Journal articles on the topic 'Cooking (Squid)'

Maceration with sodium salts is applied to irmprove water holding capacity in squid-based products. The aim of this work was to determine how the mineral content of squid flesh is affected by maceration and further vacuum-cooking. Atlantic squids (Loligo vulgaris) from two fisheries (FAO areas No. 47 and 34) were sampled. Macrominerals (g/100 g) present in raw flesh were Na, Mg, P, S, K and Ca, while microminerals accounting for >1 mg/kg were Zn, Si, Sr, Fe, Cu, Al and Mn. As a result of maceration (3 + 1.5% w:w NaCl+ Na citrate) and vacuum-cooking (at 65 °C for 20 min), some squid minerals was removed. The levels of Cd and As were reduced by half, while Na content increased from 0.28 to 0.49 g/100 g. Maceration with sodium salts generally led to minerals leaching (except for Na) with the medium. Further cooking produced additional losses of most of the minerals present in macerated squid (except Pb and Cd). Squid microminerals were hardly removed with the cooking juice. The consumption of macerated-cooked squid covered >10% of the recommended dietary intake for Na, P, Zn, Mg and Mn, while health risks were almost negligible and mainly concerned Cd (up to 14% of the probable tolerable weekly intake). The combination of both treatments involves certain loss of most of the essential minerals but also contributes to reducing toxicological risks related to mineral intake through squid products.

Herein, the effects of boiling (BO), steaming (ST), and sous vide (SV) on the hydration characteristics, structural properties, and volatile profile of squid (Symplectoteuthis oualaniensis) mantle muscle (SMM) were investigated. Three cooking methods resulted in a dramatic decrease in proton mobility and freedom of protons, the relaxation time T2 decreased after cooking, and the water binding in the SMM was closer, but the SV treatment could retain more water in the SMM. SV resulted in a lower cooking loss (10.8%) than ST (49.0%) and BO (36.7%). Samples treated with SV had a better color and texture, the secondary structure β-fold of the squid protein was damaged by cooking to a certain extent, and the damage degree was BO > ST > SV. Compared with BO and ST, SV treatment caused more damage to the myosin heavy chain, paramyosin, and actin in SMM, improved the tenderness of SMM, and resulted in more regular internal reticular structures and less formation of fibrous structures. Cooking methods can significantly affect the volatile components of SMM, resulting in increasing volatile components or generating new volatile components in SMM including 2-methylbutanal, ethyl 2-methylpropanoate, acetic acid, and propyl methyl ketone in ST and BO samples and 2-methylbutanal, hexanal, and 2,3-pentanedione in SV samples. Therefore, SV resulted in the best quality squids and has substantial industrial application potential.

The aim of this study is to investigate the effects of organic acid treatments on tenderizing of squid muscle. Squid samples removed head, skin, viscera, and tentacles and cut into square pieces of 4 x4 cm were soaked into the citric and lactic acid solvents (1 and 2%) and kept in a refrigerator (4°C) for 24 h. It was found that organic acid treatments affected the physicochemical properties of squid. While acid application decreased pH values and water holding capacity, its increased cooking loss and free amino acid content. Texture profile parameters and sensory texture scores did not change significantly after acid treatments. The type and concentration of acids were not effective for all parameters except cooking loss.Keywords: Physicochemical; Organic acids; Squid; Texture

The aim of this study is to investigate the effects of organic acid treatments on tenderizing of squid muscle. Squid samples removed head, skin, viscera, and tentacles and cut into square pieces of 4 x4 cm were soaked into the citric and lactic acid solvents (1 and 2%) and kept in a refrigerator (4°C) for 24 h. It was found that organic acid treatments affected the physicochemical properties of squid. While acid application decreased pH values and water holding capacity, its increased cooking loss and free amino acid content. Texture profile parameters and sensory texture scores did not change significantly after acid treatments. The type and concentration of acids were not effective for all parameters except cooking loss.Keywords: Physicochemical; Organic acids; Squid; Texture

Squid sticks are a typically value-added product processed by the Fisherman's Wives Group in Motto village, Bitung City, Indonesia. Standardization can be used as a reference in processing and consumer protection. This study aims to obtain a standard proportion of salt and optimal frying time through hedonic tests, and obtain information on the chemical content of squid stick products. Based on the respondent's responses, it was found that the standard recipe based on the total weight ingredients was 54.69% wheat flour, 19.53% squid, 11.72% garlic, 7.81% sugar cane, 1.95 % sea salt, 1.95% butter, 1.95% chicken eggs, 0.20% ginger and 0.20% emulsifier. While the processing standard, namely frying at 120 ˚C for 60 seconds using cooking oil. The chemical content of the product is 12.53% protein, 14.89% fat, 5.84% water content, and 65.60% carbohydrates.

