral histories compiled by the Academy of Television Arts and Sciences.
In the show’s first season, Maude, at the age of 47, learned she was pregnant; her distress was evident.
“Mother, what’s wrong? You’ve got to share this with me,” Carol says. Maude’s response is typical, with barbs aimed both inward and outward, delivered by Ms. Arthur with a flash of simultaneous anger, despair and humor: “Honey, I’d give anything to share it with you.”
The two-part episode was broadcast in November 1972, two months before Roe v. Wade, the Supreme Court case that made abortion legal nationwide, was decided. By the episode’s conclusion, Maude, who lived in Westchester County in New York, where abortion was already permitted, had chosen to end the pregnancy. Two CBS affiliates refused to broadcast the program, and Ms. Arthur received a shower of angry mail.
“The reaction really knocked me for a loop,” she recalled in a 1978 interview in The New York Times. “I really hadn’t thought about the abortion issue one way or the other. The only thing we concerned ourselves with was: Was the show good? We thought we did it brilliantly; we were so very proud of not copping out with it.”
“The Golden Girls,” an immensely popular show that was broadcast on NBC from 1985-92 and can still be seen daily in reruns, broke ground in another way. Created by Susan Harris (who wrote the “Maude” abortion episode), it focused on four previously married women sharing a house in Miami, and with its emphasis on decidedly older characters, it ran counter to the conventional wisdom that youthful sex appeal was the key to ratings success.
Which is not to say “The Golden Girls” wasn’t sexy. Like “Maude,” it was a comedy that dealt with serious issues, especially those involved with aging, but also matters like gun control, gay rights and domestic violence. And like “Maude,” it could be bawdy. The women were all active daters and, to different degrees, openly randy. As Dorothy, Ms. Arthur was coiffed and clothed in a softer, more emphatically feminine manner than she had been in “Maude,” but she was no less sharp-tongued, and she and the show’s other stars — Rue McClanahan, Betty White and Estelle Getty (who, though younger than Ms. Arthur, played Dorothy’s mother) — were frequently praised for portraying the lives of older women as lively, uncertain, dramatic and passion-filled as those of college sorority sisters.
Familiarly known as Bea, Ms. Arthur was billed in the theater and on television as Beatrice, but the name was one she made up. She was born Bernice Frankel in New York City on May 13, 1922, according to Mr. Watt. But she preferred to be called B — “I changed the Bernice almost as soon as I heard it,” she said — and later expanded it to Beatrice because, she said, she imagined it would look lovely on a theater marquee. The name Arthur is a modified version of the name of her first husband, the screenwriter and producer Robert Alan Aurthur.
When she was a child, her family moved to Cambridge, Md., on the Eastern Shore, where her parents ran a small women’s clothing store, and she dreamed of being a chanteuse and an actress, and entertained her friends with imitations of Mae West. She attended Blackstone College, a two-year school in Virginia, and later studied to be a medical technician, then eventually moved to New York to study acting with Erwin Piscator at the Dramatic Workshop of the New School for Social Research. Among her classmates were Tony Curtis, Walter Matthau and the actor and director Gene Saks, whom she married in 1950. (He directed her in “Mame.”) They divorced in 1978; their two sons, Matthew and Daniel, survive her. She had two granddaughters.
Ms. Arthur worked regularly Off Broadway and in summer stock, appearing as Lucy Brown in Marc Blitzstein’s adaptation of “The Threepenny Opera” at the Theater de Lys in 1954. And in 1955, in a well-received musical tidbit, “Shoestring Revue,” she was seen for the first time by the man who would become a lifelong friend and professional benefactor, Norman Lear.
She also sang in nightclubs and worked occasionally on television, appearing on “Kraft Television Theater” and other shows featuring live drama. On Broadway, in 1964, she played Yente, the matchmaker in “Fiddler on the Roof.” In the movies, she appeared in the comedy “Lovers and Other Strangers” (1970), and in a reprise of her stage performance as Vera Charles, she appeared in “Mame” (1974), again directed by her husband, this time alongside Lucille Ball.
