After completing our work in India and transitioning home to Costa Rica in late 2018, two properties came back to the forefront of my attention. The property above is set on a coffee estate in the Central Valley and the one below is set on a Pacific beachfront property that is 90 minutes from the Central Valley property. I knew both properties during their original construction and opening phases and ever since then believed that these were among the most special Marriott properties in the world.
They were going through renovations that started in 2018 and were to be completed in late 2019. My attention was drawn by a creative new focus on sustainability, the tiniest of examples being this one. Another example was that they invited proposals for how the gift shops in both hotels might be managed differently going forward. We submitted a proposal–with a focus on locally produced and design-forward products–and it was chosen for implementation. The rest is history that I have written about plenty in the last year.
Authentica has started its second year of operation, and Costa Rica has just re-opened its borders to receive international visitors again. These two Marriott properties have transformed operations to ensure maximum safety in response to the global health concerns. Our shops have transformed accordingly, and yet our original intent is as strong as ever: come in and sense the place.
Organikos coffee, our best-selling “taste of place” product, was joined in both shops last week by another way to sense the terrain of Costa Rica’s various regions. Pollen Keepers is a small family business whose bee colonies are placed to capture unique characteristics of a location. One of those is a coffee farm, and the honey produced there is unlike any I have had before. I am still learning the vocabulary for tasting notes for honey, which we have been sampling in recent weeks at home, so will keep it simple: Cafetal is my favorite, so far.
Trucks loaded with hops (Photo: Spencer Lowell)
Outside Magazine offers this primer on the ascendence of one of the key ingredients in one of the oldest fermented beverages:
The craft beer revolution turned the tall cousin of cannabis into a breakout ingredient, infusing your brew with flavors and aromas that range from stone fruit to barrel oak. Christopher Solomon hits the road to understand why hop madness isn’t over yet—and why brewers and plant breeders are always on the prowl for the next big thing.
Hop harvesting in Washington State’s Yakima Valley (Photo: Spencer Lowell)
The 2019 American Hop Convention, held in January in Monterey, California, was part agriculture conference and part old-home week. Almost all of the nation’s beer hops—and roughly 40 percent of all hops in the world—are grown by about 75 farms in Washington, Oregon, and Idaho, many of them owned by families who have farmed hops for four or five generations. At the convention, everybody seemed to know everybody. This gave a loose feel to the proceedings, which recognize and celebrate the fact that only one thing can be done with the crop the conventioneers produce: mix it with malt and water, ferment the liquid, and drink the beer you’ll get after a few weeks. During afternoon coffee breaks, everybody cracked a cold one.
That wasn’t the only reason for the festive mood. The past 15 years have witnessed a spectacular surge in craft brewing in the United States; more than 85 percent of Americans now live within ten miles of a brewery. U.S. beer culture, once a punchline, has become the most vibrant on earth.
Hop bines being loaded into a machine that shakes out the aromatic cones (Photo: Spencer Lowell)
The hop industry has been a beneficiary and driver of this renaissance. Hops once were considered a drab ingredient, tossed in mainly to preserve the beer, thanks to antibacterial properties of the resins found in hop flowers, which are also called cones. Today, hops are the star of American brewing. Continue reading
Wired has been on my list of source material for daily posts since early on. Technology is both correlated with and causal to conservation issues, in good and not so good ways. Today when I visited Wired, this caught my attention, instead of issues: Continue reading
On the Madison River in Ennis, Mont.
Thanks to the author and her publisher for taking us there:
THE WORLD THROUGH A LENS
“One thing about Montana,” says Matt Barber, an owner of Tom Morgan Rodsmiths, a custom fly rod shop in Bozeman, “is if there’s a moving body of water, there is probably a trout in it.”
Photographs and Text by
Shiny agate stripping guides — through which the fishing line will run — are wrapped (attached to the rod) using garnet thread and brass wire.
I live only a few miles away from Tom Morgan Rodsmiths, a custom fly rod shop in Bozeman, Mont. But entering the workshop feels a little like stepping off a plane in a foreign country.
