Mastering the Art of Soviet Cooking: A Memoir of Food and Longing

by Anya von Bremzen Narrated by Kathleen Gati

Overview

A James Beard Award-winning writer captures life under the Red socialist banner in this wildly inventive, tragicomic memoir of feasts, famines, and three generations  

Born in 1963, in an era of bread shortages, Anya grew up in a communal Moscow apartment where eighteen families shared one kitchen. She sang odes to Lenin, black-marketeered Juicy Fruit gum at school, watched her father brew moonshine, and, like most Soviet citizens, longed for a taste of the mythical West. It was a life by turns absurd, naively joyous, and melancholy-and ultimately intolerable to her anti-Soviet mother, Larisa. When Anya was ten, she and Larisa fled the political repression of Brezhnev-era Russia, arriving in Philadelphia with no winter coats and no right of return.

Now Anya occupies two parallel food universes: one where she writes about four-star restaurants, the other where a taste of humble kolbasa transports her back to her scarlet-blazed socialist past. To bring that past to life, Anya and her mother decide to eat and cook their way through every decade of the Soviet experience. Through these meals, and through the tales of three generations of her family, Anya tells the intimate yet epic story of life in the USSR. Wildly inventive and slyly witty, Mastering the Art of Soviet Cooking is that rare book that stirs our souls and our senses.

Editorial Reviews

DECEMBER 2013 - AudioFile

Kathleen Gati's sensual Russian accent provides the ideal ambiance for the author’s account of her quest to re-create Russian cuisine—sumptuous feasts, modest dishes, and simple country fare. Von Bremzen, a Russian emigrée, describes classic Russian food culture, as well as the diversity of regional cuisines, and her descriptions are matched by Gati’s delivery. In this historically informative work, Von Bremzen and her Russian mother fashion a "time machine and an incubator of memories" while mastering the art of Soviet cookery. Recipes are designed to evoke decades of post-revolutionary Russian history and exquisitely tasty remembrances. A personal family journey, infused with the terror of a harrowing past, is captured in this transporting volume. A.W. © AudioFile 2013, Portland, Maine

The New York Times Book Review - Sara Wheeler

The culinary memoir has lately evolved into a genre of its own, what is now known as a "foodoir." But Anya von Bremzen is a better writer than most of the genre's practitioners, as this delectable book…amply demonstrates…The descriptions of meals are delightful, despite the anomaly at the heart of her book: during the Soviet period, there was almost nothing decent to eat, unless you were a party official…But von Bremzen makes the best of her material, conjuring the whiff of fermenting sauerkraut in an enameled bucket, the sight of sinews and fat glistening in a cheap goulash "with an ivory palette" and the sharp and creamy taste of the ubiquitous salat Olivier in the "kitschy, mayonnaise-happy '70s."

Publishers Weekly

08/26/2013
Author of several international cookbooks, Moscow-born von Bremzen immigrated to U.S. shores with her mother in 1974. Here, she unlocks conflicted memories of her Soviet upbringing through reminiscences of certain dishes that became her very own “poisoned madeleines.” The period covered by the book begins with the fall of the czar in 1917 and ends with the triumphant return of the mother-and-daughter duo to “Putin’s mean petro-dollar capital” in 2011 in order to do their very own TV cooking show. Each decade is represented by foods that evoke emotional volumes: the fussy, decadent pre-Revolution aristocrat’s diet of burbot liver and viziga gave way to Lenin’s culinary austerity, exemplified by a spartan apple cake; the labor-intensive gefilte fish made by the author’s Jewish grandmother in Odessa was deemed unpatriotic and was replaced by utilitarian kotleti (Russian hamburgers); and food shortages and the rationing of the 1940s prompted “sham” foods for the starvation diet. The fluctuating political winds of the Soviet state were harnessed in successive editions of the totalitarian culinary bible, The Book of Tasty and Healthy Food, where American and Jewish ingredients were unceremoniously deleted during the 1950s Cold War. Corn, caviar, mayonnaise, and vodka: for both von Bremzen and her mother, a teacher, these were the subjects of intense longing, as they endured living in a communal apartment with 18 other people and being abandoned by von Bremzen’s father, as well as regimented schooling and harassment as Jews. Recipes included. Agent: Andrew Wylie, Wylie Agency. (Nov.)

