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Nicholas Gilman


Mexico City, Mexico

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Good Food in Mexico City


Nicholas Gilman, author of "Good Food in Mexico City: Food Stalls, Fondas and Fine Dining," was born in New York City. His father was theater critic Richard Gilman, and his mother, Esther, was an accomplished painter and illustrator. Traveling to Mexico City to study the mural movement, he became interested in the traditions of Mexican painting and culture. He worked as an assistant curator at the Hispanic Society of America for several years and later enrolled in the New York Academy of Art to study classical painting and sculpture. A painter as well as a food writer, he has shown his work extensively in the U.S. and Mexico. He has studied gastronomy at UNAM, cooking at the Universidad del Claustro de Sor Juana, and is a founding member of a Mexican chapter of Slow Food International. He has written a weekly restaurant review column for The News, Mexico's English daily, and his work has been published in The New York Times and The Christian Science Monitor. He was editor and photographer for the book "Mexico City: An Opinionated Guide for the Curious Traveler," and in 2007 published "Good Food in Mexico City," which won the Gourmand Cookbook award. He was featured on NPR's "The Splendid Table" and has appeared extensively on radio and TV in the U.S. and Mexico. He lives and works in Mexico City.

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Roots: Mexican Chef Embraces His Chinese Ancestry Image

I never dreamt the busy chef and owner of the finest Chinese restaurant in Mexico would want to go back to China with me. I had invited Luís Chiu on a guided culinary tour of Chengdu, the capital of the Sichuan province of China, sponsored by But Luís, who is Mexican of Chinese ancestry, was eager to expand his knowledge of the country and cuisines of his ancestors — so he accepted my offer.

There has been a Chinese community in Mexico since the 19th century, when workers came to build railroads; others arrived in search of a better life. Entrepreneurial Chinese, many versed in American-style “fast cooking,” opened eateries specializing in the kind of light, quick meals they knew how to produce. Breakfasts of eggs, pancakes and pastries, accompanied by coffee served with frothy hot milk, were the specialty. And faux Chinese dishes, such as fried rice and chow mein, were also offered. These cafes de Chinos became an important part of Mexican urban lore — a few remain today. Luís Chiu’s family owned several of these cafes through the years, and he grew up in and around the food business.

Eating in China

Luís Chiu at his restaurant, Asian Bay, in Mexico City. Credit: Photo courtesy of Asian Bay

Luís Chiu at his restaurant, Asian Bay, in Mexico City. Credit: Photo courtesy of Asian Bay

The first dish we ate, at a humble stall, was spicy beef meatballs, bathed in a brick-red oily sauce made aromatic by fresh, numbing Sichuan peppers, dry red chilies and bean paste. We quickly got used to this ubiquitous flavor combination. We later gorged on handmade noodles, ma po tofu with pig’s brains, spit roast rabbit, mutton kebabs, and oily, fiery hot pot. All were astounding.

We visited the local wholesale spice market. Piles of Sichuan peppers in varying shades from brownish green to deep brick red perfumed the air with their particular aroma — they made my eyes water but Luis´ tears were real. He was overjoyed to be in the midst of this epicenter of a cuisine he loved.

I interviewed chef Chiu back in his kitchen in Mexico City, after he’d had time to reflect on his experiences in China.

Nicholas Gilman: Do you feel more Mexican or more Chinese?

Luís Chiu: I’ve taken the best of both Mexican and Chinese culture. I feel more Chinese with the family, our customs, the way of being with each other. When I go to China I feel I don’t quite belong: The way of acting and thinking is totally different. I know I’m not Chinese, but I feel close to the culture, traditions. But when I’m with my Mexican friends, I’m 100 percent Mexican — I love going to soccer games, for example.

The best of both worlds

Luís Chiu tries the kebabs at a street stall. Credit: Copyright 2016 Nicholas Gilman

Luís Chiu tries the kebabs at a street stall. Credit: Copyright 2016 Nicholas Gilman

N.G.: How did you become interested in traditional Chinese cooking?