A row of rods ready for handle-shaping.
The language that circulates around the shop catches my attention. Continue reading
When you talk with aficionados, it usually doesn’t take long for the conversation to veer away from curds, whey, and mold, and toward matters of life and death. Photograph from Alamy
Ruby Tandoh, a food writer and the author of “Eat Up!,” has written an essay that fits perfectly on our platform. It happens to focus on the culture of cheese, which has not featured much here because for the first six years we were in India and since then we have been back in Costa Rica, and there is not much of a culture of cheese in either of those locations. But aficionado should be a category with which to tag most of our posts, whether the topic is coffee, authentic artisan handicrafts, sustainable travel, etc. So thanks to Ruby for emphasizing the aficionados in her essay (I will save for another day the surprise of feta cheese, which a farmer in Costa Rica is now making at Greek quality level):
The late Mary Holbrook, a white-haired maestro in the British cheesemaking world, was known for her soft cheeses and her sharp temper. Once a week, she made the trip from Sleight Farm, her home in the southwest of England, to London to check on her wares as they ripened in the maturation rooms of an upscale cheese shop. Holbrook’s apprentices, hardened to her singular style of mentorship, knew to brace themselves for reprimands when she returned. Occasionally, though, Holbrook would come back with bags of treats—yogurt, mangoes, sweets—which she spilled across the kitchen table of her cold mid-nineteenth-century farmhouse on the crest of a hill, and they knew that the cheese must be tasting good, and that Mary’s little world was in order. Continue reading
Mr. Espinal, 52, is widely regarded as the greatest living Panama hat weaver. All photographs by Roff Smith
Having lived and worked in Central America and South India, weaving with palms for shelter and adornment has been part of cultural norms. But in most cases, the craftsmanship has been simplified versions that lacked permanence – for the sake of festivals, traditional artesania , or with the knowledge that the woven shelter would last several seasons of rain before requiring replacement.
The artisan ethos described here mirrors both the fine work and collaborative efforts of Kerala sari weaving communities like Chendamangalam. In all cases, the “stuff of royalty.”
Creamy as silk and costlier than gold, a Montecristi superfino Panama hat is as much a work of art as it is of fashion.
Creamy as silk, costlier by weight than gold, the color of fine old ivory, a Montecristi superfino Panama hat is as much a work of art as it is of fashion. The finest specimens have more than 4,000 weaves per square inch, a weave so fine it takes a jeweler’s loupe to count the rows. And every single one of those weaves is done by hand. No loom is used — only dexterous fingers, sharp eyes and Zen-like concentration.
“You cannot allow your mind to wander even for a second,” says Simón Espinal, a modest, soft-spoken man who is regarded by his peers as the greatest living weaver of Panama hats, possibly the greatest ever. “When you are weaving it is just you and the straw.”
Mr. Espinal’s hats average around 3,000 weaves per square inch — a fineness few weavers have ever even approached. His best has just over 4,200 weaves per square inch and took him five months to weave.
The 52-year-old Ecuadorean is one of a dwindling number of elite Panama hat weavers, nearly all of whom live in Pile, an obscure village tucked away in the foothills behind Montecristi, a low-slung town about 100 miles up the coast from Guayaquil.
Biophilia is a frequent topic here; wine, only a fraction as much. An article touching on both is a rare treat:
For this city dweller, wine provided the opening to a greater understanding of food and agriculture, and their precarious balance.
Last year a friend asked me a question I had never considered before: Over the many years I had been writing about wine, what was the greatest thing this job had given me?
I answered almost reflexively. As a New Yorker who has spent most of my life living in Manhattan, wine had provided me a connection to nature that I most likely would never have experienced otherwise. Continue reading
A Wild Box from Allora, available for delivery in Manhattan, Brooklyn, Queens, and the Bronx, might include, clockwise from top: squash blossoms grown on the farm; a bouquet of common vetch (also known as wild peas), linden flowers, dame’s rocket, and bedstraw; a hunk of a chicken-of-the-woods mushroom.Photograph by Courtney Sofiah Yates for The New Yorker
We’ve long been fans of foraged foods on this site, whether that be the seasonal delights of wild mushrooms, or the community gleaning of urban trees and gardens. These Wild Boxes are definitely an inspiration to get outside with an expert, and find a meal.