From the Publisher

Delightful . . . The culinary memoir has lately evolved into a genre of its own, what is now known as a ‘oodoir.’ But Anya von Bremzen is a better writer than most of the genre’s practitioners, as this delectable book, which tells the story of postrevolutionary Russia through the prism of one family's meals, amply demonstrates. . . . Von Bremzen moves artfully between historical longshots and intimate details.”—The New York Times Book Review

“Von Bremzen ladles out a rich, zesty history of family life in the USSR conveyed through food and meals.”—Entertainment Weekly

“Beautifully told . . . Mastering the Art of Soviet Cooking turns a bittersweet eye and an intelligent heart on Soviet history through food.”—Los Angeles Times

“Von Bremzen knows how to tell a story—poignant, funny, but never lacking.”—Chicago Tribune

“Brilliant . . . a lyrical memoir and multifaceted reflection on Soviet (and American) cultures.”—The Philadelphia Inquirer

“An ambitious food memoir that is also a meticulously researched history of the Soviet Union. . . . A meditation on culinary nostalgia.”—Julia Moskin, The New York Times

“Both rollicking and heartrending.”—Time

“Breathtaking . . . Mastering the Art of Soviet Cooking is a painstakingly researched and beautifully written cultural history but also the best kind of memoir: one with a self-aware narrator who has mastered the art of not taking herself entirely seriously.”—Masha Gessen, New York Review of Books

“At once harrowing and funny as hell, an epic history told through kotleti (Soviet hamburgers) and contraband Coca-Cola.”—James Oseland, Saveur

“There is no book quite like Mastering the Art of Soviet Cooking. . . . Through all of this lovely and moving memoir's good humor, bittersweet reminiscences, and gorgeous evocations of food, there hangs the 'toska,' the Russian nostalgic 'ache,' of Anya and Larisa's conflicted feelings about the past.”—The Christian Science Monitor

“A masterful telling of Soviet history through the eyes of a cook . . . a collection of fantastic stories that you hear only when sitting on a bar stool or in a church pew. Von Bremzen offers remarkable—and personal—insight about the Cold War, its politics, military strategy and the human suffering that accompanied it.”—Minnapolis Star-Tribune

“Moving . . . funny . . . fascinating . . . Soul-stirring for any emigrant to read, Mastering the Art of Soviet Cooking is a beautifully written tale of heartbreak and ultimately happiness.”—Epicurious

“I don’t think there’s ever been a book quite like this; I couldn’t put it down. Warm, smart and completely engaging, this food-forward journey through Soviet history could only have been written by someone who was there. Part memoir, part cookbook, part social history, this gripping account of Anya von Bremzen’s relationship with the country she fled as a young girl is also an unsentimental, but deeply loving tribute to her mother. Unique and remarkable, this is a book you won't forget.”—Ruth Reichl, author of Tender at the Bone
 
“Anya's description of the saltiness in vobla is as poignant and image-filled as her reflection on a life that started out one way, but ended up in a better place by chance and fate. Her experience of growing up a child of two different worlds tells the beautiful tale of so many American immigrants.”—Marcus Samuelsson, chef-founder, Red Rooster Harlem, and author of Yes, Chef

“Anya von Bremzen describes the foods of her past powerfully, poetically, and with a wicked sense of humor. Anyone can make a fancy layer cake sound delicious. To invoke an entire culture and era through an intimate story about a salad or soup—that’s taking food writing to a whole different level.”—David Chang, chef-founder, Momofuku

Kirkus Reviews

Travel + Leisure contributing editor and three-time James Beard Award–winning cookbook author von Bremzen's (The New Spanish Table, 2005, etc.) nostalgia for a prickly Soviet childhood brings memories of food both delectable and biting. Toska, "that peculiarly Russian ache of the soul," periodically stalks the author and her mother, Larisa Frumkin, who emigrated together from the Soviet Union to Philadelphia in 1974, when the author was 10. Although daily existence back in the Soviet Union had been harsh--anti-Semitic harassment, little support from a philandering father, and rough living conditions, including a lack of privacy, food shortages and lines for basic items--mother and daughter have found in food and cooking a way to capture their essential "Soviet homeland," even if it's more the idea of it than the way it ever really was. The author and her fervently dissident mother have re-created, in their tiny kitchen, certain foods that seem emblematic of each decade of the Soviet saga, from the pre-revolution time through the Stalinist era, World War II deprivations, Cold War classics and the "mature Socialist" period of the author's upbringing. For example, the impossibly decadent czarist fish pastry Kulebiaka delineated so seductively by Chekhov and Gogol marks the 1910s; Gefilte fish is the "poisoned Madeleine" of Larisa's childhood in Odessa, encapsulating a time of anti-religious fervor and familial bitterness; a Georgian dish called Chanakhi celebrates Stalin's death and the era touted for its "totalitarian joy"; the ersatz ingredients fondly remembered in the 1970s converge happily in the Salat Olivier, smothered with the ubiquitous Soviet mayonnaise Provansal. With anecdotes, history and recipes, the author delivers a lively, precisely detailed cultural chronicle. With a wink and a grimace, von Bremzen vividly characterizes the "Homo sovieticus."

