Tag Archives: Nova Scotia

Recipe for a Spanish inspired salt cod stew

Salt Cod for sale in the Basque market town of Ordizia
Salt Cod for sale in the Basque market town of Ordizia

I was a boy when I first became familiar with salt codfish. Racks of salted fillets would line the docks of our ancestral Nova Scotia Bay of Fundy village where my parents maintained a home. I loved sautéed Acadian cod cakes made with potatoes and the salty fish served with pickled chow chow.

fillets of salt cod before soaking
fillets of salt cod before soaking

Salting cod is at least 500 years old and became a staple food product and cash crop for Canada’s Maritime Provinces, Northern Europe and the Caribbean Islands. I grew up on stories of the infamous triangular trade route before I knew its full implications. The stories were romance for my early wanderlust as generations of my family caught, salted and transported this easily preserved fish to hot Caribbean islands in return for the dark rum and molasses that would warm my relatives during cold, wet Maritime winters.

ingredients for the recipe
ingredients for the recipe

While living in Puerto Rico as a young adult I immediately recognized the wooden boxes of salt cod marked with Canadian port towns I was familiar. Nothing had changed for centuries, except being introduced to the breadth of recipes this simple fish had inspired. Light fritters of salt cod – bacalaítos – became a favored comfort food.

Some years later traveling in Basque Country I enjoyed Bacalao a la Vizcaina, their codfish stew including hard-boiled eggs, capers and raisins. In France I scarfed down copious amounts of rich, elegant Brandade de Morue, a whipped spread with olive oil, cream and potatoes on crusty baguette slices.

ingredients for the recipe
ingredients for the recipe

As a chef I’ve often played with salt cod. With the worldwide decline of cod stocks due to over fishing salted pollock is a suitable substitute available in North American stores. I feel my recipe for a salt cod stew appeals to most North American tastes.

Salt Cod Stew – 6 servings

Ingredients:

  • 1 pound salt cod prepared 2 days ahead of using
  • 3 cups prepared or canned, drained & rinsed garbanzo beans
  • 1 large sweet onion
  • 4 ribs celery
  • 1 green bell pepper
  • 2 scallions – green & white part.
  • 6 cloves garlic
  • ½ cup chopped green olives
  • 2 teaspoons dried basil
  • 1 teaspoon dried oregano
  • ¼ cup olive oil
  • ½ teaspoon salt
  • ½ teaspoon ground black pepper
  • 1 – 28 ounce can diced stewed tomatoes with juice
  • 2 cups cold water
  • 2 baking potatoes
  • chopped parsley for garnish

Preparation:

(Two days before making the stew)

  1. Place the salt cod in a stainless steel or glass dish large enough to completely cover with cold water. Refrigerate the cod changing the water 2 to 3 times a day for two days.
  2. prepared garbanzo beans (chick peas)
    prepared garbanzo beans (chick peas)

    If using dried garbanzo beans start their preparation the same day as the cod. Cover ½ pound dried garbanzo beans with 2 quarts cold water. Cover and soak for at least 12 and up to 18 hours. Drain and rinse the beans. Place into a heavy 2-quart pot and cover with two quarts cold water. Bring to a simmer over medium high heat. Reduce heat to maintain a simmer, cover and cook for 1 hour. The water should simmer not boil or else the beans may break up. Check after one hour. The beans should be tender but not mushy. Drain and rinse. Refrigerate until ready to use.

(Cooking the stew)

