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Plats du Jour
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Opis
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Plats du Jour was first published in 1957. `Long before this book was
thought of,' wrote the authors, `we had separately evolved a system of
cooking by which a variety of dishes was replaced by a single plat du jour
accompanied, as a rule, by a green salad, a respectable cheese, and fruit
in season, and, wherever possible, by a bottle of wine. This conception of
a meal underlies this book.' It appeared at a time when dishes such as
pasta, risotto, soupe aux poireaux et aux haricots or mackerel au vin blanc
were still considered outlandish.
Plats du Jour was one of Jane Grigson's favourite books: if ever she
saw one in a jumble sale she bought it to give as a present. For, as the
well-known food historian, Alan Davidson, wrote, `it is a very good book
indeed. Its principal ingredients, the knowledge and amiable enthusiasm of
the authors, have given it a lasting value.' And he pointed out that it is
a very original cookery book, written in unpretentious language, in an
unprescriptive, relaxed way by two cooks with whom it is easy to identify.
(They were also running a small business during the two years they were
writing Plats du Jour). The delightful and eye-catching jacket which is
now the Persephone endpaper was designed by David Gentleman, who was 25 and
had just left the Royal College of Art. He has written in his book Art
Work: `My illustrations were based on drawings and watercolours made in
Provence, Burgundy and Italy... They were not wholly Mediterranean. The
cuts of meat were drawn in two butchers' shops, one in Essex and the other
in the meat-preparing room at Harrods, underneath the Food Hall. The front
cover shows a table at the start of a meal, while the back cover shows the
tail end of it, with only the debris and the sleeping cats left. I had come
across plenty of precedents for this before-and-after approach: strip
cartoons, medieval chests and illuminations, and paintings such as
Uccello's great narrative scenes from the Old Testament.' David Gentleman
believes that `Patience Gray and Primrose Boyd's admirable and practical
Plats du Jour [is] every bit as good as Elizabeth David' and many will
agree with him. In fact, in terms of sales and influence it was Patience
Gray and Primrose Boyd who were the pioneers in introducing English cooks
to French everyday cookery. Plats du Jour sold 50,000 copies in the first
few months after publication and 100,000 in the next three years, an
astonishing amount at the time. It was only in the 1960s that Elizabeth
David started to become a symbol of the transformation of English
middle-class eating habits. Before that Plats du Jour was the favourite and
influential French cookery book.
thought of,' wrote the authors, `we had separately evolved a system of
cooking by which a variety of dishes was replaced by a single plat du jour
accompanied, as a rule, by a green salad, a respectable cheese, and fruit
in season, and, wherever possible, by a bottle of wine. This conception of
a meal underlies this book.' It appeared at a time when dishes such as
pasta, risotto, soupe aux poireaux et aux haricots or mackerel au vin blanc
were still considered outlandish.
Plats du Jour was one of Jane Grigson's favourite books: if ever she
saw one in a jumble sale she bought it to give as a present. For, as the
well-known food historian, Alan Davidson, wrote, `it is a very good book
indeed. Its principal ingredients, the knowledge and amiable enthusiasm of
the authors, have given it a lasting value.' And he pointed out that it is
a very original cookery book, written in unpretentious language, in an
unprescriptive, relaxed way by two cooks with whom it is easy to identify.
(They were also running a small business during the two years they were
writing Plats du Jour). The delightful and eye-catching jacket which is
now the Persephone endpaper was designed by David Gentleman, who was 25 and
had just left the Royal College of Art. He has written in his book Art
Work: `My illustrations were based on drawings and watercolours made in
Provence, Burgundy and Italy... They were not wholly Mediterranean. The
cuts of meat were drawn in two butchers' shops, one in Essex and the other
in the meat-preparing room at Harrods, underneath the Food Hall. The front
cover shows a table at the start of a meal, while the back cover shows the
tail end of it, with only the debris and the sleeping cats left. I had come
across plenty of precedents for this before-and-after approach: strip
cartoons, medieval chests and illuminations, and paintings such as
Uccello's great narrative scenes from the Old Testament.' David Gentleman
believes that `Patience Gray and Primrose Boyd's admirable and practical
Plats du Jour [is] every bit as good as Elizabeth David' and many will
agree with him. In fact, in terms of sales and influence it was Patience
Gray and Primrose Boyd who were the pioneers in introducing English cooks
to French everyday cookery. Plats du Jour sold 50,000 copies in the first
few months after publication and 100,000 in the next three years, an
astonishing amount at the time. It was only in the 1960s that Elizabeth
David started to become a symbol of the transformation of English
middle-class eating habits. Before that Plats du Jour was the favourite and
influential French cookery book.
Szczegóły
Szczegóły
Data wydania: 09.11.2006
Liczba stron: 304
Wymiary: 14.1x19.1
Typ okładki:miękka okładka
Wydawca: Persephone Books Ltd
Autorzy:
Tytuł:Plats du Jour
EAN: 9781903155608
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