The effects of different thawing methods (air thawing, water soak thawing, refrigeration thawing, low frequency ultrasound thawing at 160, 240, 320 and 400 W) on thawing time, thawing loss, cooking loss, water-holding capacity and texture of frozen squid were investigated. The results showed that thawing loss and thawing time were reduced significantly ( p < 0.05) by ultrasound thawing compared with the water soak thawing and air thawing, but the cooking loss had no significant difference ( p > 0.05). Results of the ultrasound thawing especially at 160 and 240 W on microstructure showed less destructive effect on muscle. The microstructure of the muscle was destroyed significantly after air thawing and water soak thawing compared with the ultrasound thawing, which showed that more fibre structure was broken and the gap between the muscle fibres was increased significantly. Low-field NMR results showed that the ability of immobile water shifting to free water after ultrasound thawing was lower than air thawing and water soak thawing, which was consistent with the results of thawing loss and cooking loss. Ultrasound thawing might be chosen as an alternative method to enhance the quality during thawing process.

This study was conducted in order to develop different statistical models for estimating the bacterial count of squid rings marinated with lemon juice and mineral water after cooking. The marination ratios and times were as follows: (10:90; 90:10; 50:50; 100:100/100 g squid ring) and (1, 3, 6, 12, 24, 48 and 72 h), respectively. The effects of marination ratios and times on the microbiological and sensory changes of the cooked squid rings were observed at 4°C. Pathogenic bacteria (Vibrio spp., Staphylococcus aureus and Escherichia coli) were not found in the cooked (C) and cooked marinated (CM) squid rings in the present study. The TMC (total mesophilic aerobic bacteria counts) of all groups were determined as consumable at 72 h, whereas the TMC of C and CM samples (C7, CM7, CM14, CM21, CM28) increased to 5.92, 5.83, 5.71, 5.57 and 5.42 log cfu/g, respectively. Regression models were created to estimate the TMC and lactic acid bacteria count (LBC) of cooked squid rings during the marination process at 4°C to determine the increasing rates of bacterial growth of samples. As a result of this study; when compared with Model I and Model II; both of them can be preferred for predicting the TMC of C and CM samples. The variability in the TMC of C and CM squid samples was obtained as 93% in Model I, whereas the variability in the TMC of these samples was observed as 91% in Model II. So, these two models performed well, and they can be used for predicting the TMC of C and CM samples. Additionally, Model III was also developed for estimating the prediction value of LBC of cooked squid samples during the marination process at 4°C. This model was also determined very good performance (86%) to estimate the predicting values of LBC and it can be very essential together used with Model I or Model II for marinated fishery products to estimate the real shelf-life.

Sous-vide is a technique of cooking foods in vacuum bags under strictly controlled temperature, offering improved taste, texture and nutritional values along with extended shelf life as compared to the traditional cooking methods. In addition to other constituents, vegetables and seafood represent important sources of phytochemicals. Thus, by applying sous-vide technology, preservation of such foods can be prolonged with almost full retention of native quality. In this way, sous-vide processing meets customers’ growing demand for the production of safer and healthier foods. Considering the industrial points of view, sous-vide technology has proven to be an adequate substitute for traditional cooking methods. Therefore, its application in various aspects of food production has been increasingly researched. Although sous-vide cooking of meats and vegetables is well explored, the challenges remain with seafoods due to the large differences in structure and quality of marine organisms. Cephalopods (e.g., squid, octopus, etc.) are of particular interest, as the changes of their muscular physical structure during processing have to be carefully considered. Based on all the above, this study summarizes the literature review on the recent sous-vide application on vegetable and seafood products in view of production of high-quality and safe foodstuffs.

