The Italian Ministry of Agriculture has a recent history of operating at the curious intersection of neofascism and culinary purism. Zaia’s “zero-tolerance policy” on food fraud became famous with his 2008 bust-up of cheating Brunello di Monalcino producers, which was hailed as a victory for consumers. But in a less-reported crackdown the following year, Zaia, a member of the extreme-right-wing Lega Nord—the political party that has advocated the seccession of Northern Italy—also instituted, with Berlusconi’s backing, a policy banning new “ethnic” restaurants from opening in certain northern Italian cities, including Lucca and Milan. It was a move that the left-wing newspaper La Stampa called “culinary ethnic cleansing.” Reporting on the policy, the Times of London quoted Lucca city spokesman Massimo Di Grazia as saying that “French restaurants would be allowed”; he was “unsure, though, about Sicilian cuisine. It is influenced by Arab cooking.” Continued the Times: “Asked if he had ever eaten a kebab, Mr Zaia said: ‘No—and I defy anyone to prove the contrary. I prefer the dishes of my native Veneto. I even refuse to eat pineapple.’” This, from the country’s Minister of Agriculture.

Sometime in 2001 or 2002, I recall meeting, and discussing pure-ingredient fervence with, Giorgio Alemanno, who was Italy’s Minister of Agriculture at the time (this was two Ministers ago). The man talked about wine with great passion. And like Zaia, he was also an absolute right-wing zealot. As mayor of Rome, Alemanno was famous for praising Mussolini, expelling immigrants, and mowing down gypsy camps. “Upon his election,” reported the Telegraph at the time, Alemanno “was greeted by crowds of supporters, among them skinheads, who chanted ‘Duce! Duce!’ and raised their arms in a fascist salute.” It’s interesting to see Zaia, with Berlusconi’s backing, continuing in this tradition.

Certainly, when we buy mozzarella di bufala—or Brunello di Montalcino—we want to get the real thing. But if we’re enjoying what’s sold as Brunello or bufala, and feel like we’re getting our money’s worth, is the cow/Cab crime really so great?

I’ve previously discussed the thorny issue of the overzealous advocacy of a traditional recipe to the exclusion of all others. In response to Florence Fabricant’s claim, for instance, that “for any pasta all’amatriciana to be authentic, it must be made with guanciale (pork jowl),” not bacon or pancetta, I responded that “too many food writers construct a counterfactual Italy of culinary dogmatism, a population of finger-wagging guanciale zealots, a nation…harrumphing around about how the world is going to shit now that people are making amatriciana with pancetta…People and recipes aren’t anthropological tokens. They’re living things, the products of neural assemblies and proteins and chemicals bouncing across the ages. Narrow your gaze and squint your eyes too tightly in the search for authenticity, and you might miss that whole, beautiful landscape.”

Perhaps I should revise this statement: clearly, there are some finger-wagging guanciale zealots in Italy. They tend to gravitate, it seems, toward the Ministry of Agriculture. The question of whether “zero tolerance,” when it comes to food, is fascist, patronizing, noble—or all three—is certainly one for further contemplation.

Florence Fabricant, in a recent article, embodies a common attitude amongst American food writers when she reveals the results of an exhaustive search for the true recipe for bucatini all’amatriciana, one of Italy’s most beloved pasta dishes: “After half a dozen plates of it during a recent trip to Italy, one detail became clear: for any pasta all’amatriciana to be authentic, it must be made with guanciale—cured, unsmoked pig jowl.”

Although it would be a difficult hypothesis to test empirically, Andrea and I had the same immediate reaction to this statement—his from growing up in Italy, mine from living there for a while: in Italy, almost nobody would care in the least bit whether pasta all’amatriciana were “authentic.” People would care whether it tasted good.

Now, just because people in Italy wouldn’t care whether amatriciana were authentic doesn’t mean we shouldn’t. The preservation of culinary history, lest old recipes be lost in time, is a noble endeavor. But historical documentation doesn’t seem to be the purpose of the food writers who go around enforcing amatriciana’s authenticity. It’s more the idea that there’s one, and only one, way to make this dish—a blend of I’ve-been-there-and-you-haven’t self-righteousness with cultural/culinary naïveté.

To wit: “Italians take guanciale for granted, but it’s fairly new to American kitchens. Almost all the recipes in American cookbooks,” continues Fabricant, “call for ordinary bacon—which is too smoky—or Italian pancetta, which is too lean…‘Good guanciale makes all the difference,’ said the actor Michael Tucker, an accomplished cook, who, with his wife, the actress Jill Eikenberry, has a house in Umbria. In his book, ‘Living in a Foreign Language’ (Atlantic Monthly Press, 2007), he describes buying guanciale from Ugo Mazzoli, the butcher in Campello sul Clitunno, near his house.”

Guanciale is lovely in amatriciana; few would dispute that. But Simone, the Genoese guy who taught me to make amatriciana, does it with pancetta—like his mother did. Would Simone love a well-made amatriciana with smoky American bacon, too? Of course he would. He’s not a lever-pulling lab rat. He’s just a dude who, like many other Italians, likes good food.

Is amatriciana made with guanciale? Yes.

Is it made with pancetta? Yes.

Is it made with Tyrolean speck? With French lardons? Probably, somewhere in Italy, yes.