  1. Drain the cod and pat dry with paper towel. Slice the cod fillets into chunks about 1 to 1-½ inch squares.
  2. Dice the sweet onion, celery, green pepper, scallions and garlic.
  3. Heat the olive oil in a heavy 4-quart pot. Add the onion and celery and sauté until the onions are translucent. Reduce the heat slightly and add the green pepper, scallions, basil and oregano. Continue cooking for 5 minutes stirring frequently.
  4. Increase the heat and add the salt, black pepper, chopped garlic, cod chunks, chopped green olives, the entire can of diced tomatoes and the 2 cups of cold water.
  5. Bring the stew to a simmer, cover and reduce the heat to maintain a simmer. Cook for 45 minutes.
  6. While the stew is simmering, peel and dice the potatoes. Place the diced potatoes in a bowl & cover with cold water to prevent browning until ready to use.
  7. After 45 minutes of simmering the stew, drain and add the diced potatoes and the prepared or canned and drained garbanzo beans.
  8. Return to a simmer. Taste test the stew to check for salt and add more if desired. Cover and simmer the stew for an additional 45 minutes or until the potatoes are tender.
  9. Ladle into bowels and sprinkle with chopped parsley. You may spice it up with hot sauce to taste.

Like with so many stews, you can make this a day ahead of time. Allow the stew to cool for an hour and refrigerate. Gently reheat before serving.

This stew is excellent accompanied with a green salad and a good dry wine such as a Spanish rioja.

My Spanish inspired salt cod stew
My Spanish inspired salt cod stew

 

You can read more articles by Marc d’Entremont at:

Hellenic News of America

Original World Insights

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An Acadian chef comments on Cajun cuisine

at Legnon
at Legnon

 

classic Cajun fried seafood platter
classic Cajun fried seafood platter

As an Acadian historian and cultural anthropologist I sing the praises of my family heritage and its extraordinary history. Yet as a chef…both Acadian and Cajun foods are misunderstood and misrepresented in the North American rush to celebrate regional cuisine. They’re worthy but limited.

Tabasco store, Avery Island
Tabasco store, Avery Island

The greatest difference separating Cajun and Acadian cooking is spices. Cajun uses spices borrowed from Creole cuisine – a different fusion altogether. Of course world famous Tabasco sauce  has become a Cajun standard even though its origin is clearly West Indian.

Read my story on discovering the cuisine of my ancestry:

Cajun cuisine: the food of exiles and survivors

 

(Saturday zydeco breakfast at Cafe des Amis in Breaux Bridge, LA)

You can read all my articles at:

Hellenic News of America

Original World Travel

Culinary Travel Examiner

 International Dining Examiner

International Travel Examiner

Philadelphia Fine Dining Examiner

Food & Recipes Examiner

Ralph and Winnie Are Not Artists: The legacy of Nova Scotia folk art icons

Ralph Eyre (1917-2007)

“I’m not an artist; I’m not a wood carver!” Ralph was emphatic, “I don’t know how to take a piece of wood and make anything.” With strong calloused hands, Ralph Eyre held a gnarled silver gray piece of driftwood up to the light filtering through a sawdust caked window of the century old shed that was his workshop. “I just see the bird in the wood; I don’t carve it. It’s there.” His finger touched the smooth wood and traced the outline of the neck then the beak. “See, there’s its eye,” his finger pointed to a small dark knot then flowed down a graceful back to the end of its tail feathers. His blue eyes gleamed with a child’s reality of the obvious. This was not a metaphysical moment. The bird was in the driftwood, and I could clearly see its presence. After a dozen years visiting Ralph, purchasing many of his birds, watching him work and listening to his stories, I didn’t just believe him; I saw the bird before his finger touched the wood.

Ralph and Winne Eyre in 2002

For forty years, with the assistance and fierce devotion of his wife, Winnie, Ralph Eyre found over 20,000 birds hiding in the driftwood roots of native Nova Scotia spruce, sumac, white cedar and barberry. I had the great fortune of interviewing Ralph and Winnie in 2002, their last year at the 100 acre farm outside Yarmouth, Nova Scotia. Winnie passed away in 2006 and Ralph followed in 2007 at the age of 90, but their legacy lives on.

Like living birds, no two of Ralph’s driftwood creatures are alike. “It’s nature’s way of imitating art. I just release them from the wood,” he said without pretension. Mounted on exquisite pieces of driftwood, they have found homes throughout North America, Europe, Japan, and “I know there are a few in Vietnam.” With no advertising, Ralph was living proof that it it’s good enough they will come. And they came back to the Eyre’s farm summer after summer, bringing friends, relatives and the friends of relatives. I know; I was one of them. I also know I’m not the only one who gave more as gifts than I kept.