L.C.: There were no regional Chinese restaurants in Mexico, so I saw an emerging market for more sophisticated people who were ready for “the real thing.” I went to Shanghai to study, and in 2011 I opened Asian Bay.

N.G.: What was your impression of Chengdu?

L.C.: I had been to other places in China, which were more westernized. I was impressed by how much old stuff was preserved. I loved the teahouses, markets and how there’s even street food. What struck me about Sichuan is that the people are very warm, as if they were Latino. They smile, greet you, chat with you, ask where you’re from. And especially, they are so proud of their culinary traditions. It’s like Mexico in that way. I was especially impressed by what love people have for their food. How there were lines of people to buy those bao, (steamed pork-filled buns) or to eat dumplings, noodles. How they look at you when they serve the dishes — they’re not so used to seeing foreigners, so I really think they wanted to impress us.

N.G.: Would you tell us something about what you ate?

L.C.: The ma-la was so strong, like nothing I’ve ever tasted! (He was referring to the combination of “ma,” the numbing of the peppers, and “la,” the spiciness of the chilies.)

Lessons from the trip

Chef Luís Chiu looks over the offerings at the spice market in Chengdu. Credit: Copyright 2016 Nicholas Gilman

Chef Luís Chiu looks over the offerings at the spice market in Chengdu. Credit: Copyright 2016 Nicholas Gilman

N.G.: And what about the spice market?

L.C.: I was so impressed with that market because we wanted to see the “raw China,” and there it was — nothing Western, another world. Spices we’d never seen. And those chilies that came originally from Mexico. I really had no idea what all these things taste and smell like because imported products are of such low quality. Here it was the epicenter of this food.

N.G.: What, ultimately, did you learn from this journey?

L.C.: I left with more questions than I came with. It makes me want to delve even deeper into this complex cuisine. It’s kind of like Mexican cooking in the sense that ingredients are combined to create totally new flavors, like alchemy. They’re powerful, exciting. The journey made me realize that to cook food even if it comes from your own tradition, you have to know that culture from the inside. So to attempt to reproduce something when you are home is a real challenge. It can’t come from the heart if it’s superficial, if you don’t know the original.

Main photo: Mexican chef Luís Chiu tries a bevy of dishes during his culinary tour of Chengdu. Credit: Copyright 2016 Nicholas Gilman

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Dazzling Dinner Theatrics At Shanghai’s Ultraviolet Image

I arrived in Shanghai dreaming of dumplings but instead was invited, by a generous friend, to a quixotic culinary experience that took much time to digest. Ultraviolet is a high-end restaurant-cum-theatrical show. It’s a self-described “multimedia experience” staged for a moneyed audience of 10 in a closed room whose environment is meticulously controlled.

The group was led into the dining hall and held captive at a large table for what seem like an eternity, like an existential scenario from a Buñuel film. A couple dozen tiny, refined plates from a never-changing menu were prepared and served, one after another, by waiters whose every move was carefully choreographed and scripted. Each dish, paired with a drink, was accompanied by projected images, music, even piped-in aromas, all feeding on a philosophical theme. The exhausting show took hours. Awards have been garnered — for the food anyway — which, by the way, is very good in a global, Noma/Bullí sort of way. The theatrical aspect is more dubious. It skirts the edge of ridiculous while managing to keep its intellectual head above water.

Chef Paul Pairet’s creation

A dish unleashes a cloud of white gas as it is served. Credit: Copyright 2015 Nicholas Gilman

A dish unleashes a cloud of white gas as it is served. Credit: Copyright 2015 Nicholas Gilman

It’s no accident that talented French chef Paul Pairet has brought this over-the-top evening of pseudo-avant-garde sensory incitement to Shanghai, one of the most unashamedly commercial cities in the world. Here, in the center of shopping and money, it makes sense. “Why not?” cry critics and gastronomes alike.