Squid (Loligo vulgaris) is commonly prone to spoilage, leading to a short shelf-life. High-pressure processing (HPP) can play a role in maintaining the quality and freshness of squid. Along with HPP, food preservatives from natural sources such as mint extract (ME), which are effective, safe, available, and cost-effective, are required. The present study aimed to investigate the combined effect of ME and HPP on the quality of refrigerated squid mantle cuts (SMC) over a period of 15 days. The time-kill profiles of ME and planktonic cell inactivation by HPP were assessed. ME (400 mg/L) inhibited bacterial growth, while planktonic cells treated with HPP (400 MPa) exhibited a reduction at 5 min. Physicochemical and microbial qualities of SMC treated with ME (0, 200, 400 mg/L) followed by HPP (0.1, 200, 400 MPa) for 5 min were monitored during refrigerated storage. Samples treated with ME (400 mg/L) and HPP (400 MPa) exhibited lower weight loss, cooking loss, pH changes, volatile base content, microbial counts, and higher textural properties than other samples. Based on next-generation sequencing results, Brochothrix campestris from family Listeriaceae was the predominant spoilage bacteria in treated sample after 12 days of storage. Therefore, ME and HPP combined treatments exhibited effectiveness in extending the shelf-life of refrigerated SMC.

Background/aim: Shellfish consumption is often perceived as a potential health hazard due to the accumulation of toxic metals. The mineral content was investigated in marinated-cooked giant squid (Dosidicus gigas) arms from three Eastern Pacific fisheries (Peru, Chile and Benthic) to elucidate their contribution to daily recommended intakes and possible presence of pollutants. Material and methods: Thirty macro- and microminerals were analysed in the raw material, marination solution, cooking broth and cooked product. Results: Both raw and marinated-cooked squid arms contained nutritionally relevant quantities of essential macro- (Na and Mg) and microminerals (Cr, Zn, Mn and Se). Fishery origin led to minor variations in the mineral composition of raw arms, while marinated-cooked arms of Benthic origin had a higher retention of Na and juice likely due to their greater size. Levels of Pb, Hg, Zn or As found in the ready-to-eat product were below tolerable upper intake levels. Conclusion: The mineral content found in the raw squid arms suggests that the Pacific fisheries concerned are not affected by human polluting activities. Marinated-cooked squid arms cover a part of the dietary requirements for minerals and can be consumed without apparent negative nutritional implications.

AbstractIn this study, enzymatic [papain (P), bromelain (B), and A. oryzae-derived fungal protease (FP); enzyme ratios: 0.012 (v/v), 38 °C, 50 min] and non-enzymatic [control (C; saline), mineral water (95%)–lemon juice (5%) (ML) (1/2:w/v), 38 °C, 50 min)] tenderizing methods on European squid mantle (Loligo vulgaris Lamarck, 1798) were investigated. Scanning electron microscope (SEM) imaging, water holding capacity (WHC), cooking loss (CL), total free amino acids (TFAA), total soluble protein (TSP), hydroxyproline (Hyp), and Fourier-transform infrared spectroscopy (FTIR) analyses were performed on uncooked samples. pH, water activity (aw), color, nutritional changes, amino acids (AA), total volatile basic-nitrogen (TVB-N), Warner-Bratzler shear (WBS), texture profile analysis (TPA), and sensory evaluations were performed on both uncooked and cooked samples. A significant decrease in protein content was observed in group P (12.86%) compared to untreated (U) squid (15.16%). During frying, group P absorbed more cooking oil (8.37%) than the other groups. A higher degree of hydrolysis was observed in the enzymatically tenderized groups than in non-enzymatic groups, and a shift in secondary protein structures in favor of random coils. Hydrolysis was confirmed by Hyp and AA analyses. The total AA content order was found as B < P < FP < C < ML < U. ML and FP groups have relatively higher total bitter and umami AA compositions, especially in uncooked samples. FP and ML groups had more favorable results across all analyses, especially in terms of the sensory results, nutritional values, and TPA results of cooked samples. It is concluded that both methods are very convenient regarding industrial usage.