Product Details

BN ID:	2940171787189
Publisher:	Penguin Random House
Publication date:	09/17/2013
Edition description:	Unabridged
Sales rank:	527,971

Read an Excerpt

Chapter One

1910s: The Last Days of the Czars

My mother is expecting guests.

In just a few hours in this sweltering July heat wave, eight people will show up for an extravagant ­czarist-­era dinner at her small Queens apartment. But her kitchen resembles a building site. Pots tower and teeter in the sink; the food processor and blender drone on in unison. In a shiny bowl on Mom’s green ­faux-­granite counter, a porous blob of yeast dough seems weirdly alive. I’m pretty sure it’s breathing. Unfazed, Mother simultaneously blends, sautés, keeps an eye on Chris Matthews on MSNBC, and chatters away on her cordless phone. At this moment she suggests a plump ­modern-­day elf, multitasking away in her orange Indian housedress.

Ever since I can remember, my mother has cooked like this, phone tucked under her chin. Of course, back in Brezhnev’s Moscow in the seventies when I was a kid, the idea of an “extravagant czarist dinner” would have provoked sardonic laughter. And the cord of our antediluvian black Soviet telefon was so traitorously twisted, I once tripped on it while carrying a platter of Mom’s lamb pilaf to the low ­three-­legged table in the cluttered space where my parents did their living, sleeping, and entertaining.

Right now, as one of Mom’s ancient émigré friends fills her ear with cultural gossip, that pilaf episode returns to me in cinematic slow motion. Masses of yellow rice cascade onto our Armenian carpet. Biddy, my ­two-­month-­old puppy, greedily laps up every grain, her eyes and tongue swelling shockingly in an instant allergic reaction to lamb fat. I howl, fearing for Biddy’s life. My father berates Mom for her phone habits.

Mom managed to rescue the disaster with her usual flair, dotty and determined. By the time guests ­arrived—with an extra four ­non-­sober ­comrades—she’d conjured up a tasty fantasia from two pounds of the proletarian wurst called sosiski. These she’d cut into ­petal-­like shapes, splayed in a skillet, and fried up with eggs. Her creation landed at table under provocative ­blood-­red squiggles of ketchup, that decadent capitalist condiment. For dessert: Mom’s equally spontaneous apple cake. ­“Guest-­at-­the-­doorstep apple charlotte,” she dubbed it.

Guests! They never stopped crowding Mom’s doorstep, whether at our apartment in the center of Moscow or at the boxy immigrant dwelling in Philadelphia where she and I landed in 1974. Guests overrun her current home in New York, squatting for weeks, eating her out of the house, borrowing money and books. Every so often I Google “compulsive hospitality syndrome.” But there’s no cure. Not for Mom the old Russian adage “An uninvited guest is worse than an invading Tatar.” Her parents’ house was just like this, her sister’s even more so.

Tonight’s dinner, however, is different. It will mark our archival adieu to classic Russian cuisine. For such an important occasion Mom has agreed to keep the invitees to just eight after I slyly quoted a line from a Roman scholar and satirist: “The number of dinner guests should be more than the Graces and less than the Muses.” Mom’s ­quasi-­religious respect for culture trumps even her passion for guests. Who is she to disagree with the ancients?

And so, on this diabolically torrid late afternoon in Queens, the two of us are sweating over a decadent feast set in the imagined ­1910s—Russia’s Silver Age, artistically speaking. The evening will mark our hail and farewell to a grandiose decade of Moscow gastronomy. To a food culture that flourished at the start of the twentieth century and disappeared abruptly when the 1917 revolution transformed Russian cuisine and culture into Soviet cuisine and ­culture—the only version we knew.

Mom and I have not taken the occasion lightly.

The horseradish and lemon vodkas that I’ve been steeping for days are chilling in their ­cut-­crystal carafes. The caviar glistens. We’ve even gone to the absurd trouble of brewing our own kvass, a folkloric beverage from fermented black bread ­that’s these days mostly just ­mass-­produced fizz. Who knows? Besides communing with our ancestral stomachs, this might be our last chance on this culinary journey to eat ­really well.

“The burbot ­liver—what to do about the burbot liver?” Mom laments, finally off the phone.