All encompassing, audience-involved theater is nothing new. From Strindberg’s difficult-to-perform “A Dream Play” to Antonin Artaud’s “Theater of Cruelty,” a theoretical, unrealized experiment in avant-garde spectacle in which the performers would attempt to assault the senses of the spectators, artists have been attempting to expand theater beyond the stage. But never has audience participation been brought to this level, at least in a restaurant. The attempt to juxtapose high-end dining and individual introspection was, at times, jarring.

A parade of images

The table at Ultraviolet is, naturally, shrouded in a purple hue. Credit: Copyright 2015 Nicholas Gilman

The table at Ultraviolet is, naturally, shrouded in a purple hue. Credit: Copyright 2015 Nicholas Gilman

While we ate, a parade of images, meant to evoke collective memory, were projected on all four walls. They ranged from spooky to comforting to, at best, beautifully and playfully nostalgic. Charlie Chaplin’s shoe-eating scene from “The Gold Rush” was shown in its entirety while wintry dishes were served. Manet’s “Le Dejeuner sur l’herbe” was recalled during the “picnic.”

Walls were plastered with hundreds of images of Asian dry noodle soup packages (evincing laughter from the several Asians present) while a high-falutin’ version of that fast-food classic was served. Moving images on the wall made the room seem to rise and fall: At one point we dropped into a Dante-esque netherworld as the scene around us fell away. I’m not sure if the bourgeoisie, whose foibles were often brought to the fore — Chaplin, a running leitmotif of fast food — was being patronized or burlesqued. But one did have the sense that this Frenchman is well aware of what he is doing, deconstructing and commenting on the classic multi-course meal.

Then there’s the food

A faux breakfast is one of the many tiny, refined plates served. Credit: Copyright 2015 Nicholas Gilman

A faux breakfast is one of the many tiny, refined plates served. Credit: Copyright 2015 Nicholas Gilman

What do I remember of the food? Little more than theoretical insider jokes that tasted good. One of the very first courses was entitled “Paloma” — it was a light sweet-sour salad of pomelo served in a vitrine which, when lifted, unleashed a cloud of white gas — the dove of peace? The Mexican song “Cucurrucucu Paloma” was heard in the background.

Next a single oyster, dressed with caviar, pepper, lemon and sea foam, was offered while the walls become a calm ocean. At a “picnic,” for which the table was covered with synthetic turf, a dish named “fish Tupperware,” dressed in mayo, recalled simple American/English food, while projected images harkened back to a long-forgotten country outing of the 1920s. Henry Mancini’s campy theme from “Breakfast at Tiffany’s” accompanied a faux American “breakfast” — a fitting, albeit ironic, paean.

Pairet, who is obviously trying very hard to do something new, an admirable but nearly impossible goal nowadays, has been quoted as saying that “pretension is my worst enemy” — in which case the enemy lurked behind every carefully constructed shadow. He tries hard to pair food with feeling, to create “edible theater.” I appreciated the effort. I enjoyed the evening immensely, and ate and drank very well indeed, but instinctively resisted the artifice intended to carry me to higher (or lower, for that matter) emotional planes.

In this sense, the experience did not coalesce. Critic Richard Gilman (who happened to be my father) wrote, referring to the avant-garde theater of 50 years ago: “It may be that nothing will come forward as new, unassailable creation. It is surely true that any art comes to find that its own historical momentum becomes the enemy of its renewable prowess.”

I’m not sure if we are heading down a creative cul-de-sac in the increasingly global gastronomic world. I hope not.

Main photo: Waiters, whose every move is choreographed, serve diners at Ultraviolet. Credit: Copyright 2015 Nicholas Gilman

The author wishes to thank Jeffrey Merrihue and who sponsored this trip to China and Ultraviolet.

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The 5 Best Restaurants In Mexico City Image

Mexican cuisine has no high or low. Unlike in French, Chinese or Japanese cooking, it is from the humble tradition of everyday kitchens that most Mexican recipes are culled. The difference is more a matter of degree of luxury in presentation than of basic cooking concepts.

