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I’m standing in the produce aisle of my neighborhood supermarket, between the fresh vegetables receiving their bi-hourly overhead mist and a long refrigerated wall of salad kits. Lately, the store has been running sales on the Taylor Farms ones. The discount tags have been placed, carefully it seems to me, directly over the Taylor Farms logo, giving the display the slightly furtive quality of merchandise that has recently acquired an unfortunate reputation.

Nobody appears especially eager to buy them.

Thankfully, I’m not there to buy one either.

Instead, I pull out my phone and open an app called Taylor Detector, which is exactly what it sounds like. Scan the barcode of a grocery item and the app tells you whether it has a documented connection to Taylor Farms — including connections that may not be obvious from the package.

There really is, apparently, an app for everything.

Taylor Detector was created by programmer Jonathan Goldner, whose other projects include Air Aware, which tracks air quality, pollen and environmental health risks, and Friday Night Lights, which reminds users when it is time to light Shabbat candles. His portfolio, taken together, suggests a particular interest in the invisible forces governing everyday life: particulates, sundown, industrial produce conglomerates.

I start scanning.

One salad kit: no.

Another: no.

For a moment, Taylor Detector is an exceptionally boring slot machine. Then I round the corner toward the bagged vegetables and point my phone at a package of Earthbound Farm broccoli florets.

The screen turns red.

CONFIRMED.

“Oh,” I think.

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This is how I learn that Earthbound Farm is owned by Taylor Farms, as is Eat Smart. The company also supplies private-label and store-brand packaged salad greens and kits for numerous major retailers from Whole Foods to Kroger to Aldi. 

That small revelation — broccoli in hand, phone glowing red — gets at the gap Goldner says he built the app to address. Shoppers trying to identify Taylor Farms products themselves have occasionally been advised to look for packaging codes beginning with “TF” or similar letters. But there is no standardized public key for deciphering them; codes vary among plants and products, and the absence of an obvious “TF” is no guarantee Taylor Farms wasn’t involved.

In his FAQ, Goldner puts the problem plainly: consumers shouldn’t have to be “decoding packaging on the fly.”

Which, when you think about it, is an extraordinary activity to have entered the modern grocery-shopping repertoire.

But there is a reason people are trying.

Taylor Farms has spent much of the summer at the center of a strange and confusing food-safety story. And this week brought another recall: The company pulled prepared foods, including salsa and guacamole sold under brands such as Trader Joe’s and Walmart’s Freshness Guaranteed, after receiving jalapeños connected to a multistate Salmonella outbreak.

We have entered a moment when the government tells Americans to scrutinize their food, corporations operate supply chains consumers can barely see, and states and Washington are fighting over who gets to regulate them — and someone has responded by building an app so I can stand in the produce aisle and scan my vegetables to determine who, exactly, is behind them.

That’s somewhat funny.

It is also an awfully revealing picture of where American trust in the food system is right now.

When Taylor Farms went to the White House

In July, FDA traceback and epidemiological evidence linked shredded iceberg lettuce produced by Taylor Farms to a major Cyclospora outbreak. Then came a confusing correction: A product sample the agency had initially described as positive was later determined to be a false positive. Taylor Farms used the revision to push back on the idea that its lettuce had been definitively identified as the source; federal officials, though, maintained that the broader epidemiological and traceback evidence still pointed there.

As if that were not enough to make the average salad eater develop a mild interest in supply-chain forensics, the story soon acquired a political subplot.

Taylor Farms and its CEO, Bruce Taylor, have donated millions to conservative and Republican-aligned political groups, including a $1 million contribution to the pro-Trump super PAC MAGA Inc. in 2025. In July, as scrutiny of the outbreak intensified, company executives and lobbyists met privately with the White House. Rep. Robert Garcia, the ranking Democrat on the House Oversight Committee, subsequently demanded answers about both the outbreak and the circumstances surrounding that meeting.

 

None of that establishes that political access changed the government’s response. But the optics are almost laboratory-designed to produce suspicion: A company tied to a sprawling foodborne-illness investigation, whose leadership has given substantial sums to the president’s political operation, gets an emergency audience at the White House while regulators and the company publicly disagree about what the evidence means.

This is also an administration that very much wants Americans thinking harder about their food.