The article analyzes the traditions of Greek dishes from ancient Greece up to the present times. The role of national cuisine in the development of gastronomic tourism in the region has been studied. The Balkan Peninsula and the Adriatic Sea have been singled out as regions with increased tourist activity. It is established that Greece can become a promising food destination, given the development of the tourism industry to adopt the legendary culinary traditions and authentic regional cuisine. The sites of travel agencies of Ukraine were analyzed and it was established that travel agencies of Ukraine consider national dishes of Greek cuisine as an additional tourist attraction. A number of traditional dishes of Greek national cuisine have been singled out as authentic. It was discovered that the formation of Greek national cuisine took place in ancient Greece. It has been found that the traditions of food consumption in local seaside taverns have remained unchanged since ancient times: fish and squid from the Mediterranean and Aegean Seas are cooked with minimal costs. They are grilled whole and watered with ladholemono (lemon-oil dressing); grilled octopus makes a wonderful appetizer or main course, which is consumed with wine. The analysis of the sites of travel agencies of Ukraine shows that consumers have not formed a reliable and authentic description of the offers of Greek national cuisine in the market of gastronomic tourism. However, despite the authenticity and historicity of Greek national cuisine, recent research shows that in the Mediterranean region, cultural potential is the main tourist attraction. As the tradition of healthy food becomes more widespread, the need for gastronomic tourism in Greece is expected to grow.

Sea food shop is a small roadside food shop serving trustworthy home-cooked base. They do not have luxurious atmosphere, probably food shop has an open-air seating area with a size of around 10-20, we can analyze freshness of foods [fish fry, prawn fry, squid, Crab, Sura Puttu] they are making with softness with flavorful rich spiciness.They provide unlimited rice with fish curry, as per my research they fixed affordable price for sea foods. Some people have been travelling here to taste this from their own town. Sea foods are consumed quickly, so surplus foods are not violated in pattinapakkam. Shopkeepers are preparing foods in front of the customer so they concerned about quality and quantity. They are preparing own handmade Masalas so it is chemical-free and food colour free. Most of the shop keeper runs their shops with their Family, Males are going for fish catching ladies are doing cooking for their shops. Nowadays, celebrities also consuming these types of food varieties, so it’s getting more familiar to everyone.

"verbiage very thinly sliced and plated up real nice" (Barrett 1)IntroductionMany of us share in an obsessive collecting of cookbooks and recipes. Torn or cut from newspapers and magazines, recipes sit swelling scrapbooks with bloated, unfilled desire. They’re non-hybrid seeds, peas under the mattress, an endless cycle of reproduction. Desire and narrative are folded into each other in our drive, as humans, to create meaning. But what holds us to narrative is good writing. And what can also drive desire is image—literal as well as metaphorical—the visceral pleasure of the gaze, or looking and viewing the sensually aesthetic and the work of the imagination. Creative WritingCooking, winemaking, and food and wine writing can all be considered art. For example, James Halliday (31), the eminent Australian wine critic, posed the question “Is winemaking an art?,” answering: “Most would say so” (31). Cookbooks are stories within stories, narratives that are both factual and imagined, everyday and fantastic—created by both writer and reader from where, along with its historical, cultural and publishing context, a text gets its meaning. Creative writing, in broad terms of genre, is either fiction (imagined, made-up) or creative nonfiction (true, factual). Genre comes from the human taxonomic impulse to create order from chaos through cataloguing and classification. In what might seem overwhelming infinite variety, we establish categories and within them formulas and conventions. But genres are not necessarily stable or clear-cut, and variation in a genre can contribute to its de/trans/formation (Curti 33). Creative nonfiction includes life writing (auto/biography) and food writing among other subgenres (although these subgenres can also be part of fiction). Cookbooks sit within the creative nonfiction genre. More clearly, dietary or nutrition manuals are nonfiction, technical rather than creative. Recipe