Each bird began its life as a weathered piece of driftwood, 90% of which were tree roots. Ralph became fascinated with the intrinsic beauty of tree root driftwood in the late 1940’s while stationed in the Yukon. He observed the techniques and styles of several First Nation craftsmen. In the late 1950’s, while on a camping trip to Nova Scotia’s Lake Rossignol, Ralph was stunned by the quality and quantity of its driftwood. “It must have been stacked 20 to 30 feet tall on the shore.” While others were looking for First Nation artifacts, “I loaded my canoe. It must have looked like a crazy driftwood freighter.”

As Ralph and Winnie explained the process, I watched their eyes sparkle from both the pleasure they found in their work and the obvious love for each other – when Winnie passed away in 2006 they had just celebrated their 63rd wedding anniversary. Their tools and methods were simple. “I start with collecting tree roots that have been submerged in the lake maybe for 30 or 40 years. They’re dead but preserved. Many are riddled with worm holes. That gives them character and texture.” For at least a year hundreds of pieces lay on long wooden tables outside his workshop drying in the sun. He studied a seasoned piece of wood, discovered the bird and traced its outline using a black crayon. Depending on the size of the piece, he used a chain saw and/or hand axe to cut away the wood trapping the animal. A wood rasp and disk sander was applied to reveal its form. Winnie then joined the process by hand sanding, giving each piece a smoothness that rivals silk and highlighting the subtle shadings of color and grain unique to each piece of wood. After applying sanding sealer and roughing the surface slightly with steel wool, she used ordinary neutral Kiwi shoe polish that added a soft, rich glow. “No verithane,” Ralph said, “too glossy.”

Another piece of driftwood was carefully selected to provide the base. Nothing was altered on this piece, “I want a polished bird on a natural wood base. Maybe it’s a single bird resting, or ready to take off, or a family with the daddy bird off to the side protecting the mother as she looks at her eggs.” Eggs were beautifully painted nodules of sea kelp resting in a nest of hay in a natural hollow in the wood. “Selecting the right piece of wood for the base is important”, Ralph added, “It gives the bird a story.”

seal resting on the shore

Stories were important to Ralph and Winnie. A back room of their barn/showroom was the “museum.” They discovered more than just birds in the wood. On one table was an exquisite driftwood shoe complete with the Old Women and all her children. Within a wire cage was a driftwood tree with dozens of swinging monkeys from its branches. A collection of mermaids and sea animals sun themselves on ocean worn rocks.  An entire circus train with each wooden carriage containing animals is now part of the permanent folk art collection of the Art Gallery of Nova Scotia – the premiere museum in Halifax. None of these were ever for sale, but I knew more than one child that was gifted with a dinosaur or lizard while their parents perused the hundreds of birds on display.

Mermaid and sea animals sunning on the shore

Ralph’s vision didn’t stop at animals. He discovered the perfect piece of driftwood, weighted with just enough embedded rocks to make a fascinating lamp base. Or the correct oval piece, with a slight indentation, for a free form fruit bowl.

Their playfulness and joy in living makes using the term “National Treasure” trite, and they would have been embarrassed if I had insisted on that title. Yet the prices that they placed on their creations were an embarrassment.  After 40 years (late 1950s – early 2000s) and 500 works of art per year, the average prices ranged from $10 to $25. On many occasions Ralph would tell me that few people would want to pay more for his simple birds. When I ask again, “Why do you sell the birds for so little?” Winnie jumped right in without hesitation and with genuine enthusiasm, “Because of all the people who come and visit us! We love the people. We get cards at Christmas from all over, and they come back and bring their friends. It’s just wonderful! They might not come back if we charge more.”

Many a business person would question this economic wisdom, but for Ralph and Winnie Eyre, they saw a treasure hiding in the driftwood that few people will ever discover – the secret to a life fulfilled through the sheer pleasure of following their passion.

log cabin on small lake Ralph built for picnics on their Yarmouth farm