Robert F. Kennedy Jr. — who recently added cooking-show host to his duties at HHS, presiding over salmon cakes and homemade vinaigrette on “The Real Food Show” — has made distrust of the conventional American food system one of his signature themes. The show promises to teach Americans how to eat “real food,” presenting recognizable ingredients and home cooking as an antidote to a processed-food culture portrayed as artificial, addictive and imposed from above.

This week, Kennedy carried that project further, promising the federal government’s first official definition of ultra-processed food. Scientists do not currently agree on exactly what belongs in that category, a problem Kennedy summarized with characteristic bluntness: “If you can’t define a problem, you can’t solve it.”

Fair enough.

But the ideal MAHA consumer occupies a curious position. She should be discerning. She should read labels, mistrust mysterious additives, interrogate old nutritional orthodoxies and learn to distinguish “real” food from whatever came before it. She should, perhaps, even become a little suspicious.

Just not indiscriminately so.

Because once that skepticism travels backward through the supply chain — past the emulsifiers and dyes, toward corporate ownership, political donations, private meetings and the government agencies charged with keeping food safe — the questions become rather less tidy.

Discernment is encouraged. Distrust is curated.

When the recalls blur

Back in the produce aisle, the app has done exactly what it promised.

I now know that the broccoli florets in my hand have a documented connection to Taylor Farms.

What I do not know is whether that means I should put them back.

I have not received a recall alert for broccoli. There is no red banner telling me this particular bag is unsafe. And Taylor Farms is hardly the only name appearing in food-safety notices lately: Recent recalls have involved tomato bisque soup over possible Listeria contamination, a Chinese-style spice mix over possible Salmonella and blueberries over possible E. coli.

At a certain point, the alerts begin to blur together.

Taylor Detector can tell me who is behind the package. It cannot tell me what level of risk I should assign to that fact.

That part is still mine.

Which may be the strangest feature of this new age of food vigilance. Americans are being encouraged to become sharper, more suspicious consumers — to read more closely, question more aggressively and demand to know what is really in their food. But information arrives in fragments: a barcode result here, a recall notice there, a corrected FDA finding, a corporate statement, a congressional inquiry.

The broccoli remains broccoli.

I am simply standing in front of it with considerably more information than I had five minutes ago, and no corresponding increase in certainty. So I make the decision myself — and leave it behind.

Maybe I’ll have better luck at the farmers market.

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Perhaps it is because I’ve been nursing a slight and recent obsession with zany detective movies of the 1960s — prompted by “The Pink Panther,” then by following the Peter Sellers trail to “A Shot in the Dark” and “After the Fox” — but when I first heard that President Donald Trump had reportedly escaped Turkey in an “airport catering cart,” the scene arrived in my mind already blocked and costumed: a white-tableclothed trolley, steered by a nervous waiter in a bow tie, perhaps topped with a silver cloche. Beneath the linens, taking care that his shoes did not give him away, Trump crouched while he was wheeled past a succession of unfriendly eyes, their owners somehow oblivious to the president concealed at knee height.

The reality was, of course, considerably less cinematic.

The cart was not really a cart at all, but a truck: a large white box fitted with a hydraulic lift, the sort of airport machinery designed to rise neatly to the door of an aircraft. No tablecloth. No cloche. No perspiring waiter trying to look casual. Trump could, essentially, simply walk inside.

And, according to reports, that is more or less what happened. The BBC described footage from July 8 showing Trump boarding the presidential jet at Ankara airport; according to the Washington Post, he was then secretly transferred, by way of an elevated catering truck positioned on the aircraft’s far side, to a smaller C-32A military plane — a modified Boeing 757 more commonly used by the vice president. The operation was reportedly prompted by an Iranian assassination threat. 

The internet, however, wasn’t particularly interested in this version. 

Within hours of the original Washington Post report, social media had begun supplying its own: AI-generated images of Trump hunched in a cramped compartment over a small mountain of McDonald’s hamburgers; jokes that the operation was going to require “a bigger catering cart”; and, in perhaps the fullest realization of the bit, a mock announcement that, for the president’s “food truck extraction operation,” a team of top operatives had been assembled, all uniquely suited to the task. The operatives were Chef Boyardee, Ronald McDonald, the Burger King and Colonel Sanders.

It is worth considering why this particular image struck such a chord. In another context, a president being quietly transferred between aircraft in a service vehicle might register as little more than a piece of security choreography — unusual, perhaps, but hardly ready-made for farce. Trump in a catering truck was different. For years, he has made food part of his political stagecraft: something to display, serve, pose beside and use as shorthand for abundance, familiarity and a particular vision of American life. 

