“Tell me where you eat, what you eat, and at what time you eat, and I will tell you who you are. ”This is the motto of Anka Muhlstein’s erudite and witty book about the ways food and the art of the table feature in Honoré de Balzac’s The Human Comedy. Balzac uses them as a connecting thread in his novels, showing how food can evoke character, atmosphere, class, and social climbing more suggestively than money, appearances, and other more conventional trappings. Full of surprises and insights, Balzac’s Omelet invites you to taste anew Balzac’s genius as a writer and his deep understanding of the human condition, its ambitions, its flaws, and its cravings.

Reading was so important to Marcel Proust that it sometimes seems he was unable to create a personage without a book in hand. Everybody in his work reads: servants and masters, children and parents, artists and physicians. The more sophisticated characters find it natural to speak in quotations. Proust made literary taste a means of defining personalities and gave literature an actual role to play in his novels. In this wonderfully entertaining book, scholar and biographer Anka Muhlstein, the author of Balzac’s Omelette, draws out these themes in Proust's work and life, thus providing not only a friendly introduction to the momentous In Search of Lost Time, but also exciting highlights of some of the finest work in French literature.

A scintillating glimpse into the lives of acclaimed writers and artists and their inspiring, often surprising convergences, from the author of Monsieur Proust's Library With the wit and penetration well known to readers of Anka Muhlstein’s work, The Pen and the Brush revisits the delights of the French novel. This time she focuses on late 19th- and 20th-century writers--Balzac, Zola, Proust, Huysmans, and Maupassant--through the lens of their passionate involvement with the fine arts. She delves into the crucial role that painters play as characters in their novels, which she pairs with an exploration of the profound influence that painting exercised on the novelists' techniques, offering an intimate view of the intertwined worlds of painters and writers at the time. Muhlstein's deftly chosen vignettes bring to life a portrait of the nineteenth century's tight-knit artistic community, where Cézanne and Zola befriended each other as boys and Balzac yearned for the approval of Delacroix. She leads the reader on a journey of spontaneous discovery as she explores how a great painting can open a mind and spark creative fire.

From the acclaimed biographer and author of Balzac’s Omelette, an engaging new work on the life of “the father of Impressionism” and the role his Jewish background played in his artistic creativity. The celebrated painter Camille Pissarro (1830–1903) occupied a central place in the artistic scene of his time: a founding member of the new school of French painting, he was a close friend of Monet, a longtime associate in Degas’s and Mary Cassatt’s experimental work, a support to Cézanne and Gauguin, and a comfort to Van Gogh, and was backed by the great Parisian art dealer Paul Durand-Ruel throughout his career. Nevertheless, he felt a persistent sense of being set apart, different, and hard to classify. Settled in France from the age of twenty-five but born in the Caribbean, he was not French and what is more he was Jewish. Although a resolute atheist who never interjected political or religious messages in his art, he was fully aware of the consequences of his lineage. Drawing on Pissarro’s considerable body of work and a vast collection of letters that show his unrestrained thoughts, Anka Muhlstein offers a nuanced, intimate portrait of the artist whose independent spirit fostered an environment of freedom and autonomy.

With the wit and pace of Anthony Bourdain, Italian chef and anthropologist Leonardo Lucarelli sketches the exhilarating life behind the closed doors of restaurants, and the unlikely work ethics of the kitchen. In Italy, five-star restaurants and celebrity chefs may seem, on the surface, a part of the landscape. In reality, the restaurant industry is as tough, cutthroat, and unforgiving as anywhere else in the world--sometimes even colluding with the shady world of organized crime. The powerful voice of Leonardo Lucarelli takes us through the underbelly of Italy's restaurant world. Lucarelli is a professional chef who for almost two decades has been roaming Italy opening restaurants, training underpaid, sometimes hopelessly incompetent sous-chefs, courting waitresses, working long hours, riding high on drugs, and cursing a culinary passion he inherited as a teenager from his hippie father. In his debut, Mincemeat: The Education of an Italian Chef, Lucarelli teaches us that even among rogues and misfits, there is a moral code in the kitchen that must, above all else, always be upheld.

Described by Le Monde as "the richest view of Balzac's time seen from the table," Paris à Table: 1846 is an essential text in the history of gastronomy, along with Brillat-Savarin's The Physiology of Taste and Dumas's Dictionary of Cuisine. Its author, Eugène Briffault, was well-known in his day as a theater critic and chronicler of contemporary Paris, but also as a bon-vivant, celebrated for his ability to quaff a bell jar full of champagne in a single draft and well-qualified to write authoritatively about the culinary culture of Paris. Focusing on the manners and customs of the dining scene, Briffault takes readers from the opulence of a meal at the Rothschilds' through every social stratum down to the student on the Left Bank and the laborer eating on the streets. He surveys the restaurants of the previous generation and his own--from the most elegant to the lowest dive--along with the eating habits of the bourgeoisie, the importance and variety of banquets, the institutional meal, and even the plight of "people who do not dine," artists and intellectuals who fell on hungry times. He records the specialties, the décor, the patrons, and the restaurateurs and their waiters. A fine storyteller, Briffault collected culinary anecdotes, from the tantrums of a king deprived of his spinach to the tragedy of "the friendliest pig that was ever seen." The volume includes the humorous drawings of the caricaturist Bertall that cleverly reinforce the witty and ironic tone of the text. Along with J. Weintraub's introduction--which provides the first modern biography of the author and analyzes the place of Paris à Table in the literary culture of the time--the text is copiously annotated, acquainting readers with the events and characters that enliven the narrative. Paris à Table provides a delightful and delectable entryway to Briffault's Paris, the city Walter Benjamin characterized as "the capital of the nineteenth century."

Jane Kramer started cooking when she started writing. Her first dish, a tinned-tuna curry, was assembled on a tiny stove in her graduate student apartment while she pondered her first writing assignment. From there, whether her travels took her to a tent settlement in the Sahara for an afternoon interview with an old Berber woman toiling over goat stew, or to the great London restaurateur and author Yotam Ottolenghi's Notting Hill apartment, where they assembled a buttered phylo-and-cheese tower called a mutabbaq, Jane always returned from the field with a new recipe, and usually, a friend. For the first time, Jane's beloved food pieces from The New Yorker, where she has been a staff writer since 1964, are arranged in one place--a collection of definitive chef profiles, personal essays, and gastronomic history that is at once deeply personal and humane. The Reporter's Kitchen follows Jane everywhere, and throughout her career--from her summer writing retreat in Umbria, where Jane and her anthropologist husband host memorable expat Thanksgivings--in July--to the Nordic coast, where Jane and acclaimed Danish chef Rene Redzepi, of Noma, forage for edible sea-grass. The Reporter’s Kitchen is an important record of culture distilled through food around the world. It's welcoming and inevitably surprising.