writing specifically is perhaps less an art and more a technical exercise; generally it’s nonfiction, or between that and creative nonfiction. (One guide to writing recipes is Ostmann and Baker.) Creative writing is built upon approximately five, more or less, fundamentals of practice: point of view or focalisation or who narrates, structure (plot or story, and theme), characterisation, heightened or descriptive language, setting, and dialogue (not in any order of importance). (There are many handbooks on creative writing, that will take a writer through these fundamentals.) Style or voice derives from what a writer writes about (their recurring themes), and how they write about it (their vocabulary choice, particular use of imagery, rhythm, syntax etc.). Traditionally, as a reader, and writer, you are either a plot person or character person, but you can also be interested primarily in ideas or language, and in the popular or literary.Cookbooks as Creative NonfictionCookbooks often have a sense of their author’s persona or subjectivity as a character—that is, their proclivities, lives and thus ideology, and historical, social and cultural place and time. Memoir, a slice of the author–chef/cook’s autobiography, is often explicitly part of the cookbook, or implicit in the nature of the recipes, and the para-textual material which includes the book’s presentation and publishing context, and the writer’s biographical note and acknowledgements. And in relation to the latter, here's Australian wine educator Colin Corney telling us, in his biographical note, about his nascent passion for wine: “I returned home […] stony broke. So the next day I took a job as a bottleshop assistant at Moore Park Cellars […] to tide me over—I stayed three years!” (xi). In this context, character and place, in the broadest sense, are inevitably evoked. So in conjunction with this para-textual material, recipe ingredients and instructions, visual images and the book’s production values combine to become the components for authoring a fictive narrative of self, space and time—fictive, because writing inevitably, in a broad or conceptual sense, fictionalises everything, since it can only re-present through language and only from a particular point of view.The CookbooksTo talk about the art of cookbooks, I make a judgmental (from a creative-writer's point of view) case study of four cookbooks: Lyndey Milan and Colin Corney’s Balance: Matching Food and Wine, Sean Moran’s Let It Simmer (this is the first edition; the second is titled Let It Simmer: From Bush to Beach and Onto Your Plate), Kate Lamont’s Wine and Food, and Greg Duncan Powell’s Rump and a Rough Red (this is the second edition; the first was The Pig, the Olive & the Squid: Food & Wine from Humble Beginnings) I discuss reading, writing, imaging, and designing, which, together, form the nexus for interpreting these cookbooks in particular. The choice of these books was only relatively random, influenced by my desire to see how Australia, a major wine-producing country, was faring with discussion of wine and food choices; by the presence of discursive text beyond technical presentation of recipes, and of photographs and purposefully artful design; and by familiarity with names, restaurants and/or publishers. Reading Moran's cookbook is a model of good writing in its use of selective and specific detail directed towards a particular theme. The theme is further created or reinforced in the mix of narrative, language use, images and design. His writing has authenticity: a sense of an original, distinct voice.Moran’s aphoristic title could imply many things, but, in reading the cookbook, you realise it resonates with a mindfulness that ripples throughout his writing. The aphorism, with its laidback casualness (legendary Australian), is affectively in sync with the chef’s approach. Jacques Derrida said of the aphorism that it produces “an echo of really curious, indelible power” (67).Moran’s aim for his recipes is that they be about “honest, home-style cooking” and bringing “out a little bit of the professional chef in the home cook”, and they are “guidelines” available for “sparkle” and seduction from interpretation (4). The book lives out this persona and personal proclivities. Moran’s storytellings are specifically and solely highlighted in the Contents section which structures the book via broad categories (for example, "Grains" featuring "The dance of the paella" and "Heaven" featuring "A trifle coming on" for example). In comparison, Powell uses "The Lemon", for example, as well as "The Sheep". The first level of Contents in Lamont’s book is done by broad wine styles: sparkling, light white, robust white and so on, and