In 1971, she was living in New York but visiting her husband, who was directing a movie, “The Last of the Red Hot Lovers,” in Los Angeles, when Mr. Lear persuaded her to do a guest spot on “All in the Family.” The role he created for her, Maude Findlay, was a cousin of Edith Bunker, Archie’s wife (Jean Stapleton), who arrives to care for the family when everyone gets sick. Her tart sparring with Archie (Carroll O’Connor, with whom she had worked on stage, in a play called “Ulysses in Nighttown”) was a hit with viewers. Almost immediately CBS ordered up a new series from Mr. Lear, with Ms. Arthur’s Maude at the center of it. It changed her life.
“I think we made television a little more adult,” Ms. Arthur said. “I really do.”



On Thursday, President Obama released memos that describe, in horrific detail, the torture techniques authorized by the Bush administration. The memos make clear that top Bush officials didn't just condone torture-they encouraged it.
So far there's been no accountability for the architects of Bush's torture program-the top officials who justified keeping detainees awake for 11 days straight, waterboarding them repeatedly, and forcing prisoners into coffin-like boxes with insects.
We need real consequences for those responsible-it's the only way to keep this from happening again.


Gaitinhas avistou Gineto logo à entrada da feira. A lua, bondosa, iluminava as barracas. E, se acaso se escondia entre as nuvens, lá estavam as mil lâmpadas de cores para a substituir.Este texto, do meu livro de leitura da 4ª classe, marcou a minha infância. Esteiros, o romance de onde foi tirado, e que li no meu oitavo ano, marcou-me de forma indelével. Inesquecíveis as aventuras do Gineto, do Gaitinhas, do Maquineta, do Malesso, do Sagui... O autor, Soeiro Pereira Gomes, nasceu há cem anos.
Gineto e Gaitinhas pararam junto dos carróceis que eram dois. O maior, iluminado por lâmpadas multicores, tentava os olhos. Tinha cavalinhos com as patas no ar, galos de crista alta, bichos variados sobre um tapete rolante que oscilava como os barcos do rio. O outro, perro e mal iluminado, só tinha cavalinhos.
- Qual queres? – perguntou Gineto.
Gaitinhas demorou a resposta. Olhou o carrocel velho, sem ninguém, e os cavalinhos tristes, parados. A voz rouca do dono parecia chamá-lo.
- Vai andar...Vai andar...
- Vamos neste – disse Gaitinhas.
O cavalo galopava no espaço, através das estrelas e ele levava um sorriso nos lábios. O carrocel parou. Mas a alegria da viagem ficou ainda a bailar nos olhos de Gineto e nos lábios de Gaitinhas.

Menina da Ria - Caetano Veloso
Uma moça
De lá do outro lado da poça
Numa aparição transatlântica
Me encheu de elegante alegria
(Ai, Portugal, ovos moles, Aveiro)
Menina da Ria
Menina da Ria
Menina da Ria
E uma preta
(Parece que eu estou na Bahia)
Tão Linda quanto ela, dizia
No seu português lusitano:
“Pode o Caetano tirar uma foto?”
Menina da Ria
Menina da Ria
Menina da Ria
Arte Nova, um prédio art-nouveau numa margem
Em frente à marina-miragem:
Os barcos na Ria. E depois
Uma taça sobre o pubis glabro, um estudo
Nenhum descalabro se tudo
É sexo sem sexo em nós dois
Menina da Ria
Menina da Ria
Menina da Ria

April 8, 2009
Newark’s Portuguese Community Keeps Fires of Tradition Burning
By DAVID LEITE
NEWARK
FRANK ALEXANDRE was so excited to make his point that he hip-checked a table out of the way as he lurched toward the photograph on the wall. “Olhe! Olhe!” he said in his native Portuguese. (“Look! Look!”)
The picture, hanging in the Casa de Trás-os-Montes e Alto Douro, a social club (named after the desolate region in northeast Portugal) in the Ironbound section of this city, shows a clutch of sun-pummeled stone buildings, the roofs crenulated with scrub, the road thick with dust.
“This building here is the cookhouse,” said Mr. Alexandre, owner of a local auto repair and towing company, pointing to an imposing windowless stone structure pictured atop a hill. “There are four or five stone ovens inside.” He explained that in times gone by, the residents of the village in the photograph would forage for scraps of wood, build a fire in the ovens and cook communally: hotter fires roasted meats and baked breads while cooler embers burbled stews and braises and coddled eggy desserts. Families then divided the food and trekked home to dine.
