Lunch, when you’re working at the Kittle House, is a daily treat. They call it the family meal, and everyone sits down with an entree of choice to relax in the middle of a shift. Like a smattering of earth, crumbled olives are sprinkled over sweet 100 tomatoes and an unusual preparation of gnudi, which means nude in Italian. Normally gnocchi’s lighter, creamier cousin – made of ricotta, sometimes spinach, and akin to ravioli minus the doughy exterior – this gnudi is made by steeping ricotta balls in sorghum flour overnight, then fishing out the delicious results. Pregnant, newly clothed, and adorned with basil, and roundness echoed in the tomatoes, they’re creamy, indulgent, and oh-so-photogenic.

The theater. Definitely the theater.
(Taken at Crabtree’s Kittle House before an 8 course meal. Entry to follow.)

Slow roasted duck, braised escarole, roasted fingerlings, Sicilian olives (Rialto, The Charles Hotel)

Blood with scallions - probably duck or goose blood. (Somewhere in Flushing, Queens)

Chocolate creme brulee, Cafe of Love in Mt. Kisco
I arrive a half-hour early for my interview with Glenn Vogt, who manages Crabtree’s Kittle House Inn, a high end restaurant in Chappaqua. (Bill Clinton and his family dine here on a regular basis, including this past Christmas. His secret service team usually stands in the lobby, but this Christmas, they dined along the Clintons.)
Glenn arrives at the bar as I was taking some notes in my moleskine on the decor. He is tall and gray haired, one of those rare people who immediately puts you at ease, so much so that you forget this very fact. He has that rare brand of immediate affability and unassuming friendliness that condenses the usual ten minutes of finding a conversational rhythm into no time at all. I reveal my secret ambition to try lamb brains, and he tells me about an old dish involving eating the brains of a live, restrained monkey. He shares a story about alcohol infused with cobra snake. After asking him the usual questions about local foods, I ask if I can have a tour of their famed wine cellar, rated as one of the best in the world. “I was going to suggest it,” he says, and leads me downstairs, through the banquet hall and unlocks a glass door. (Along the way, he says he doesn’t believe in reading online reviews from diners. He is oblivious to Yelp.com. When I tell him the reviews are good, he is congenially indifferent.)
It’s kept at a chilly 50 F. I hug my bare arms as he leads me through wines arranged by region and grape. He points out wines from Alsace, the Rhone, wines from Spain, Australia, and California. The entire cellar is maybe the size of two master bedrooms. And then there’s the famous wine rack, full of bottles signed by their makers.
In the middle is the holy grail of wine: a bottle of 1988 Romanée Conti, in a black glass container perhaps the side of a toddler.
“One guy offered us 75 thousand for that,” he says, with a bit of a laugh. It’s not for sale. “There are only five bottles in the entire world. This is number 4,” he says, pointing to a serial number on the label.
All the wines are arranged in wooden partitions, each labeled with a number. They have a computer program to locate wines, thankfully, since the wine list is the size of two phonebooks. He points out a few more bottles of Romanée Conti. 1990 was an even better year – he approximates the price of this normal size bottle of wine, perhaps 4 glasses, at $5,000.
We chat a bit about restaurant reviewing. He’s also read former NY Times restaurant reviewer Ruth Reichl‘s biographies (“Tender at the Bone!” he exclaims, laughing again) and remarks that she was very generous in her reviews. We debate her double review of Le Cirque, one incognito, the other as herself. He’s met Gael Greene, former critic for New York magazine, and notes one time she dined at a restaurant he was working for with the manager from a competing establishment.
He used to be a wine purveyor, and he tells me about his trips across the world in search of great wines – a good Pinot Grigio was in particularly high demand. Now, Kittle House Inn focuses on buying from winemakers around the world who really know their product, their grape, and who are environmentally conscious.
After escaping the chilly wine cellar, I end up staying for dinner and inviting my long-suffering father along. My mom had already gone home and turned down the offer.
I could not have anticipated what happened next.
Glenn hands us the menus. “Don’t worry, I’ll make sure you try what you should,” he tells us. I pick out two appetizers and a salad that uses local eggs and greens. My dad picks out the Chilean sea bass.
We sit back. The food arrives, and arrives, and arrives, and arrives. We stay for over two hours.
FIRST COURSE
After he puts down our dishes, “I don’t know if Ruth included this in the review of Le Cirque or not,” Glenn muses, “but…”
I know exactly what he referring to – the line in the review that goes, “The King of Spain is waiting in the bar, but your table is ready.”

Oysters on the half shell, with salt and pepper granite, beet and horseradish, and tabasco jelly accompaniments
Really nice oysters, very fresh.

Seared sashimi and spicy tartare of yellowfin tuna, served in a block of sea salt
The tuna tartare and sashimi are presented on a block pink sea salt, which they take and shave down after each presentation. Those are taro chips and a lovely citrus salsa on the size.
SECOND COURSE
“We’re calling this the pork course,” Glenn says, putting down the pork belly in front of my dad and the salad I ordered in front of me. He helps me figure out to construct the salad.
“We’re feeding you a lot of food, so don’t feel like you have to eat it all,” he adds as he leaves.

Bacon and egg, baby arugula and fresh herbs, panko cursted farm egg and prosciutto
The idea here was that you’re supposed to cut the egg open, which oozes warm, yellow yoke into the avocado underneath. Then you mix it all into the salad with the lemon dressing and it makes a kind of super dressing. I’m still not really sure that the freshness and locally produced egg makes all that much of a difference – it was a fine egg, to be sure.

