Joan Schwartz – författare

Simple and perfect, macaroni and cheese is the ultimate comfort food, a classic dish that''s reassuring and familiar, yet, with the addition of a bit of truffle oil or salsa, it kicks into high gear with an unexpected burst of flavor. Now, for the first time in one collection, dozens of well-known chefs, including Bobby Flay, Rocco DiSpirito, Charlie Palmer, David Burke, Matthew Kenney, Katy Sparks, and Rick Bayless, share favorite recipes, from both their childhood memories and their award-winning restaurants. Here are recipes for Macaroni with Wisconsin Asi-ago, Baked Four-Cheese Pasta, Penne with Roquefort, Macaroni and Cheese Croquettes, Green Chile Mac and Cheese, and Chunks of Lobster Swimming in Cheesy Macaroni. While the basic concept of pasta and cheese remains the same, each recipe has its own taste and personality, blending and balancing flavor, texture, and presentation for a bold Mac and Cheese experience.Simple enough for the novice cook yet sophisticated enough to impress the experienced home chef, Macaroni and Cheese is a fun-filled cookbook that will be enjoyed for years to come.From the Trade Paperback edition.

The advent of photography opened up new worlds to 19th century viewers, who were able to visualize themselves and the world beyond in unprecedented detail. But the emphasis on the photography''s objectivity masked the subjectivity inherent in deciding what to record, from what angle and when. This text examines this inherent subjectivity. Drawing on photographs that come from personal albums, corporate archives, commercial photographers, government reports and which were produced as art, as record, as data, the work shows how the photography shaped and was shaped by geographical concerns.

The advent of photography opened up new worlds to 19th century viewers, who were able to visualize themselves and the world beyond in unprecedented detail. But the emphasis on the photography''s objectivity masked the subjectivity inherent in deciding what to record, from what angle and when. This text examines this inherent subjectivity. Drawing on photographs that come from personal albums, corporate archives, commercial photographers, government reports and which were produced as art, as record, as data, the work shows how the photography shaped and was shaped by geographical concerns.

The advent of photography opened up new worlds to 19th century viewers, who were able to visualize themselves and the world beyond in unprecedented detail. But the emphasis on the photography's objectivity masked the subjectivity inherent in deciding what to record, from what angle and when. This text examines this inherent subjectivity. Drawing on photographs that come from personal albums, corporate archives, commercial photographers, government reports and which were produced as art, as record, as data, the work shows how the photography shaped and was shaped by geographical concerns.

The advent of photography opened up new worlds to 19th century viewers, who were able to visualize themselves and the world beyond in unprecedented detail. But the emphasis on the photography's objectivity masked the subjectivity inherent in deciding what to record, from what angle and when. This text examines this inherent subjectivity. Drawing on photographs that come from personal albums, corporate archives, commercial photographers, government reports and which were produced as art, as record, as data, the work shows how the photography shaped and was shaped by geographical concerns.