“That,” he said, tapping the picture, “is how we survived.”
Nearly six decades after that photograph was taken and half a world away in Ironbound, where 25 percent of the population is of Portuguese descent, the tradition of communal cooking and eating remains — especially during Páscoa, or Easter.
“Last Easter I sold about 120 whole lambs, 60 kid goats and almost as many suckling pigs,” said Herminio Lopes, who owns the Lopes Sausage Company in Newark, one of the area’s most popular meat suppliers (he has also shipped sausages to the White House).
He explained that because home ovens can’t always accommodate a whole animal, the Portuguese-preferred way of roasting, many animals are brought to restaurant kitchens, where they are marinated or massaged with a customer’s own rub, then roasted and either enjoyed in the dining room or taken home. Other people dress the roasts themselves and cook them outdoors in hand-built brick ovens.
On a ride through the city and nearby Elizabeth, Mr. Alexandre pointed out small backyards co-opted by hulking ovens — the Portuguese equivalent of the American charcoal grill — in which, he said, it wasn’t unusual for one cook to roast not only his own family’s Easter dinner but those of several neighbors.
In the early 20th century, waves of immigrants from Portugal and the Azores settled in the Ironbound district, and by the 1920s the community had its first social club along with churches and retail stores lining Ferry Street, the neighborhood’s noisy thoroughfare.
Midcentury saw another boom, which was eclipsed in the ’70s and ’80s by immigration from former Portuguese colonies, including Brazil and Cape Verde. Although the Luso population has decreased because of relocation to the wealthier suburbs and restrictions on immigration, most Portuguese families in the area still cleave to the Catholic church, religious festivals and feasts.
Despite the economy, preparing whole animals remains a booming enterprise for rogue roasters, who turn a tidy profit. “We have several people in the area who cook for a fee,” said John Panneta, a tour guide who introduces groups to the Ironbound’s social, gastronomic and cultural pleasures. “Most of them cook from their backyards and deliver it to your house.”
A different business model of roaster-for-hire is Valença, a restaurant in Elizabeth run with precision by its owner, Martinho Pereira. His crew cranks out several hundred roast suckling pigs during the holiday season for in-house customers, catered events and families who prefer to dig into their pig in the privacy of their own dining room.
When asked what secret ingredients make his pork so popular, Mr. Pereira laughed and shrugged as if to say, “What secret?” Like most Portuguese roasts, his suckling pigs are coated with nothing more than lard, garlic, salt and black and white pepper.
Recently, at the Newark home of António and Magda Araujo, Mr. Alexandre and his wife, Maria, cooked up a lamb feast. But instead of cooking it whole, they had Mr. Lopes butcher it to show off two Easter favorites — borrego assado (roasted legs of spring lamb) and guisado de borrego (lamb stew). The scene, as Mrs. Araujo described it, was typically Portuguese: “loud and fast.”
“Everything is better with olive oil!” Mrs. Alexandre shouted as she rubbed some into the lamb legs. Mr. Alexandre countered with voluminous and rapid-fire requests for bowls, pans and cutting boards. Their frantic pas de deux continued, and they dipped and spun to avoid elbows and sharp knives as they whirred garlicky pastes in the food processor, peeled potatoes and dressed the meat. In under 45 minutes, four pans along with a flan were ready for the stove. Ervilhas com ovos, a staple of peas and bacon topped with poached eggs, would be made right before dinner.
Mr. Alexandre is no stranger to the kitchen, as he’s proud to announce, having won several contests at the social club for his folar, a traditional Easter bread that in Trás-os-Montes is stuffed with cured meat.
“I made the mistake of teaching one of the young men from the Azores how to make it,” he said, “and that year he won.” Mr. Alexandre is determined to win back his title this year.
A short time later, half a roast suckling pig from Valença and both lamb dishes were nestled in the center of the table. Potatoes, rice, bread and the egg-topped peas filled the gaps. Around the table sat 10 hungry guests.