In recent years, a culinary trend has emerged from the kitchens of a new generation of chefs called Nueva Cocina Mexicana or Modern Mexican. Utilizing international culinary techniques, but working with traditional Mexican recipes and ingredients, these cooks have created a body of dishes as well as a contemporary context for serving and eating them.

Sometimes it’s simply a matter of presentation: Martha Ortiz’s duck in black mole varies little from that eaten in an old Oaxacan home. But it is elegantly served on contemporary designer china in a streamlined, posh venue in Mexico City’s Polanco area, surrounded by less standard accompaniments, and chased with a nice Baja Chardonnay. Or take Patricia Quintana’s salmon appetizer with its vanilla-infused dressing: nothing time-honored here but for the separate ingredients. And Mónica Patiño’s chicken soup perfumed with té de limón — that’s Thai lemongrass sold in every market across the country, but never before served at a Mexican dinner table.

An earlier generation of chefs have paved the way for an extraordinary renaissance of fresh, creative cooking, led by star chef Enrique Olvera of Pujol, now head chef at New York’s Cosme. Young culinary-institute-trained chefs are returning to their roots while exploring contemporary concepts developed in Europe. Mexico City has become an amazing place to discover not only the wide range of classic and regional cooking but also new traditions being forged every day.

Main photo: An appetizer of marinated raw scallops in “ash vinegar” with cucumber and cilantro. Credit: Copyright 2015 Sud 777

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Havana Nights: Cuba’s New Dining Hot Spots Image

Fine dining in Cuba might sound like an oxymoron. For decades, wisdom has been that restaurants on the impoverished island were mediocre at best, and that a good meal was hard to find. This was true as recently as a couple of years ago. But, even before the island nation’s relations with the United States thawed, the gastronomic scene had been changing, and chefs have made huge strides in offering a wider range of quality restaurant options.

The Cuban government, in the desperate years after the Soviet Union pulled its support from the island, sanctioned the private ownership of small restaurants called paladares, which means “palate.” Situated in homes, these humble kitchens, limited to a few tables, provided simple criollo — traditional Cuban — food. The scarcity of all but the most simple meats, rice and beans, and a strict policy that forbade the offering of seafood kept them from competing with government-owned establishments.

In 2012, however, the state relaxed the rules and paladares have moved up to the next level. While simple mom-and-pop places abound, a new crop of elegant venues for creative chef cooking have begun to challenge the island’s reputation for culinary blandness.

One of the first in this vein was La Guarida, located in the apartment in which the renowned film “Fresa y Chocolate” was filmed. Several dining rooms, filled with kitchy knickknacks and movie memorabilia bustle with locals and foreigners. The menu, which includes a small wine list, strives for international creativity but doesn’t always hit all the marks. Still, La Guarida opened to doors to wider possibilities.

Then Le Chansonnier arrived. Set in a late 19th-century mansion in Vedado, it was restored by chef and owner Héctor Higuera Martínez (who has since moved on to Atalier). The dazzling décor was decidedly postmodern. The small, astutely chosen menu featured duck, lamb and fish, all of whose sources were nearby and local by necessity. Patrons included government bigwigs, foreign visitors, journalists and a handful of locals with enough disposable income to afford the relatively steep prices.

Others followed in rapid succession. The ultra cool El Cocinero is perched on the roof of an extinct factory that houses a complex of galleries and boutiques. Casa Pilar oozes sophistication.

Doña Eutimia specializes in artfully prepared traditional dishes, as does Mamá Inés and Nao. O’Reilly 304 does home-style cooking in a laid-back boho setting, ’60s rock creating a funky and fun ambience.

Otramanera steps up dining in Havana

Most recently, in August of 2014, Otramanera, perhaps presenting the best cooking to date, was inaugurated. It’s set in a sleek ’50s ranch-style house, its chef trained in Catalonia.