The threads of handloom speak to me every time I enter my closet, despite the fact that it’s a rare occurrence for me to wear a sari now that we no longer live in India. Even without that particular garment, half of my wardrobe is comprised of beautiful pieces of extraordinary workmanship, in handloom, shibori dying, and embroidery; designed in Kerala by Sreejith Jeevan for Rouka, and crafted in collaboration with numerous weaving and dying clusters.
Anoodha Kunnath and the Curiouser team once again bring this craft to life in inspiring ways. The excerpt above is from a longer film shot for Sahapedia, an online interactive encyclopedia on the arts, cultures and histories of India (and broadly South Asia). It aims to highlight the interdisciplinary and interconnected nature of cultural expression that cut across various domains.
The threads have to be strung across an open field before 8 am at least, so that they are dried by the morning breeze and warmed just enough by the tender sunlight found only at those hours. Street warping, just like everything that is done with great love and care, is painstaking; so much so that the author Sethu compares it to caring for a child. Continue reading
As we prepare to plant coffee Amie and I yesterday completed washing 14,000 beans, give or take, from the most recent harvest of coffee from this land where we live. As big as that number sounds, it is just a few pounds of green beans, picked from several trees that have held on over the years.
In previous years this would provide a month’s drinkable coffee, but this year we will germinate the beans instead. We selected the fully formed, unbroken beans like those above, separating out the small percentage of broken or misshapen beans like those to the right. After germination, by August we expect to have between 3,000 and 4,000 viable seedlings we will keep in a nursery. One year from now those will be saplings ready to plant in the ground. We are approaching this task traditionally, by hand, sight of eye, and a few simple analog tools.
This morning we will dig holes for the first of the shade trees going onto that land where the coffee will be planted. But first, the news. The best I could find, for motivation, involves a man temporarily in New York City, working in a museum. His work, and the exhibition he is tending to, provides me context for the countryside as it still is for many coffee farmers here, and the technology transforming the countryside for future generations. Already plenty of coffee farmers are using technology as advanced as that of the tomato man in the story below. Without romanticizing the hard labor of traditional coffee farming, the work we are doing makes me more appreciative of the coffee farmers we source from. Thanks to Elizabeth A. Harris for this story:
Although the Guggenheim’s “Countryside” show was shuttered by the pandemic, its crop of cherry tomatoes is still growing, and feeding New Yorkers.
Jeenah Moon for The New York Times
Jeenah Moon for The New York Times
The halls of the Guggenheim Museum are pretty quiet these days, with mostly just its ghosts and some security guards as company for the art.
Oh, and there’s the guy who takes care of the tomatoes.
David Litvin, an indoor crop specialist, tends the plants in a temporarily shuttered exhibition, “Countryside, The Future.” He moved to New York from Tel Aviv in February, along with his wife, Stefanie, and their Dutch shepherd, Ester, with a plan to stay six months harvesting the Guggenheim tomatoes. He was going to see the city, too.
“I went out once to a comedy bar, but that’s it,” he said.
The museum has been closed since March 13, but Mr. Litvin still walks across Central Park every day around noon from his rental on the Upper West Side to tend to his flock. “When you grow tomatoes on Fifth Avenue, you want to have the perfect tomatoes, there’s no room to mess up,” he said. “If I have ugly plants, I’ll hear it from the neighbors.” Continue reading
The 12 selections of Organikos specialty coffees had enough time on display at the Authentica shops, prior to current circumstances in Costa Rica and everywhere else, to establish the organic selection as a top seller.
During those months–the shops fully opened in late November and until early March were nonstop full of guests–I had hundreds of conversations with travelers.
I got excellent feedback on our original coffee packaging. Briefly stated, the recurring message was that people wanted to “see more Costa Rica” on the package. They also wanted to know more about what our 100% Forward commitment meant. We have used the time since travel halted to work with our graphic designer to begin addressing that feedback.