Dinner was suddenly interrupted by the bleating of Mr. Alexandre’s cellphone. A Portuguese woman was stranded on the highway and called for a tow. He stood up, popped another chunk of lamb into his mouth, and shrugged on his jacket.
“Got to take care of our own,” he said, heading for the door. “It’s how we survive.”
Lamb Stew
Time: 2 hours, plus at least 2 hours’ marinating
1 6-pound bone-in lamb shoulder; bones removed and cut into 3-inch pieces, rinsed well and reserved, or 3 pounds boneless lamb shoulder (see note)
3 ounces chicken livers
5 garlic cloves, minced
3 bay leaves
1 tablespoon sweet paprika
1 1/2 cups dry white wine
4 tablespoons olive oil, or as needed
Coarse salt
Ground white pepper
1 yellow onion, cut crosswise into thin half-moons
2 cups beef stock
3 sprigs flat-leaf parsley, chopped, more for serving (optional)
Boiled red potatoes, cooked white rice for serving (optional).
1. Cut lamb and chicken livers into 1 1/2-inch chunks, and place in a glass, stainless steel or other nonreactive bowl. Add garlic, bay leaves, paprika, 1/4 cup wine, 2 tablespoons olive oil, 2 teaspoons salt and 1/2 teaspoon white pepper. Mix well. Cover and refrigerate at least 2 hours, preferably overnight.
2. When ready to cook, heat remaining 2 tablespoons olive oil in a large Dutch oven over medium-high heat. When oil shimmers, add bones and sear until well-browned, 7 to 10 minutes. Transfer to a plate. If pan is dry, add a bit more oil. Working in batches, add lamb mixture and sear, turning occasionally, until edged with brown, 6 to 8 minutes. Transfer to a plate.
3. Lower heat to medium, add onion and sauté until limp, about 10 minutes. Add lamb and any juices, the bones, remaining 1 1/4 cups wine, beef stock and parsley. Bring to a boil, reduce heat to low and cover. Simmer, stirring occasionally, until lamb is tender, about 1 1/2 hours; if liquid level becomes low, add water as needed. Season with salt and pepper.
4. Remove and discard bones and bay leaves. If a smooth sauce is desired, transfer lamb to a bowl, cover and keep warm. Strain and discard solids from liquid. To serve, spoon stew into shallow bowls. If desired, accompany with boiled peeled red potatoes or long grain white rice drizzled with olive oil and sprinkled generously with minced parsley.
Yield: 4 to 6 servings.
Note: Ask butcher to bone shoulder, cut bones into pieces and remove excess fat. Three pounds of lamb is needed; if necessary, add boneless shoulder.
Peas With Poached Eggs
Time: 20 minutes
6 ounces thick-cut slab bacon, sliced crosswise into 1/4-inch pieces (see note)
1 yellow onion, diced
1 tablespoon white vinegar
4 to 6 large eggs
3 cups (about 1 pound) frozen baby peas, thawed
1 medium tomato, seeded and diced
Coarse salt
Ground white pepper
1 tablespoon minced parsley, for garnish.
1. In a large skillet over medium heat, sauté bacon until crispy-chewy, about 5 minutes. Using a slotted spoon, transfer to paper towels. Reduce heat to low and add onion to skillet. Sauté in bacon fat until golden brown, about 10 minutes.
2. Meanwhile, fill a deep skillet with 3 inches water and add vinegar. Place over medium heat and bring to a bare simmer. Break an egg into a 1/3-cup measuring cup and gently tip into water. Repeat with remaining eggs. Poach to taste, 3 to 4 minutes. Remove with a slotted spoon, transfer to a plate and trim neatly. Cover and keep warm.
3. Add peas to skillet with onions and toss until warmed. Add tomato and bacon bits, and season with salt and pepper.
4. To serve, transfer pea mixture to a warmed serving bowl. Make an indentation in peas for each egg, nestle in eggs and sprinkle with parsley. Instruct guests to scoop peas onto their plates and crown with an egg.
Yield: 4 to 6 servings.
Note: For a smokier flavor, reduce the amount of bacon to 3 ounces and add 3 ounces diced chouriço.