Braised Hudson Valley Berkshire pork belly, anjou pear puree, caramelized onions
My first time having proper pork belly – the top is deliciously crisped, the meat on the bottom falls into hefty strips, moist with fat. I particularly like the pear puree, which had a silky, unplaceable sweetness.
THIRD COURSE
The pasta course.

Not on the menu - braised oxtail and handmade pasta, if I recall correctly

Potato parmesan gnocchi, oven dried cherry tomatoes, nicoise olives, pea shoots
Superb gnocchi, your teeth bite into it and it just slides right through the velvety smooth texture. The thing with gnocchi, a potato pasta, is that you have to get the proportion of ingredients just right – too much potato and it falls apart, too much flour and it’s hard to chew.
FOURTH COURSE

Trio of Hudson Valley Foie gras, three ways: torchon of vanilla scented pear, brulee and green apple, brochette and grilled stone fruit
Oh my god, how do I even explain this… For the uninitiated, foie gras is made by force feeding a duck or goose until its liver becomes engorged. So it’s essentially a big of hunk of decadent, PETA-hated fat.
At the bottom right, we have the brochette (skewer) of foie gras. It comes a delicate, slippery, and piping hot. When you put it in your mouth, it immediately melts and commands every last taste bud’s attention: umistakeabley fatty, rich, and mouth-filling flavor.
The creme brulee was also made with foie gras, lending it the same, though muted, flavor, suspended in a creamy texture with a burnt sugar crust. The torchon (foie gras poached in a towel, then refrigerated) had the hardness of swiss cheese, and was incredible on the bread with the pear – a complexity of pleasure.
I found it impossible to eat the creme brulee and torchon purely on their own, however. The flavor was just too strong.

Chilean sea bass, roasted pumpkin, spaghetti squash, bacon apple cider sauce
A perfectly cooked fish, with a nice brown on top. The pumpkin was great.
DESSERT
The waitress brought us dessert menus. I was hideously full by this time. Glenn comes over and asks us what we want, or should he surprise us? I decide on surprise. I figure he’ll choose two signature desserts.
Lo and behold, the grand finale is a sampling of four their most popular desserts. My dad and I look at each other in shock. And awe.

Warm valrhona chocolate ‘gift’, crème anglaise
Their signature dessert, open it up and out pours a lava of valrhona chocolate. We packed it up and brought it home to mom. (I am actually not the biggest fan of chocolate. I am a vanilla girl.)

Pecan pie, caramel sauce, crème chantilly
A dense, rich pecan pie, on their menu since the early 80′s.

Classic crème brûlee
A nice version of this classic – a lighter flavor in the creme, which I liked.

Alsatian style cheesecake
My favorite of the bunch! A truly outstanding cheesecake, the best I’ve ever had, with an airy, creamy texture, and lighter flavor. The sauce was an incredible accompaniment. What every cheesecake should aspire to.
And that, my friends, that is how one winter afternoon somehow morphed into a magical culinary journey. My father and I walked out of there, dazed, full, and deeply at ease with the world.

Santorini, Sleepy Hollow, NY
Stepping away from my normal lunch of a low carb, high protein bar, I decided to give Santorini (Sleepy Hollow, New York) a try since it was only a short walk from the Tarrytown library.
As you can see, the space is fairly small (I was sitting near the back to avoid the arctic blasts of air from the opening door) and it’s painted a cheerful orange. The waitress was also bizarrely cheerful and accomodating to a random singular diner.
I mostly went here because it got good reviews on Yelp.com. I cannot live without Yelp, especially when there are sometimes reviews that go along the lines of, “Wow, I don’t remember what the food was like, but the hostess was the most breathtakingly beautiful woman I’ve ever seen! Ever!” I mean, how can you not go there?
As an aside, I really hate taking pictures during meals out. It makes me feel like a pretentious, touristy creep. Whenever I’m eating out with somebody, I have to apologize first before I set my camera on macro and try to get a decent shot of creme brulee.

Pita and hummus
Anyway, she brings out a free starter. This is a little ridiculous for one person. This is essentially a meal for a girl with a small stomach. The hummus was excellent – creamy and light. I’m used to far more thick, dense varieties that imitate the texture of heavy cream, so this was a pleasant surprise. And the two salty olives (I’d like to guess they’re kalamata) were a nice touch to go with the toasted pita bread. After eating this, and a bowl of Avgolemono soup, I was pretty much done. But then the waitress brings out the actual meal.

Gyro
One thing I’ve noted is that my meat-eating capacity is severely limited. I mean, I can kind of choke it down, but the way other cultures prepare their meats is such a huge contrast to Chinese food, which tends to shred it up and mix it with vegetables. Where a Chinese meal might be 70% veggies, 30% meat, an American meal might use the opposite ratio. (This is a gross generalization, obviously.) And with this gyro in particular, I cried uncle after eating only half the part that is not covered by foil. There’s obviously a lot more to the gyro than what’s in the picture.
Which reminds me of my failure to ever really enjoy steak. I mean, how could I enjoy eating a steak when it is just a gigantic hunk of relentless protein? How can I finish eating such a thing without feeling like my stomach juices are attacking an obstinate chunk of granite?
So, moving on, I was in NYC for New Year’s. I visited MoMA.

Pollock + Intruder
The Museum of Modern Art is an interesting place. I think the odd thing about seeing some modern art in person is that there’s not the same sense of revelation (for some pieces) as there is for, say, Van Gogh, whose paintings lose a lot in the reproduction process. With Pollock, there’s a sense of the sheer scale and the textural component that you don’t get from viewing prints, but with other artists, like Warhol and Lichtenstein, it’s not all that exciting and revelatory to see it in person.
It’s like, oh, soupcans. Comic book girl. I guess with Lichtenstein you can see his manual reproduction of the printing process.

Warhol's soupcans

Lichtenstein