The exquisite comic reversal of the Turkey episode was that, this time, he was no longer directing the tableau. He had been swallowed by the scenery.

Consider the hamburgers. 

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One image from Trump’s first presidency still looms especially large for me. In the middle of the 2019 government shutdown, he filled the White House State Dining Room with McDonald’s, Wendy’s and Burger King to celebrate Clemson’s national-championship football team, telling the players that he had ordered roughly a thousand hamburgers — “everything that I like, that you like.” The photographs were almost absurdly theatrical: silver serving pieces and candelabras, the gilt-and-cream grandeur of the White House, and, arrayed beneath it all, mountains of branded fast-food packaging. The incongruity was the point. Trump stood behind the spread as host and Quarter Pounder impresario. 

Five years later, he took his relationship with McDonald’s a step further. During the 2024 campaign, Trump appeared at a franchise in Feasterville-Trevose, Pennsylvania, where the restaurant had been closed to regular customers for the occasion. Instead of bringing McDonald’s into his political theater, as he had at the White House, Trump stepped into McDonald’s theater: apron on, fries in hand, leaning through the drive-thru window. The staging was unusually literal. The restaurant had become a set, the counter a stage, and Trump had given himself a part.

Even the strange little culture war over Cracker Barrel’s logo found Trump acting as something like both dramaturg and producer. When the chain’s 2025 redesign set off a backlash, Trump urged the company to restore its old logo and immediately translated the controversy into the language of show business: Cracker Barrel, he wrote, had received “a Billion Dollars worth of free publicity” if it knew how to use it. “Make Cracker Barrel a WINNER again,” he advised. Restore the old set. Bring back the familiar character. Capitalize on the attention. Trump wasn’t merely offering an opinion about restaurant branding; he was giving notes.

The White House soon made the conceit almost embarrassingly literal. Its official X account posted a doctored version of the familiar Cracker Barrel logo in which Trump had replaced the old man beside the barrel. The barrel itself now read “America First”; beneath it: “America is back.” Trump had not simply inserted himself into a debate over the restaurant’s iconography. He had been cast inside it.

There is, of course, nothing inherently funny about a catering truck, much less about the security concerns that reportedly put Trump inside one. But political imagery is not entirely under the politician’s control. Spend enough years standing behind pyramids of hamburgers, posing at fry stations and inserting yourself into the iconography of American restaurant chains, and eventually the props begin to accrue meanings of their own. McDonald’s becomes not merely something Trump eats or campaigns beside, but part of the visual vocabulary through which people understand him.

Which may explain why, when news broke that Trump had been spirited between planes in a catering truck, the internet required almost no time to dress the scene. The hamburgers were already there. So were Ronald McDonald, Colonel Sanders and the Burger King. Trump has spent years directing the food theater. The catering truck was funny because, for once, he disappeared backstage.

The only thing missing, really, was my nervous waiter in the bow tie.

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At the end of the debut episode of “The Real Food Show,” Robert F. Kennedy Jr. spears a single bite of salmon cake and brings it to his lips. “Amazing,” he says, giving chef Andrew Gruel a slack thumbs-up. The salad on the plate — arugula, white beans and sliced apple — remains untouched. Kennedy does not go back for another bite.

“Thank you,” Gruel replies. “First time I’ve cooked for a dignitary.” Kennedy pats him quickly on the back, then turns to the camera. “We’re here today to teach Americans how to eat real food, high-quality food at affordable prices,” he says, “and we’ll see you next time.” 

The bite, it turns out, was less a culmination than an exit cue.

This is the central uncanniness of “The Real Food Show,” which contains all the familiar furniture of a cooking program — the studio kitchen, the chef, the recipe, the price graphics, the ceremonial final bite — but almost none of the curiosity or pleasure that ordinarily gives the form life.

Food is everywhere, but appetite is nowhere.

Officially, “The Real Food Show” is a new HHS cooking series intended to bring the Dietary Guidelines for Americans to life through affordable recipes, easy techniques, practical nutrition advice and special guests preparing their “healthy signature dishes” alongside Kennedy.