But all of the chefs interviewed pointed out the daily uphill battle they face trying to keep stock of the most basic ingredients, as well as deal with less than expertly trained staff.

While perhaps it’s early to proclaim the birth of the “Nueva Cocina Cubana,” it seems clear that the dining scene in Cuba is in the midst of a revolution of its own.

Main photo: Otramanera’s dishes, prepared by chef Dayron Ávila, include fresh sardine fillets dressed in a fruity papaya salsa augmented with a cilantro purée and crowned with edible flowers. Credit: Copyright Nicolas Gilman

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‘Yucatán’: A Grande Dame at the Crossroads Image

My first trip to Mexico began in  the Yucatán. I landed in Mérida, which as David Sterling describes in his brilliant new tome, “Yucatán,” is “a cosmopolitan grande dame standing at the crossroads, graciously welcoming home her global family.” I eventually became part of that family, moving to Mexico and becoming a citizen.

“Yucatán: Recipes From A Culinary Expedition”
By David Sterling. University of Texas Press, 2014, 576 pages
» Click here to buy the book

My initial encounter with the country, however, was on that trip back in 1973. My mother and I went for lunch shortly after arriving from New York. My first taste in this new world was of sopa de lima, a quintessential Yucatecan dish. The soup is a rich chicken soup perfumed by toasted strips of tortilla and slices of lima, a heady aromatic citrus native to the region. Its exotic scent became an indelible part of my psyche at that moment. A sip today conjures magical worlds for me like Proust’s madeleines.

"Yucatan: Recipes From a Culinary Expedition"

The Yucatán peninsula, historically isolated from much of the rest of Mexico, comprises the states of Yucatán, Campeche and Quintana Roo. It was populated by the descendants of the Maya, and later, by a mix of immigrants. Like all Mexican regional cooking, Yucatecan cuisine is a fusion of traditions, in this case primarily Mayan, Spanish, Lebanese and French. Nowhere else in the republic are these influences so obvious. And the celebration of its brilliant complexity is experiencing a revival. From market stands to restaurants with culinary institute-trained chefs, the eating-out scene here has grown by leaps and bounds. But the range of what is known and available has always been limited. The region’s cooking is well represented in the rest of the country, but usually by a narrow list of “greatest hit” dishes.

The great investigator, chronicler and chef Diana Kennedy laid the groundwork for unearthing, recording and promulgating Mexican regional food outside the country. She is to Mexico what Julia Child was to France, and she was similarly undervalued within its borders. Kennedy, who is now over 90, recently put together an acclaimed volume on Oaxaca. But she never did get around to celebrating the Yucatán. So with her blessing, Sterling has taken the reins. Kennedy’s blurb, which graces the back of the book, says it best: “I know of no other book in print today, or in the past for that matter, that explains so meticulously the ingredients and history of the foods of Yucatán.”

I don’t either. Sterling has done a magnificent job in every way.

Scholarly and readable

The subtitle of “Yucatán” is “Recipes From a Culinary Expedition.” But this is no mere cookbook. It is a work both scholarly but readable, informative and entertaining. It is beautifully designed and features the colorful photos and drawings from a team of photographers and illustrators, as well as archival material.

David Sterling

David Sterling. Credit: University of Texas Press

Chapters divide the book by geography — the market, the urban matrix, the fertile shores, the pueblos, as well as sections devoted to “pantry staples” and “kitchen technique.” There’s an astute mix of personal anecdotes, historical background and culinary analysis, in addition to the histories of individual dishes. The author is honest when he confesses, in a section entitled “La Cantina” that “I spent a few years in Yucatán before venturing inside a cantina. After all, aren’t these rugged, all-male enclaves dangerous dens of smoke, prostitutes and raucous drunks? … Eventually, though, my curiosity to see what was behind those seductive doors got the better of me and led me to try several cantinas.” He became a fan. Sterling is founder of Los Dos Cooking School in Mérida, the first and only culinary institute in Mexico devoted exclusively to Yucatecan cuisine. He resides and works there in a restored turn-of-the-century mansion.