Noticing how poignantly scratched her knuckles are from assorted gratings, I reply, for the umpteenth time, that burbot, noble member of the freshwater cod family so fetishized by ­pre-­revolutionary Russian gourmands, is nowhere to be had in Jackson Heights, Queens. Frustrated sighing. As always, my pragmatism interferes with Mom’s dreaming and scheming. And let’s not even mention viziga, the desiccated dorsal cord of a sturgeon. Burbot liver was the czarist foie gras, viziga its shark’s fin. Chances of finding either in any zip code hereabouts? Not ­slim—none.

But still, we’ve made progress.

Several ­test ­runs for crispy brains in brown butter have yielded smashing results. And despite the state of Mom’s kitchen, and the homey, crepuscular clutter of her ­book-­laden apartment, her dining table is a thing of great beauty. Crystal goblets preen on the floral, ­antique-­looking tablecloth. Pale blue hydrangeas in an art nouveau pitcher I found at a flea market in Buenos Aires bestow a subtle ­fin-­de-­siècle opulence.

I unpack the cargo of plastic containers and bottles I’ve lugged over from my house two blocks away. Since Mom’s galley kitchen is far too small for two cooks, much smaller than an aristocrat’s broom closet, I’ve already brewed the kvass and prepared the trimmings for an anachronistic chilled fish and greens soup called botvinya. I was also designated steeper of vodkas and executer of Guriev kasha, a dessert loaded with deep historical meaning and a whole pound of ­home-­candied nuts. Mom has taken charge of the main course and the array of zakuski, or appetizers.

A look at the clock and she gasps. “The kulebiaka dough! Check it!”

I check it. Still rising, still bubbling. I give it a bang to ­deflate—and the tang of fermenting yeast tickles my nostrils, evoking a fleeting collective memory. Or a memory of a received memory. I pinch off a piece of dough and hand it to Mom to assess. She gives me a shrug as if to say, “You’re the cookbook writer.”

But I’m glad I let her take charge of the kulebiaka. This extravagant Russian fish pie, this history lesson in a pastry case, will be the pièce de résistance of our banquet tonight.

“The kulebiaka must make your mouth water, it must lie before you, naked, shameless, a temptation. You wink at it, you cut off a sizeable slice, and you let your fingers just play over it. . . . You eat it, the butter drips from it like tears, and the filling is fat, juicy, rich with eggs, giblets, onions . . .”

So waxed Anton Pavlovich Chekhov in his little fiction “The Siren,” which Mom and I have been salivating over during our preparations, just as we first did back in our unglorious socialist pasts. It ­wasn’t only us ­Soviet-­born who fixated on food. Chekhov’s satiric encomium to outsize Slavic appetite is a lover’s rapturous fantasy. Sometimes it seems that for ­nineteenth-­century Russian writers, food was what landscape (or maybe class?) was for the ­En­glish. Or war for the Germans, love for the ­French—a subject encompassing the great themes of comedy, tragedy, ecstasy, and doom. Or perhaps, as the contemporary author Tatyana Tolstaya suggests, the “orgiastic gorging” of Russian authors was a compensation for literary taboos on eroticism. One must note, too, alas, Russian writers’ peculiarly Russian propensity for moralizing. Rosy hams, amber fish broths, blini as plump as “the shoulder of a merchant’s daughter” (Chekhov again), such literary deliciousness often serves an ulterior agenda of exposing gluttons as spiritually bankrupt ­philistines—or lethargic losers such as the alpha glutton Oblomov. Is this a moral trap? I keep asking myself. Are we enticed to salivate at these lines so we’ll end up feeling guilty?

But it’s hard not to salivate. Chekhov, Pushkin, ­Tolstoy—they all devote some of their most fetching pages to the gastronomical. As for Mom’s beloved Nikolai Gogol, the author of Dead Souls anointed the stomach the ­body’s “most noble” organ. Besotted with eating both on and off the ­page—sour cherry dumplings from his Ukrainian childhood, pastas from his sojourns in ­Rome—scrawny Gogol could polish off a gargantuan dinner and start right in again. While traveling he sometimes even churned his own butter. “The belly is the belle of his stories, the nose is their beau,” declared Nabokov. In 1852, just short of his ­forty-­third birthday, in the throes of religious mania and gastrointestinal torments, Nikolai Vasilievich committed a slow suicide rich in Gogolian irony: he refused to eat. Yes, a complicated, even tortured, relationship with food has long been a hallmark of our national character.

According to one scholarly count, no less than ­eighty-­six kinds of edibles appear in Dead Souls, Gogol’s chronicle of a grifter’s circuit from dinner to dinner in the vast Russian countryside. Despairing over not being able to scale the heights of the novel’s first volume, poor wretched Gogol burned most of the second. What survives includes the most famous literary ode to ­kulebiaka—replete with a virtual recipe.

