4 Days of Cheese: Eating and Smuggling at a Slow Food Festival

Like everyone who traveled to get to the event in Bra, Italy, I came with an empty bag, which was stuffed with heavy blocks of cheese when I left


Last week, while the rest of the food world was speculating over who should replace the great Sam Sifton as he ascends inexorably to editor-ship of the New York Times, the trajectory I've long considered appropriate for former food critics (I've got my own favorite for his successor, but I'm hoping, not telling), I was on a semi-annual gig teaching writing at Slow Food's University of Gastronomic Science's master's program. I also got to stay on for two days to sample the endless varieties of cheese at Slow Food's event called, simply, Cheese, which for four days every two years turns the center of its founding city, Bra, into a day-and-night festival that brings back not just former university students but the world's big-cheese cheeses (surely I'm the first to think of that). If you're anywhere near Turin, Italy, today, head over! The revelry went on past midnight during the two days I got to be there. Writing and cheese, naturally, were on my mind -- and in my bags coming home.

Seeing so many talented students gathered at the same time reminded me that I've wanted to point out for a while now that some of the Life Channel's most interesting pieces have come from graduates -- including just last week Pascale Brevet's provocative piece applying the principles of Slow Food to fashion (she long worked in the fashion business -- like many students, she's a career-changer) and Jesse Dart's description of the challenges facing young farmers in Italy who haven't inherited land, which is unaffordable, but who want to in their parents' eyes throw away their educations by raising food. They face many of the same problems that confront young farmers in this country, but in Italy, surprisingly, the food movement is young and undeveloped compared with here, even if the food traditions remain much stronger and clearer than ours. And a few weeks ago we had Daisy Freund on how animal welfare can result in measurably better pork and, of course, jamon and prosciutto (did you know about pale soft exudative, a consequence of abuse? Read her piece). She's now managing a restaurant in Rwanda staffed entirely by orphans of the genocide, about which I hope she'll be sending us dispatches. Students do interesting things, before and after they sign up for the master's year (much of which is spent traveling).

It also brought my attention again to a passage I think worth remembering for anyone who writes about food, from the book I assign students because I think the writing is exemplary: Jane Grigson's Vegetable Book, whose every (short, alphabetical) chapter is a gem of history, close observation, and precise, humorous writing shot through with lightly worn erudition and history and literature. In praising Elizabeth David, who is as great as MFK Fisher is said to be (yes, that's a glancing slight), Grigson was describing both herself and what I think good food and specifically recipe writing should be:

The following year, 1950, Elizabeth David published her first book, A Book of Mediterranean Food. I bought it and re-lived my first journey to Italy. Ostensibly she wrote about Mediterranean and French food, in the days when we were still caught up in rationing, and memories of snoek and the Woolton Pie. If you look at it superficially, she was writing cookery escapism. In reality, she was doing far more. Her recipes were authentic and encouraging; her information was full and evocative. She asserted what all food should or could be, clear principles of simplicity, flavour and freshness that could be practised wherever the reader lived, with whatever materials could be found. In doing this she also upturned a century of poor cookery, when plain living was so often mean living as far as food was concerned, good living so often pretentiousness.

Accessibility, plainspokenness, a clear personality that shows through but never dominates the subject at hand, information readers need for successful results -- David and Grigson always merit rereading and show the way for succeeding generations, including the students I got to see again and the new ones I met last week.

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Corby Kummer's work in The Atlantic has established him as one of the most widely read, authoritative, and creative food writers in the United States. The San Francisco Examiner pronounced him "a dean among food writers in America." More

Corby Kummer's work in The Atlantic has established him as one of the most widely read, authoritative, and creative food writers in the United States. The San Francisco Examiner pronounced him "a dean among food writers in America." Julia Child once said, "I think he's a very good food writer. He really does his homework. As a reporter and a writer he takes his work very seriously." Kummer's 1990 Atlantic series about coffee was heralded by foodies and the general public alike. The response to his recommendations about coffees and coffee-makers was typical--suppliers scrambled to meet the demand. As Giorgio Deluca, co-founder of New York's epicurean grocery Dean & Deluca, says: "I can tell when Corby's pieces hit; the phone doesn't stop ringing." His book, The Joy of Coffee, based on his Atlantic series, was heralded by The New York Times as "the most definitive and engagingly written book on the subject to date." In nominating his work for a National Magazine Award (for which he became a finalist), the editors wrote: "Kummer treats food as if its preparation were something of a life sport: an activity to be pursued regularly and healthfully by knowledgeable people who demand quality." Kummer's book The Pleasures of Slow Food celebrates local artisans who raise and prepare the foods of their regions with the love and expertise that come only with generations of practice. Kummer was restaurant critic of New York Magazine in 1995 and 1996 and since 1997 has served as restaurant critic for Boston Magazine. He is also a frequent food commentator on television and radio. He was educated at Yale, immediately after which he came to The Atlantic. He is the recipient of five James Beard Journalism Awards, including the MFK Fisher Distinguished Writing Award.

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