We also have used this time to prepare a virtual approach to the business, focused on coffee at the outset. We will start with the organic, due to its performance during the shops’ peak operations. We will offer this for home delivery in the USA soon…
The Saône river in Lyon (Herbert Frank from Wien (Vienna), AT – Lyon, an der Saône, Eglise Saint Georges / Wikimedia Commons)
When you have 20 minutes it is worth hearing Bill Buford speak about the same experience he has written about. If you have already read about his Lyon baking experience, and enjoyed it, all the more so; this conversation brings more to the table as he discusses his new book, Dirt: Adventures in Lyon as a Chef in Training, Father, and Sleuth Looking for the Secret of French Cooking. Click the image of the book below to go to an independent bookseller that offers it.
Likewise, even if you have already read plenty on the importance of bread and bakeries in French culture you might enjoy one more take, from the present circumstances, in James McAuley’s article about flocking back to bakeries for comfort: …“The power of bread is particularly emotional now. It’s no longer caloric; a vital necessity,” Kaplan said. “Bread still is the conveyor of this extraordinary, important feeling we have that the state cares about us. It’s a reaffirmation of solidarity. Solidarity is really represented by sharing bread.” (Baguettes were price-controlled in France until 1986)…
Los Angeles’s participating chefs Photo: Courtesy of Ask Chefs Anything
Devorah Lev-Tov, a writer who covers food, among other things, surprisingly has not shown up in our pages before. I am happy to link to this particular story as a first. Food and agriculture have been central to this platform since we started it in 2011. Also, immigrants-r-us, so I appreciate the effort on their behalf as much as I appreciate the visibility it is receiving in a location surprising to me. Vogue is an unlikely publication for me to source from, but credit where due, a great story:
As the COVID-19 pandemic continues to ravage the country and force businesses to shut down, among the hardest hit are immigrant workers—many of whom worked in the restaurant or other service industries. Now, they are left with no jobs and no unemployment benefits, struggling to put food on their plates and send money home to their families, while fearing getting sick without any support from the government.
In an effort to help them, dozens of famous chefs—including Alison Roman, Nancy Silverton, Tom Colicchio, Eric Ripert, Suzanne Goin, and Dominique Ansel—are auctioning off 30-minute virtual discussions where they will share recipes and cooking tips via a new initiative called Ask Chefs Anything. New York City’s ended last week, Los Angeles’s auction is going on now through May 11, and Philadelphia’s takes place May 13 to 17, with more cities to follow. Continue reading
Yesterday’s post got me thinking more about bread, which reminded me of Cherchez le pain. This guide to the best bakeries in Paris was published when we lived there, and its author had been my professor at Cornell. As soon as I saw the publicity for the book I sent him an email congratulating him. To my surprise, he was on sabbatical leave, living just a few blocks from where we were living, so I invited him to join us for dinner.
I had sat through enough of his lectures on the history of food to anticipate an interesting dinner, but I was not prepared for what might sound now like a parlor trick. As soon as we sat for the meal, he picked up the bread in front of him, our favorite from a bakery we had chosen from dozens during our first few months living in that city. He held it to his nose, then brought it to his ear and tapped it with a spoon. He broke it in two and pressed his face into it. Maybe there was more to the show that I have forgotten now. What I do remember is that he named the bakery it was from.
I was impressed. And I was gratified after that when he said we had chosen well. But then he mentioned that if we were willing to walk just two blocks further we would find a bakery that ranked in the top five out of six hundred bakeries he had sampled in Paris. Next morning, of course, we went to that bakery and bought what might be the best bread of our lives. As we walked home with our bread, our entire family halted as we approached the bakery that had been our regular bakery for the past several months. We decided to walk an entire city block out of our way so that the baker would not see us having bought our bread elsewhere.