the second level is the recipe list in each of these sections. Lamont’s "For me, matching food and wine comes down to flavour" (xiii) is not as dramatic or expressive as Powell’s "Wine: the forgotten condiment." Although food is first in Milan and Corney’s book’s subtitle, their first content is wine, then matching food with colour and specific grape, from Sauvignon Blanc to Barbera and more. Powell claims that the third of his rules (the idea of rules is playful but not comedic) for choosing the best wine per se is to combine region with grape variety. He covers a more detailed and diversified range of grape varieties than Lamont, systematically discussing them first-up. Where Lamont names wine styles, Powell points out where wine styles are best represented in Australian states and regions in a longish list (titled “13 of the best Australian grape and region combos”). Lamont only occasionally does this. Powell discusses the minor alternative white, Arneis, and major alternative reds such as Barbera and Nebbiolo (Allen 81, 85). This engaging detail engenders a committed reader. Pinot Gris, Viognier, Sangiovese, and Tempranillo are as alternative as Lamont gets. In contrast to Moran's laidbackness, Lamont emphasises professionalism: "My greatest pleasure as a chef is knowing that guests have enjoyed the entire food and wine experience […] That means I have done my job" (xiii). Her reminders of the obvious are, nevertheless, noteworthy: "Thankfully we have moved on from white wine/white meat and red wine/red meat" (xiv). She then addresses the alterations in flavour caused by "method of cooking" and "combination of ingredients", with examples. One such is poached chicken and mango crying "out for a vibrant, zesty Riesling" (xiii): but where from, I ask? Roast chicken with herbs and garlic would favour "red wine with silky tannin" and "chocolatey flavours" (xiii): again, I ask, where from? Powell claims "a different evolution" for his book "to the average cookbook" (7). In recipes that have "a wine focus", there are no "pretty […] little salads, or lavish […] cakes" but "brown" albeit tasty food that will not require ingredients from "poncy inner-city providores", be easy to cook, and go with a cheap, budget-based wine (7). While this identity-setting is empathetic for a Powell clone, and I am envious of his skill with verbiage, he doesn’t deliver dreaming or desire. Milan and Corney do their best job in an eye-catching, informative exemplar list of food and wine matches: "Red duck curry and Barossa Valley Shiraz" for example (7), and in wine "At-a-glance" tables, telling us, for example, that the best Australian regions for Chardonnay are Margaret River and the Adelaide Hills (53). WritingThe "Introduction" to Moran’s cookbook is a slice of memoir, a portrait of a chef as a young man: the coming into being of passion, skill, and professionalism. And the introduction to the introduction is most memorable, being a loving description of his frugal Australian childhood dinners: creations of his mother’s use of manufactured, canned, and bottled substitutes-for-the-real, including Gravox and Dessert Whip (1). From his travel-based international culinary education in handmade, agrarian food, he describes "a head of buffalo mozzarella stuffed with ricotta and studded with white truffles" as "sheer beauty", "ambrosial flavour" and "edible white 'terrazzo'." The consonants b, s, t, d, and r are picked up and repeated, as are the vowels e, a, and o. Notice, too, the comparison of classic Italian food to an equally classic Italian artefact. Later, in an interactive text, questions are posed: "Who could now imagine life without this peppery salad green?" (23). Moran uses the expected action verbs of peel, mince, toss, etc.: "A bucket of tiny clams needs a good tumble under the running tap" (92). But he also uses the unexpected hug, nab, snuggle, waltz, "wave of garlic" and "raining rice." Milan and Corney display a metaphoric-language play too: the bubbles of a sparkling wine matching red meat become "the little red broom […] sweep[ing] away the […] cloying richness" (114). In contrast, Lamont’s cookbook can seem flat, lacking distinctiveness. But with a title like Wine and Food, perhaps you are not expecting much more than information, plain directness. Moran delivers recipes as reproducible with ease and care. An image of a restaurant blackboard menu with the word "chook" forestalls intimidation. Good quality, basic ingredients and knowledge of their source and season carry weight. The message is that food and drink are due respect, and that cooking is neither a stressful, grandiose nor competitive activity. While both Moran and Lamont have recipes for Duck