Flan With Tea
Time: 1 1/2 to 2 hours, plus 3 hours’ chilling
2 cups whole milk
2 tablespoons strong-flavored tea leaves, like Lapsang souchong
2 cups sugar
6 large eggs, at room temperature
1 large egg yolk, at room temperature.
1. Heat oven to 325 degrees. Fill a kettle of water to bring to a boil. In a small saucepan, combine milk and tea leaves. Place over medium-low heat and bring to a bare simmer; remove from heat and allow to steep until deeply infused, about 10 minutes. Strain into a bowl, discard solids, and allow to cool until just warm.
2. In a small saucepan, combine 1 cup sugar and 2 tablespoons water. Place over medium heat without stirring until sugar melts and begins to take on a bit of color. Do not stir; instead, swirl pan occasionally. Continue to cook until mixture is dark maple-syrup brown and has an aroma of caramel, 10 to 15 minutes. Carefully pour into a 1 1/2-quart flan mold or metal baking dish (such as an 8-inch square baking pan), tilting pan to coat sides and bottom. Set aside.
3. In a mixing bowl, combine eggs, yolk and remaining 1 cup sugar. Stir until sugar is dissolved, about 3 minutes. Slowly stir in the milk mixture until blended. Pour into flan mold, and set mold in a small roasting pan. Place in oven and pour enough boiling water into roasting pan to come halfway up mold.
4. Bake flan until set around edges but slightly jiggly in middle, 45 minutes to 1 hour 15 minutes, depending on oven, and size and depth of mold. Remove from water bath and place on a work surface to cool to room temperature. Refrigerate until well chilled, about 3 hours.
5. To serve, run a sharp knife around inside edge of pan. Place a deep plate on top and flip. Remove mold, and serve.
Yield: 8 servings.
Foi delicioso ver Fernando Rosas a comentar na TV o caso da investigadora da Universidade Nova que não conseguiu vender a sua patente de transístores em papel a empresas portuguesas. Entusiasmado com a invenção, o historiador – que não sei se saberá o que é um transístor – até exprimiu a sua pena de que não fosse uma empresa como a Renova a explorar o revolucionário dispositivo. Imaginem as possibilidades: papel higiénico com música, rolos de cozinha capazes de enviar emails...A ele e aos outros (o Vasco Barreto e a Ana Leonardo) eu desejo todas as felicidades e boas postagens. Façam o que sempre fizeram e já será muito bom.


February 25, 2009
The Curious Cook
How Much Water Does Pasta Really Need?
By HAROLD McGEE
SOME time ago, as I emptied a big pot of pasta water into the sink and waited for the fog to lift from my glasses, a simple question occurred to me. Why boil so much more water than pasta actually absorbs, only to pour it down the drain? Couldn’t we cook pasta just as well with much less water and energy? Another question quickly followed: if we could, what would the defenders of Italian tradition say?
After some experiments, I’ve found that we can indeed make pasta in just a few cups of water and save a good deal of energy. Not that much in your kitchen or mine — just the amount needed to keep a burner on high for a few more minutes. But Americans cook something like a billion pounds of pasta a year, so those minutes could add up.
My rough figuring indicates an energy savings at the stove top of several trillion B.T.U.s. At the power plant, that would mean saving 250,000 to 500,000 barrels of oil, or $10 million to $20 million at current prices. Significant numbers, though these days they sound like small drops in a very large pot.
The standard method for cooking pasta, found in Italian cookbooks and on pasta packages, is to heat to a rolling boil 4 to 6 quarts of well-salted water per pound of pasta. The usual rationales are that abundant water quickly recovers the boil when the pasta is added, gives the noodles room so that they don’t stick to one another, and dilutes the starch they release, so they don’t end up with a “gluey” surface.
To see which of these factors are really significant, I put a pound of spaghetti into a pot, added just 2 quarts of cold water and 2 teaspoons salt and turned on the heat. The water took about 8 minutes to reach the boil, during which I had to push the noodles around occasionally to keep them from sticking. They took another 10 minutes to cook through.
When I drained the pasta, it had the texture and saltiness I expected, seemed about as sticky as usual, and when tossed with a little oil, seemed perfectly normal.
So I tried reducing the water even further, to 1 1/2 quarts. I had to stir often because that’s not quite enough to keep all the pasta immersed all the time, but again the spaghetti came out fine.