Organic cabernet sauvignon grown near the town of Cowaramup in the Margaret River region of Australia. Frances Andrijich for The New York Times
During 2003 and 2004, life in Paris was full of wonders for our family. Bread was really art, we learned. And tarte tatin, which Amie had modified for years using mangos in Costa Rica, is best of all modified by using various French heritage plums available in a nearby marché in late August. And cheese! Plus plenty more, but for now I am reminded of the occasional wine expositions–cavernous spaces filled with hundreds of kiosks of artisanal wine makers–we would attend. At one of those I first tasted natural wine. So today, this headline shouts down all the others. Just the fact that Eric Asimov is still on this particular beat is enough to make me think things are okay, or will be okay, or at least could someday be okay:
The wine industry and many consumers have long sought a definition, but the adoption of a voluntary charter may not clarify anything.
Natural wine is healthy and pure; natural wine is wretched and horrible. It’s the future of wine; it’s the death of wine.
For 15 years, natural wine has been a contentious time bomb that has divided many in the wine community, creating conflicts fought with the sort of anger that stems only from extreme defensiveness.
Since 2003, when I first encountered what has come to be called natural wine at the seminal restaurant 360 in Red Hook, Brooklyn, I have been a fan, though a cleareyed one, I hope.
I believe in the promise and beauty of natural wines, while acknowledging that many examples are not good, as is true with all genres of wine. The truth is that natural wines have made all of wine better. Continue reading
Karl De Smedt in the Puratos Center for Bread Flavor, the world’s most extensive collection of sourdough starters, in St. Vith, Belgium. Puratos Center for Bread Flavor
Bread is a frequent flier of a topic on this platform, including sourdough specifically. Ditto for libraries and their librarians and the creative things they do. Franz Lidz is not a writer we have featured in our pages before, but with a story like this one we will be watching for more.
Some starters never die, they just get filed away here.
In these housebound times, Americans have gone stark baking mad. Shut-ins are channeling their anxieties into pandemic pastries and quarantine cookies, some with icing piped in the shape of surgical masks, others frosted with the face of Dr. Anthony Fauci. Baking essentials such as yeast and flour are in short supply, and Google searches for bread recipes are on the rise, so to speak.
Puratos Center for Bread Flavour
Curiously, during this apocalyptic spring, the best thing since sliced bread turns out not to be sliced bread. The most coveted isolation loaves seem to be sourdough, a knobbly, rugged variety that requires patience, handmade fermentations and something like affection. “Working with sourdough is part art, part science,” said Karl De Smedt. “You don’t tell the dough when it’s time to be shaped. The dough tells you.”
Mr. De Smedt is the curator of the world’s only sourdough library. Located in the flyspeck village of St. Vith, 87 miles southeast of Brussels, the library houses the world’s most extensive collection of sourdough starters, those bubbling beige globs of bacteria and wild yeast — known as “mothers” — that bakers mix into dough to produce flavorful loaves with interestingly shaped holes. If a mother isn’t regularly divided and kneaded and fed with flour and water, she will eventually go dormant or die. “A starter has its own heart, almost its own will,” Mr. De Smedt said. “Treat a starter nice and it will reward you tremendously, like a good friend.” Continue reading
The bread from Bob’s boulangerie united a neighborhood of food fanatics. Illustration by Leo Espinosa
My first mention of Bill Buford was so brief, you might have missed it–just a link to an event he was moderating. The second was a link to his writing. And then another link to his writing. I am glad to see that he is still harvesting from his experience living in Lyon. It is a city that I have been to twice, with exceptional food memories which I will save for another time. For now I will just mention that one baker in Costa Rica has recently mastered the art of world-class bread-making, including baguette and chiabbata. During these challenging times for this country’s family farms it occurs to me, thanks to Bill Buford’s story, that ensuring the survival of this bakery is worthy of attention as well:
In Lyon, an ancient but benevolent law compels bakers to take one day off a week, and so most don’t work Sundays. An exception was the one in the quartier where I lived with my family for five years, until 2013. On Sundays, the baker, Bob, worked without sleep. Late-night carousers started appearing at three in the morning to ask for a hot baguette, swaying on tiptoe at a high ventilation window by the oven room, a hand outstretched with a euro coin. By nine, a line extended down the street, and the shop, when you finally got inside, was loud from people and from music being played at high volume. Everyone shouted to be heard—the cacophonous hustle, oven doors banging, people waving and trying to get noticed, too-hot-to-touch baguettes arriving in baskets, money changing hands. Everyone left with an armful and with the same look, suspended between appetite and the prospect of an appetite satisfied. It was a lesson in the appeal of good bread—handmade, aromatically yeasty, with a just-out-of-the-oven texture of crunchy air. This was their breakfast. It completed the week. This was Sunday in Lyon. Continue reading
To the left you can see yesterday’s viewership of our posts, by country. Viewership has recently been low, for obvious reasons. It has made me wonder whether we should take a hiatus. My counter-thought is, if on a day like yesterday, just one person visited this site and found something of value, we should continue. As of today there have been 696,713 views of all of our posts since we started in mid-2011. Yesterday someone viewed a post I distinctly remember writing some months ago, which brought a smile to my face. And just now I was downloading a file using WeTransfer, and this story presented itself, and it seems a perfect companion piece:
For 22 years, 15 Rwandan women have been turning their surroundings and their memories into beautiful textile art. Founded in 1997 by Christiane Rwagatare a short time after the genocide of 1994, the Savane Rutongo-Kabuye workshop offered a distraction, a source of income and a creative avenue to those who had been affected. The workshop has gone from strength to strength, and thanks to educator-turned-curator Juliana Meehan, the embroideries of the women of Rwanda have now been exhibited and seen across the US. Alex Kahl spoke to Christiane and Juliana to explore their uplifting story.
Due to her home country Rwanda’s turbulent history, Christiane Rwagatare lived much of her early life in exile. When she returned in 1994 in the aftermath of the genocide, the country had been devastated. “It was a very difficult time,” she says. In 1997, when she was visiting a relative in the small village of Rutongo, she saw women selling hand embroidered linens on the roadside, and felt an immediate sense of hope and possibility. At this moment, she recalled all that she had learned about art while in Europe, and knew she could contribute something positive. She announced that she would be starting an embroidery workshop, and asked that anyone interested come to the village church the next day. She was shocked when more than 100 women arrived with samples of their work.
“I must admit that I panicked,” Christiane says. Continue reading
Amy Lombard for The New York Times
Thanks to Steven Kurutz, whose first two appearances in our pages (6 and 4 years ago, respectively) prepared us well for this charming news:
“Visible mending” has been taken up by those who want to protest fast fashion and disposable culture. It’s also thrifty.
Amy Lombard for The New York Times
Only a few generations ago, socks were routinely darned, sweaters mended and pants patched. You could buy a sewing kit at any drugstore. Knowing how to use it was a mark of good housekeeping.
Kate Sekules, 58, remembers that world, in which the act of repairing clothes was integral to wearing them. “My mother was a dressmaker to the end of her life,” said Ms. Sekules, who grew up in England. “My mother just mended as a matter of course.”
Ms. Sekules has kept up that thrifty tradition. She started one of the earliest secondhand online clothing exchanges, Refashioner. She buys all of her clothes vintage and mends them all, including her husband’s moth-eaten sweaters. Continue reading
Rem Koolhaas’s new show tells a story that stretches from ancient Rome and China to the environmental, existential crisis of the present. Photograph by Laurian Ghinitoiu / Courtesy AMO
Thanks to Carolyn Kormann for the welcome distraction:
One morning last week, the Dutch architect Rem Koolhaas was slowly turning in place in the center of the Guggenheim Museum’s rotunda, his face tilted up toward the sun-flooded glass roof. Suspended above his bald head was a miniature yellow submarine with a long needle at one end, like a bayonet. The device, Koolhaas explained, was something Australians developed to exterminate starfish. “Because of global warming, they are proliferating to the extent that they need to be killed, to protect the great barrier reef,” Koolhaas said. “The sub injects them with poison.” He smiled slyly. “Organic poison.” Continue reading