To anyone venturing to the area, the book is an invaluable resource. A detailed history of the various migrations explains the complex recipes within. Rustic country dishes are elaborated upon. Pre-Hispanic cooking techniques — for example the “pib” method of marinating and pit roasting meats — are explained in detail. There are indeed recipes the home cook will never make — which is fine with me. This is not for the Rachael Ray “made easy” crowd.

Traditional dishes

Occasionally, substitutes for rare ingredients are suggested, but tradition is never compromised. For example, for the serious chef who wants to recreate the classic marinated suckling pig dish, cochinita pibil, a stove-top variation is suggested. Recipes for street foods include a variety of tamales, such as simple to prepare creamy colados. The recipe for Mucbilpollo, a large, baked festival tamal, offers a fascinating account of a cultural phenomenon, but it’s unlikely to inspire the average homemaker to reproduce it. No matter. There are also straightforward, elegant Spanish and Mayan influenced dishes: jurel en escabeche, a tuna-like fish cooked with tangy pickled onions, or hearty charcoal-grilled pork with achiote sauce. These are relatively easy to prepare, as is the classic, aforementioned sopa de lima or the iconic papadzules (egg-stuffed tortillas bathed in pumpkin seed and tomato sauces).

Many of these recipes have been culled from local chefs, from country cooks who use wood for fuel, and even from women of social standing who harbor their grandmother’s secrets. Some see the light for the first time here. Sterling should and will be lauded, as Kennedy has been, for his service to Mexican cooking and to gastronomy in general.

“Yucatán: Recipes From a Culinary Expedition” is a must for anyone with an interest in Mexican food, and in Mexico itself; bravo to the author and to the many cooks who have made it possible for him to share this wealth with us.

 Main photo: Sopa de lima. Credit: University of Texas Press

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7.5 Reasons I Love Living in Mexico City Image

Mexico City is one of the largest urban areas in the world, a throbbing metropolis that gives pause to even the most seasoned city lovers. I come from New York where I grew up in Little Italy and learned to love food in all its ethnic diversity, then moved south of the border almost 20 years ago where I commenced my career as a food writer. Here in “El D.F.,” tradition lives side by side with technology: 21st-century high speed Wi-Fi flies by as men with pushcarts declaim their wares or services in singsong style unchanged since the 19th. I, the perennial urban animal, am happy to exist in both eras. Here are some reasons why:

An afilador, or knife sharpener, in Mexico City. Credit: Nicholas Gilman

An afilador, or knife sharpener, in Mexico City. Credit: Nicholas Gilman

1. Knife sharpeners come to my door. Things are never dull around my kitchen as afiladores (as knife sharpeners are called in Spanish) circulate on bicycles, their distinctive whistle, an import from Spain, resounding through the neighborhood to alert the cutting impaired. Homemakers, chefs and other dull-bladed souls emerge from their kitchens to have knives, scissors, garden shears and the like expertly ground on a round stone that is turned by wheels of the very same bike, right there on the sidewalk.

2. My butcher will bone a chicken (or do anything else I want). Like most hopeful amateurs and semiprofessionals, I have watched Julia Child bone a whole chicken with little effort, promising that it’s not as hard as it seems. I wouldn’t know, as I’ve never had to do it. Here, we buy our birds at the old-fashioned market where butchers will gladly prepare according to customer needs. Breasts are boned and pounded, thighs cubed for brochettes. Beef or pork (or a mixture of both as you wish) is ground once or twice. Pork loins are flayed. My butcher Meche may think it a bit odd, but is happy to cut a boned chicken breast into long, thin slices, as my Chinese recipe requires. This would be an impossible dream for a knife-technique-impaired chef like me. Oh, and by the way, there’s no extra charge for this service.