(Kennedy is not, apparently, the only member of President Donald Trump’s Cabinet to have recently heard the siren call of the web series. In May, Transportation Secretary Sean Duffy announced “The Great American Road Trip,” a family travelogue starring Duffy, his wife, Rachel Campos-Duffy, and their nine children. It was supposed to premiere in June; as The Bulwark’s Will Sommer noted this week, August arrived without a single episode. Kennedy may, for now, be the only Cabinet host who has actually managed to get his show on the air.)

The premiere opens with Kennedy standing inside a low-budget digital cornucopia. A red cartoon hunk of steak, a bronzed turkey, a few shrimp, a tub of unsweetened yogurt, an apple and a bag of frozen peas cascade alongside him. The show keeps insisting on “real food” while representing it through some of the fakest, cheapest-looking imagery available.

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Thanks to President Trump, Kennedy announces, “we’ve flipped the food pyramid and put real food back where it belongs, at the center of the American plate.” He plans to travel across the country showing families how to cook delicious, nutritious meals with real ingredients at affordable prices. At the word “affordable,” a blizzard of dollar bills begins to fall behind him.

The digital collage gives way to a more familiar cooking-show fantasy. Kennedy joins Gruel — a chef, restaurateur and prominent opponent of COVID-19 restrictions in 2020 — in a bright white studio kitchen. They wear matching “The Real Food Show” aprons. Behind them, cookbooks line the shelves, fruit has been arranged decoratively across the counters and every surface gleams with aspirational domestic ease. The set, at least, knows exactly what a cooking show is supposed to look like.

Gruel begins with an entirely reasonable proposition. The ingredients will be familiar to home cooks, he says, but he will introduce a few “cheffy tricks” along the way. 

Before much cooking can occur, however, Gruel explains that many Americans are addicted to processed foods because those foods have been chemically engineered to be addictive. With a few whole ingredients, he says, they can make something just as delicious. This, too, is familiar enough advice. What is strange is the air of grim discovery around it, as though the pleasures of cooking with recognizable ingredients had only recently been recovered from a hostile laboratory.

Gruel selects seafood, one of what he calls the country’s “bounty items,” and announces that they will make salmon cakes. The recipe calls for a pound and a half of frozen salmon; an on-screen graphic prices it at $8.99, without naming a retailer or indicating that the fish is on sale. When I checked my local Mariano’s in Chicago, the same amount, even at its sale price, came to about $12. The difference is not ruinous, but it is the first indication that the show may be playing loosely with its promise of meals costing less than $5 per serving.

Gruel notes that home cooks can use another kind of fish, even canned fish — useful, flexible advice that is also so broad as to become generic. Rather than explain how a leaner fish or one packed in oil might change the cake, the recipe simply expands to encompass nearly anything.

There is a brief detour about frozen salmon. Gruel explains that freezing fish kills parasites. Kennedy listens attentively. Given the secretary’s own much-discussed brain-worm story, the moment lands like a joke no one on set appears to notice.

The salmon goes onto a sheet pan. In the kitchen, Gruel recommends rubbing it with avocado oil, salt and fresh herbs. The accompanying graphic quietly offers two additional fats: olive oil and beef tallow, the latter a favorite within the administration’s anti-seed-oil discourse. Viewers are then instructed to roast the fish at 400 degrees for eight minutes. There is no meaningful guidance about the thickness of the fillets, the temperature they should reach or how to tell when they are done.

Yet, the salmon reappears cooked and cooled. Before the hosts can begin flaking it, however, the show pauses to consider why Americans eat so little fish compared with people in Japan.

Kennedy suspects the difference is cultural: In the United States, he says, people tend to think of meat when they think of protein.

It is a curious diagnosis from an administration whose senior officials have lately been swapping notes on a regimen nicknamed the “sauerkraut diet.” Kennedy and several other Cabinet members have reportedly embraced versions of the plan, which emphasizes grass-fed meat and fermented foods while eliminating alcohol and sugary foods. The physician behind it advertises direct consultations costing as much as $18,000. The show, meanwhile, suggests that ordinary Americans priced out of meat try fish — any fish, even canned.

The advice is useful. The asymmetry is difficult to miss.

Then, at last, they cook together. Kennedy flakes the cooled salmon into a metal bowl while Gruel adds an egg, panko, Dijon mustard, chopped red onion, chives, nutritional yeast and avocado-oil mayonnaise. Small price graphics pop up beside the ingredients as they go: 25 cents for the egg, another modest sum for the breadcrumbs. Gruel talks Kennedy through the mixture, offering the kind of loose, adaptable instruction home cooks have received from television chefs for decades.