Liver Pâté—with the exception that Lamont’s is (disturbingly, for this cook) "Parfait", Moran also has Lentil Patties, a granola, and a number of breads. Lamont has Brioche (but, granted, without the yeast, seeming much easier to make). Powell’s Plateless Pork is "mud pies for grown-ups", and you are asked to cook a "vat" of sauce. This communal meal is "a great way to spread communicable diseases", but "fun." But his passionately delivered historical information mixed with the laconic attitude of a larrikin (legendary Australian again) transform him into a sage, a step up from the monastery (Powell is photographed in dress-up friar’s habit). Again, the obvious is noteworthy in Milan and Corney’s statement that Rosé "possesses qualities of both red and white wines" (116). "On a hot summery afternoon, sitting in the sun overlooking the view … what could be better?" (116). The interactive questioning also feeds in useful information: "there is a huge range of styles" for Rosé so "[g]rape variety is usually a good guide", and "increasingly we are seeing […] even […] Chambourcin" (116). Rosé is set next to a Bouillabaisse recipe, and, empathetically, Milan and Corney acknowledge that the traditional fish soup "can be intimidating" (116). Succinctly incorporated into the recipes are simple greyscale graphs of grape "Flavour Profiles" delineating the strength on the front and back palate and tongue (103).Imaging and DesigningThe cover of Moran’s cookbook in its first edition reproduces the colours of 1930–1940's beach towels, umbrellas or sunshades in matt stripes of blue, yellow, red, and green (Australian beaches traditionally have a grass verge; and, I am told (Costello), these were the colours of his restaurant Panoroma’s original upholstery). A second edition has the same back cover but a generic front cover shifting from the location of his restaurant to the food in a new subtitle: "From Bush to Beach and onto Your Plate". The front endpapers are Sydney’s iconic Bondi Beach where Panoroma restaurant is embedded on the lower wall of an old building of flats, ubiquitous in Bondi, like a halved avocado, or a small shallow elliptic cave in one of the sandstone cliff-faces. The cookbook’s back endpapers are his bush-shack country. Surfaces, cooking equipment, table linen, crockery, cutlery and glassware are not ostentatious, but simple and subdued, in the colours and textures of nature/culture: ivory, bone, ecru, and cream; and linen, wire, wood, and cardboard. The mundane, such as a colander, is highlighted: humbleness elevated, hands at work, cooking as an embodied activity. Moran is photographed throughout engaged in cooking, quietly fetching in his slim, clean-cut, short-haired, altar-boyish good-looks, dressed casually in plain bone apron, t-shirt (most often plain white), and jeans. While some recipes are traditionally constructed, with the headnote, the list of ingredients and the discursive instructions for cooking, on occasion this is done by a double-page spread of continuous prose, inviting you into the story-telling. The typeface of Simmer varies to include a hand-written lookalike. The book also has a varied layout. Notes and small images sit on selected pages, as often as not at an asymmetric angle, with faux tape, as if stuck there as an afterthought—but an excited and enthusiastic afterthought—and to signal that what is informally known is as valuable as professional knowledge/skill and the tried, tested, and formally presented.Lamont’s publishers have laid out recipe instructions on the right-hand side (traditional English-language Western reading is top down, left to right). But when the recipe requires more than one item to be cooked, there is no repeated title; the spacing and line-up are not necessarily clear; and some immediate, albeit temporary, confusion occurs. Her recipes, alongside images of classic fine dining, carry the implication of chefing rather than cooking. She is photographed as a professional, with a chef’s familiar striped apron, and if she is not wearing a chef’s jacket, tunic or shirt, her staff are. The food is beautiful to look at and imagine, but tackling it in the home kitchen becomes a secondary thought. The left-hand section divider pages are meant to signal the wines, with the appropriate colour, and repetitive pattern of circles; but I understood this belatedly, mistaking them for retro wallpaper bemusedly. On the other hand, Powell’s bog-in-don’t-wait everyday heartiness of a communal stewed dinner at a medieval inn (Peasy Lamb looks exactly like this) may be overcooked, and, without sensuousness, uninviting. Images in Lamont’s book tend toward the predictable and anonymous (broad sweep of grape-vined