“Make a ­four-­cornered kulebiaka,” instructs Petukh, a spiritually bankrupt glutton who made it through the flames. And then:

“In one corner put the cheeks and dried spine of a sturgeon, in another put some buckwheat, and some mushrooms and onion, and some soft fish roe, and brains, and something else as well. . . . As for the underneath . . . see that it’s baked so that it’s quite . . . well not done to the point of crumbling but so that it will melt in the mouth like snow and not make any crunching sound.

Petukh smacked his lips as he spoke.”

Generations of Russians have smacked their own lips at this passage. Historians, though, suspect that this chimerical ­“four-­cornered” kulebiaka might have been a Gogolian fiction. So what then of the genuine article, which is normally oblong and layered?

To telescope quickly: kulebiaka descends from the archaic Slavic pirog (filled pie). Humbly born, they say, in the 1600s, it had by its ­turn-­of-­the-­twentieth-­century heyday evolved into a regal ­golden-­brown case fancifully decorated with ­cut-­out designs. Concealed within: aromatic layers of fish and viziga, a cornucopia of ­forest-­picked mushrooms, and ­butter-­splashed buckwheat or rice, all the tiers separated by thin crepes called ­blinchiki—to soak up the juices.

Mom and I argued over every other dish on our menu. But on this we agreed: without kulebiaka, there could be no proper Silver Age Moscow repast.

When my mother, Larisa (Lara, Larochka) ­Frumkina—Frumkin in ­En­glish—was growing up in the 1930s high Stalinist Moscow, the idea of a decadent ­czarist-­era banquet constituted exactly what it would in the Brezhnevian seventies: laughable blue cheese from the moon. So­siski were Mom’s favorite food. I was hooked on them too, though Mom claims that the sosiski of my childhood ­couldn’t hold a candle to the juicy Stalinist article. Why do these proletarian franks remain the madeleine of every Homo sovieticus? Because besides sosiski with canned peas and kotleti (minced meat patties) with kasha, ­cabbage-­intensive soups, ­mayo-­laden salads, and watery fruit kompot for ­dessert—there ­wasn’t all that much to eat in the Land of the Soviets.

Unless, of course, you were privileged. In our joyous classless society, this ­all-­important matter of privilege has nagged at me since my early childhood.

I first ­glimpsed—or rather ­heard—the world of privileged food consumption during my first three years of life, at the grotesque communal Moscow apartment into which I was born in 1963. The apartment sat so close to the Kremlin, we could practically hear the midnight chimes of the giant clock on the Spassky Tower. There was another sound too, keeping us up: the roaring BLARGHHH of our neighbor Misha puking his guts out. Misha, you see, was a food store manager with a proprietary attitude ­toward the socialist food supply, likely a black market millionaire who shared our communal lair only for fear that flaunting his wealth would attract the unwanted attention of the ­anti-­embezzlement authorities. Misha and Musya, his blond, ­big-­bosomed wife, lived out a Mature Socialist version of bygone decadence. Night after night they dined out at Moscow’s few proper restaurants (accessible to party bigwigs, foreigners, and comrades with illegal rubles), dropping the equivalent of Mom’s monthly salary on meals that Misha ­couldn’t even keep in his stomach.

When the pair stayed home, they ate unspeakable ­delicacies— batter-­fried chicken tenders, for ­instance—prepared for them by the loving hands of Musya’s mom, Baba Mila, she a blubbery former peasant with one eye, ­four—or was it ­six?—gold front teeth, and a healthy contempt for the nonprivileged.

“So, making kotleti today,” Mila would say in the kitchen we all shared, fixing her monocular gaze on the misshapen patties in Mom’s chipped aluminum skillet. “Muuuuusya!” she’d holler to her daughter. “Larisa’s making kotleti!”

“Good appetite, Larochka!” (Musya was fond of my mom.)

“Muuusya! Would you eat kotleti?”

“Me? Never!”

“Aha! You see?” And Mila would wag a swollen finger at Mom.

One day my tiny underfed mom ­couldn’t restrain herself. Back from work, tired and ravenous, she pilfered a chicken nugget from a tray Mila had left in the kitchen. The next day I watched as, ­red-­faced and ­teary-­eyed, she knocked on Misha’s door to confess her theft.

“The chicken?” cackled Mila, and I still recall being struck by how her ­twenty-­four-­karat mouth glinted in the dim hall light. “Help yourself ­anytime—we dump that shit anyway.”

And so it was that about once a week we got to eat shit destined for the economic criminal’s garbage. To us, it tasted pretty ambrosial.

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