The recipe proceeds in the key of perfectly fine. The ingredients are accessible, the substitutions sensible, the salmon cakes plausible weeknight fare. The show’s strangeness does not arise from strange cooking advice, but from the ideological burden placed upon it: An ordinary fish cake becomes evidence that Americans might eat their way toward a healthier, more fiscally disciplined nation.

It’s time for a side. 

First, however, Kennedy pauses to relitigate the federal government’s recent nutrition policy. The Biden administration’s dietary guidelines ran 453 pages, he says, with the number offered as self-evident proof of their absurdity. His department threw that work “in the trash,” assembled a new group of nutritionists and, he jokes, locked them in a room for 11 months to produce recommendations actually grounded in science. For decades, Kennedy says, the government has lied to Americans about saturated fat.

When the cooking resumes, several salmon cakes have already been shaped and set aside. Gruel explains that resting allows the panko to absorb moisture, though he does not say how long that takes. The finished cakes are browned and appealing.

 

The side dish is a salad of apples, white beans and greens with a simple vinaigrette. Gruel recalls growing up in what he calls the “microwave generation,” in a house stocked with cereal, pasta, refined carbohydrates and premade salad dressings. He describes himself as having been “addicted” to them. Making your own dressing, he says, is one of the easiest ways to improve your cooking.

He is right. Homemade vinaigrette is quick, inexpensive and generally much better than the bottled kind. But “The Real Food Show” cannot recommend a salad dressing without first convening a tribunal. Pleasure is never quite sufficient justification for cooking something yourself; the viewer must also understand that the old version was artificial, addictive or imposed upon them by a corrupt system. Even the vinaigrette arrives as evidence in a case.

That moral framing has consequences beyond the kitchen. “The Real Food Show” never explicitly argues that a salmon cake can replace a social safety net. Some viewers, however, appear ready to complete the thought. “Exactly the type of videos a HHS secretary should be posting,” one commenter wrote. “Good food = Good health = Drastically reducing healthcare budgets.”

It is only one comment, not an official statement of policy. But it articulates the logic hovering around the episode: If Americans can be taught to eat correctly, perhaps they will require less care — and perhaps the government can spend less providing it. That implication is particularly grim after Trump and congressional Republicans enacted legislation projected to reduce federal Medicaid spending by nearly $1 trillion over a decade and leave over 10 million more people uninsured in 2034. The same law is expected to cut federal SNAP spending by roughly $187 billion through expanded work requirements, narrower eligibility and new costs for states.

None of this makes the show’s basic proposition false. Nourishing food can support good health, and learning to cook can make daily life cheaper, easier and more pleasurable. But nutrition instruction cannot substitute for the money, time, access and medical care required to follow it. The kitchen can do many things. It cannot absorb the obligations of the state.

Back in the studio, the final stretch is the show at its most conventionally useful. Gruel demonstrates a knife-sharpening technique, assembles the salad and plates the salmon cakes. Even with Kennedy looming over the counter more than sous-cheffing beside it, “The Real Food Show” briefly becomes the cooking program it has been dressed to imitate.

Then comes the first and final bite. Kennedy takes a stab at the salmon cake, brings one bite to his mouth and calls it “amazing.” He offers Gruel a lazy thumbs-up, accepts the chef’s joke about cooking for a dignitary and immediately turns to the camera to recite the show’s mission statement.

After an episode filled with warnings about addiction, government deception, processed food and discredited fats, the meal itself receives one adjective and one bite. Kennedy does not remark on its flavor or texture. He does not try the salad. He does not return to the plate.

The food has already performed its function. Nobody has to want a second bite.

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The mind keeps a strange little pantry of its own.

It shelves a photograph you paused over, a dish you ate three summers ago, a flavor combination you praised enthusiastically in public and then apparently continued discussing with yourself in private. Later, it sends an idea forward as though it has arrived whole.

Mine was miso-butter tomato toast.

A friend had recently posted photographs from Barcelona, including several enviable angles of pan con tomate. In one, it sat on a tiny plate beside a chilled vermouth cocktail garnished with a pearl onion on a spear. In another, it occupied an outdoor café table next to an exceptionally good pair of cat-eye sunglasses. I wanted the toast, the cocktail, the sunglasses and, presumably, whatever version of myself knew how to arrange all three so casually.