To illustrate the absurdity of Fabricant’s point of view, Andrea offers the following hypothetical: imagine an Italian food critic undertaking a careful investigative journey through the American pastoral hinterland in search of the authentic hamburger. She tries a half-dozen burgers, reads a few cookbooks, and concludes, in her article in Corriere della Sera, that “for a hamburger to be authentically American, it must be made only with Wisconsin cheddar cheese, lettuce, and tomato, and it must be served with french fries.”

Fabricant is not wrong, exactly, about how to make a good plate of bucatini. But she, like too many food writers, constructs a counterfactual Italy of culinary dogmatism, a population of finger-wagging guanciale zealots, a nation full of Ugo Mazzolis harrumphing around about how the world is going to shit now that people are making amatriciana with pancetta.

People and recipes aren’t anthropological tokens. They’re living things, the products of neural assemblies and proteins and chemicals bouncing across the ages. Narrow your gaze and squint your eyes too tightly in the search for authenticity, and you might miss that whole, beautiful landscape.

On culinary televangelism and the Parkerization of cuisine

In the introduction to his book La Cocina al Desnudo (roughly “The Kitchen Laid Bare”), the chef Santi Santamaría writes: “one of the greatest challenges faced by today’s chefs is to avoid becoming the court jesters of the snobs and the posh.”

One of the highlights of FENAVIN, Spain’s national wine fair, was a spirited hour-long debate on the status of Spanish cuisine between Mr. Santamaría (Santceloni, Racò de Can Fabes, EVO, Tierra; on the right end in the photo), one of Spain’s great culinary traditionalists, and José Carlos Capel (on the left end), a well-regarded food critic for El País who, generally speaking, embraces the avant-garde.

It was a debate to which Ferran Adrià, one of the pioneers of molecular gastronomy (the culinary movement to which Santamaría alternately refers as “cocina de la vanguardia,” “tecnoemocional,” and “cocina del laboratorio”), was surely invited—and didn’t come.

Perhaps Mr. Adrià felt no need to defend himself. In late April 2009, his restaurant, elBulli, was named the best in the world for the fourth year in a row in the annual survey of the World’s Top 50 restaurants, by the British Restaurant Magazine, while Santamaría is absent from the list entirely. Fellow molecular gastronomy houses The Fat Duck (UK), Noma (Denmark), Mugaritz (Spain), and El Celler de Can Roca (Spain) round out the rest of the top five. (The chefs of Noma and Mugaritz studied with Adrià.)

Santamaría, without being so immodest as to suggest that he, too, deserved at least some ranking in the top 50, hinted at the absurdity—and it really is an absurdity—that food critics and publications from the US and UK, regions mostly devoid of complex food traditions of their own, should be the judges of whether fideua, bollito misto, and blanquette de veau are now hopelessly passé, and whether a kitchen need be outfitted with a centrifuge, liquid nitrogen tanks, and stockpiles of sodium alginate and calcium chloride in order to be considered one of the world’s best.

That question is at the crux of a crisis in modern cuisine—a culture war. Although these men that have learned to make human beings breathe like dragons have been anointed as philosopher-kings by America’s culinary televangelists and food bloggers, what exactly is the composition of this jury? Does it represent any depth of food education? Any geographical breadth?

Restaurant’s top 50 list, which is determined by more than 800 food critics from around the world and sponsored by S. Pellegrino, is clearly influential—influential enough, at least, to come up in the discussion between Messrs. Santamaría and Capel.

But what are we to make of the fact that, the entire continent of Asia, home to the world’s greatest culinary bounty, has only two restaurants in the top 50—Les Creations de Narisawa in Tokyo (#20) and Iggy’s in Singapore (#45)—and they’re both French? Even more preposterously, the list tells us that the three best actual Asian restaurants in the world are in Sydney (Tetsuya’s, #17), New York (Masa, #27), and London (Nobu, #34).

As the wine guru Jancis Robinson has indirectly asked, what does it say about the composition and wisdom of the food media elite if this is their jury verdict?

Is this the Parkerization of the food world?

Yes, chemical pyrotechnics and scattered plating make for good food porn in magazines. And yes, it is interesting, at least intellectually, to watch the arcs of cuisine and modern art intersect in molecular gastronomy. Yet the notion that one must be a molecular gastronomist to be truly great restaurant—and that is, increasingly, the consensus view—is poisonous. It devalues both subtlety and directness. It devalues terroirs of all different sorts. It devalues the commitment to any one culinary tradition. It devalues the multi-generational emotional and even theoretical structures that define many great restaurants. And above all, it devalues pure deliciousness.

Are the world’s greatest chefs and restaurants—as many of its greatest winemakers and wineries have irreversibly done—being forced to reinvent themselves as pretentious pleasure pumps for the adolescent palates of an army of camera-wielding tourists who write for food blogs and lifestyle magazines?

Court jesters, indeed.

You can pre-order the book on amazon.com, which should receive stock within the week. The book will soon arrive at DC area stores, including Politics & Prose, Kramerbooks, B&N, Borders, and Books a Million.

In putting together the book, I worked with a team of critics and editors that included Alexis Herschkowitsch, Erin McReynolds, Rebecca Markovits, Justine Chiou, Coco Krumme, Sandra Di Capua, and Christina Dahlman.