landscape; large groups of people with eating and drinking utensils). The Lamont family run a vineyard, and up-market restaurants, one photographed on Perth’s river dockside. But Sean's Panoroma has a specificity about it; it hasn’t lost its local flavour in the mix with the global. (Admittedly, Moran’s bush "shack", the origin of much Panoroma produce and the destination of Panoroma compost, looks architect-designed.) Powell’s book, given "rump" and "rough" in the title, stridently plays down glitz (large type size, minimum spacing, rustic surface imagery, full-page portraits of a chicken, rump, and cabbage etc). While not over-glam, the photography in Balance may at first appear unsubtle. Images fill whole pages. But their beautifully coloured and intriguing shapes—the yellow lime of a white-wine bottle base or a sparkling wine cork beneath its cage—shift them into hyperreality. White wine in a glass becomes the edge of a desert lake; an open fig, the jaws of an alien; the flesh of a lemon after squeezing, a sea anemone. The minimal number of images is a judicious choice. ConclusionReading can be immersive, but it can also hover critically at a meta level, especially if the writer foregrounds process. A conversation starts in this exchange, the reader imagining for themselves the worlds written about. Writers read as writers, to acquire a sense of what good writing is, who writing colleagues are, where writing is being published, and, comparably, to learn to judge their own writing. Writing is produced from a combination of passion and the discipline of everyday work. To be a writer in the world is to observe and remember/record, to be conscious of aiming to see the narrative potential in an array of experiences, events, and images, or, to put it another way, "to develop the habit of art" (Jolley 20). Photography makes significant whatever is photographed. The image is immobile in a literal sense but, because of its referential nature, evocative. Design, too, is about communication through aesthetics as a sensuous visual code for ideas or concepts. (There is a large amount of scholarship on the workings of image combined with text. Roland Barthes is a place to begin, particularly about photography. There are also textbooks dealing with visual literacy or culture, only one example being Shirato and Webb.) It is reasonable to think about why there is so much interest in food in this moment. Food has become folded into celebrity culture, but, naturally, obviously, food is about our security and survival, physically and emotionally. Given that our planet is under threat from global warming which is also driving climate change, and we are facing peak oil, and alternative forms of energy are still not taken seriously in a widespread manner, then food production is under threat. Food supply and production are also linked to the growing gap between poverty and wealth, and the movement of whole populations: food is about being at home. Creativity is associated with mastery of a discipline, openness to new experiences, and persistence and courage, among other things. We read, write, photograph, and design to argue and critique, to use the imagination, to shape and transform, to transmit ideas, to celebrate living and to live more fully.References Allen, Max. The Future Makers: Australian Wines for the 21st Century. Melbourne: Hardie Grant, 2010. Barratt, Virginia. “verbiage very thinly sliced and plated up real nice.” Assignment, ENG10022 Writing from the Edge. Lismore: Southern Cross U, 2009. [lower case in the title is the author's proclivity, and subsequently published in Carson and Dettori. Eds. Banquet: A Feast of New Writing and Arts by Queer Women]Costello, Patricia. Personal conversation. 31 May 2012. Curti, Lidia. Female Stories, Female Bodies: Narrative, Identity and Representation. UK: Macmillan, 1998.Derrida, Jacques. "Fifty-Two Aphorisms for a Foreword." Deconstruction: Omnibus Volume. Eds. Andreas Apadakis, Catherine Cook, and Andrew Benjamin. New York: Rizzoli, 1989.Halliday, James. “An Artist’s Spirit.” The Weekend Australian: The Weekend Australian Magazine 13-14 Feb. (2010): 31.Jolley, Elizabeth. Central Mischief. Ringwood: Viking/Penguin 1992. Lamont, Kate. Wine and Food. Perth: U of Western Australia P, 2009. Milan, Lyndey, and Corney, Colin. Balance: Matching Food and Wine: What Works and Why. South Melbourne: Lothian, 2005. Moran, Sean. Let It Simmer. Camberwell: Lantern/Penguin, 2006. Ostmann, Barbara Gibbs, and Jane L. Baker. The Recipe Writer's Handbook. Canada: John Wiley, 2001.Powell, Greg Duncan. Rump and a Rough Red. Millers Point: Murdoch, 2010. Shirato, Tony, and Jen Webb. Reading the Visual. Crows Nest: Allen & Unwin, 2004.