Why can pasta cook normally in a small volume of water that starts out cold? Because the noodles absorb water only very slowly at temperatures much below the boil, so little happens to them in the few minutes it takes for the water to heat up. And no matter how starchy the cooking water is, the solid noodle surfaces themselves are starchier, and will be sticky until they’re lubricated by sauce or oil.
I described my method in e-mail messages to two of this country’s best-known advocates of Italian cuisine. Lidia Bastianich told me: “My grandmother would have thought of the idea surely as blasphemous. I think it is curious.” And Marcella Hazan said, “I am a very curious person, and I’m glad people are exploring new ways.” Both of them gave it a try.
Ms. Bastianich responded with a controlled experiment. She started spaghettini in pots of cold water and boiling water (4 quarts each instead of her usual 6) side by side and found the cold-water version lacking in the gradation of texture she looks for. As for the flavor, she said “I felt that the cold-water pasta had lost some of the nutty flavor of a good semolina pasta cooked properly.”
Ms. Bastianich agreed that using less water is O.K. “Yes, I think it’s doable to reduce the cooking water by one third,” from 6 quarts per pound to 4. “But please ‘butta la pasta’ in boiling water.”
Ms. Hazan tried starting a batch of shell pasta in a somewhat reduced amount of cold water, and found that it needed constant stirring to avoid sticking. “Maybe you save heat energy, but you also have to work a lot harder,” she told me in a follow-up call. “It’s not so convenient. I don’t know if I would cook pasta this way.”
Heartened by the experts’ willingness to experiment, I went back to work, this time starting with hot water. I found that it’s possible to butta la pasta in 1 1/2 or 2 quarts of boiling water without having the noodles stick. Short shapes just require occasional stirring. Long strands and ribbons need a quick wetting with cold water just before they go into the pot, then frequent stirring for a minute or two.
Except for capellini, which cooks too quickly, I find that both the cold and hot versions of the minimal-water method work well with the common shapes I’ve tried, with whole wheat pasta, and even fresh pasta, as long as any surface flour is rinsed off first.
I prefer starting with cold water, because the noodles don’t stick together at all as they go into the pot, and because I don’t notice a difference in flavor once they’re drained and sauced. It’s true, though, that no matter what temperature you start with, this method requires more attention. That’s a disadvantage when you’re cooking several things at once.
If you cook pasta often, try experimenting with different starting temperatures and amounts of water. You can even cook pasta in the manner of a risotto, adding the liquid in small doses and stirring constantly. Be sure to use a pot broad enough for the noodles to lie flat on the bottom, and to reduce the salt for smaller volumes of water.
There’s one other dividend to cooking pasta in minimal water that I hadn’t anticipated: the leftover pasta water. It’s thick, but you can still easily ladle it out by tilting the pan. And it’s very pleasant tasting: not too salty, lots of body, and lots of semolina flavor. Whole-wheat pasta water is surprisingly delicious.
Italian recipes often suggest adding pasta water to adjust the consistency of a sauce, but this thick water is almost a sauce in itself. When I anointed a batch of spaghetti with olive oil and then tossed it with a couple of ladles-full, the oil dispersed into tiny droplets in the liquid, and the oily coating became an especially creamy one.
Restaurant cooks prize thick pasta water. In “Heat,” his best-selling account of working in Mario Batali’s restaurant Babbo, Bill Buford describes how in the course of an evening, water in the pasta cooker goes from clear to cloudy to muddy, a stage that is “yucky-sounding but wonderful,” because the water “behaves like a sauce thickener, binding the elements and flavoring the pasta with the flavor of itself.”
Mr. Buford suggests that the muddy pasta water should be bottled and sold, because home cooking never produces anything like it. Cooking one batch of pasta in minimal water can’t smooth out the starch as completely or generate those long-cooked flavors. But it does make pasta water good enough to sip.
O meu apreço por ciclistas é zero. São sugadores de recursos asfaltados que não só não pagam como enervam os automobilistas pagadores, que ziguezagueiam a ver se os conseguem evitar. (Miguel Esteves Cardoso, PÚBLICO, 27-02-2009