3. I can eat a bowl of chicken soup on the street. Mexico City is host to an abundance of street stalls offering caldo de gallina: chicken soup. Huge pots of carcass-filled broth bubble away, proving that you don’t need a home to produce a homemade product. The soup, which can be ordered with breast, thigh, leg or nothing at all, is made rich by the addition of a spoonful of rice and garbanzos, a bit of raw onion and cilantro, a squeeze of lemon and some chile flakes to taste. Served with fresh warm corn tortillas, this heart warmer could even top that of the best Jewish grandmother.

4. Fresh squeezed orange juice is available year round. One of myriad fruit and juice stands is located right at my corner, offering round the clock fresh squeezed juices as well as cut up fruits for less than it costs to do it yourself. Fruit, while seasonal, is brought to the capital all year from the four corners of the republic. Mexico is home to jungles and mountains alike. Mangoes, best in the summer, are always available, as are succulent papayas, at least five varieties of bananas, berries and the more exotic mameys and zapotes. A full liter of orange or tangerine juice costs less than $2.

5. Handmade corn tortillas are easy to find. All neighborhoods in the city as well as provincial towns are host to a weekly tianguis (market). Vendors offer the freshest produce, meats and sundries. In the upscale and fashionable areas of the capital these street markets, in keeping with the needs of their sophisticated clients, stock items not typically used in a Mexican kitchen, such as arugula, kale, ginger, leeks and porcinis. As well, braid-sporting women from the country journey into this megalopolis, sacks on their weathered backs, to sell country bounty: wild greens known as quelites, freshly harvested and dried beans and, best of all, hand ground and fashioned corn tortillas. Aficionados know that these beat the tortilleria-bought kind by a landslide: The texture and rustic corn flavor is what it’s all about.

6. I can buy a great baguette around the corner. Some areas of the city have become the visible scene of a new immigration. Young Euro foodsters, coming from such places as the City of Light, where opening a business of any kind is cost prohibitive, or Spain where the economy is in the doldrums, are seeing opportunity knocking in the previously good-bread-starved New World. In middle-class to upscale neighborhoods, patisseries and French boulangeries are opening at, what to anyone trying to watch their weight, is an alarming rate. Beautiful artisanal bread is within arm’s reach. At the same time, friendly traditional panaderías continue to thrive — customers load aluminum trays with pan dulces for breakfast or supper and crunchy bolillos for lunch. Tradition lives side by side with the nouvelle vogue.

Sope de escamoles, or ant eggs. Credit: Nicholas Gilman

Sope de escamoles, or ant eggs. Credit: Nicholas Gilman

7. We eat bugs. OK, so this is a mixed blessing. The truth is that I hate bugs, looking at them, eating them. I know they’re good for me, that they are a great source of protein and that consuming them has a long tradition in Mexican culinary history. Top chefs at about every highfalutin restaurant in town have been including creepy crawlies in their menus. Elena Reygadas (of Rosetta) creates artistic Italianate hors d’oeuvres using pretty little beetles. Alejandro Ruiz at his Guzina Oaxaca does a traditional salsa of chicatanas (flying ants to you and me). Meanwhile, ordinary folk delight in munching fried grasshoppers with their beer or a taco of gusanos de maguey (grubs), when the season hits. I’ll try them all and support the movement wholeheartedly and maybe someday I’ll even grow to be a bug lover. Whether I eat them or not, I love the fact that it’s part of the medley of Mexican cuisine.

7½. I can buy half a cauliflower in the market. In Mexico, miniscule amounts of almost everything are routinely sold. Aside from cauliflower, you can get a quarter of a cabbage, a pair of chicken feet, a single stalk of celery, or dos pesos of parsley — you can even buy a single cigarette. In a poor country, this makes great economic sense. My own reasoning is not so much economic as prudent — I have far fewer rotting vegetables in my frig these days.

Main photo: Mexico City’s chicken soup. Credit: Nicholas Gilman

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