I had also recently waxed poetic about compound butter during a live discussion on summer entertaining. And after several weeks of 90-degree days, I had become devoted to grating tomatoes, an activity especially suited to weather in which chewing can seem like an unreasonable demand.

The name arrived before the instructions did. I knew it would involve sourdough. I knew the bread would be toasted in the oven, where its entire surface could become evenly crisp rather than merely acquire a few handsome skillet stripes. I knew I wanted unsalted butter and mild white miso. And I knew the finished thing would require some crunch.

It had, in other words, the certainty of a craving and the vagueness of a dream.

Toast is forgiving of this kind of thinking. It is the food of pantry rummagers and refrigerator foragers, and it exists on a curious emotional spectrum. One person says, with defeat, “All I managed today was beans on toast.” Another announces, with delight, “I made these incredible marinated white beans and put them on toast.” I am firmly in the latter camp. Toast is what happens when three unrelated things in the refrigerator agree to become lunch.

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This particular toast only looked improvised. Beneath its casual, slightly rumpled appearance was a specific bit of flavor logic: salt, fat, sweetness, acidity, glutamates upon glutamates.

There is a quiet kitchen principle I return to often: What wants to hold hands?

Spend enough time cooking — or leafing through cookbooks in bed — and you notice certain ingredients keep reaching for one another. Tomato already knows butter from ghee-rich curries, grilled cheese dipped in tomato soup and Marcella Hazan’s famously spare sauce. Miso and butter are just as comfortable together, whether in mashed potatoes or chocolate-chip cookies. The combination needed little persuasion. I only had to decide what shape it would take.

I considered whipping the miso into cold butter, making a compound butter to scrape over oven-hot sourdough before adding tomato slices and crystalline hunks of salt. But I wanted the miso butter to seep into the bread, not merely sit on top of it. I considered basting the tomatoes in butter and stewing them down with miso until soft and glossy. That version sounds wonderful, but it belongs to the first day the temperature slips below 70 degrees.

This was summer. The tomato needed to remain itself.

I melted the butter and miso together until fragrant and faintly nutty, then brushed it over sourdough and baked the slices until deeply golden. I grated a ripe tomato into a bowl, an operation I find disproportionately satisfying. When the skin has collapsed into your palm like a deflated balloon, you lift the box grater and discover an almost implausible amount of ruby pulp underneath it. Apparently, when it comes to shreds and zest, I possess the object permanence of a baby. Every time, the reveal delights me.

I seasoned the tomato with salt and a little garlic powder, which supplied savory warmth without the acridity fresh garlic can bring. I spooned it over the hot toast and finished it with scallions, sesame seeds, black pepper and olive oil.

I had my notebook open beside me, ready to catalogue the toast’s faults. Recipe development has trained me to distrust a dish that works on the first try; it is like meeting someone wonderful on a first date and spending the evening scanning for red flags. I have to be missing something, right?

Perhaps it needed acid. White balsamic, maybe, or a splash of the regular kind. Then I tasted it.

I took another bite before picking up my pen.

“This is a good toast,” I wrote.

Another bite.

“I’m glad I didn’t add vinegar.”

 

 

The post The better way to make tomato toast appeared first on Salon.com.

It’s a $16 disappointment every time.

These days, the airport sandwich tends to emerge from a fluorescent-lit vending machine with a name like Farmer On-the-Go or Nutrition Inc. The machine is usually white, decorated with soothing green or blue iconography meant, I suppose, to conjure grass and sea in one of the least pastoral spaces on earth. Through its glass door, you can survey the foods generally understood to be “healthy,” at least compared with the Panda Express and Cinnabon farther down the concourse: yogurt parfaits with thin geological strata of berries; Caesar and chef salads in plastic clamshells; a few juices and smoothies; wraps, usually Caesar; and sandwiches, almost invariably ham or turkey.

The last time I bought one, I was flying from Louisville to Chicago. It was early, and I was travel-day queasy enough that whatever Smashburger considered a breakfast sandwich seemed unwise. A turkey sandwich and a pack of mint gum appeared to be the more prudent option.

I accepted the disappointment the moment I tapped my debit card: this was not a $16 sandwich.

It came in a rigid plastic triangle sealed with peel-and-stick film—a transparent reliquary for something nobody revered. Condensation had gathered beneath the lid, suggesting freshness, or at least recent contact with the natural world, but when I peeled it back there was a suspicious lack of smell.

The bread was stale. One piece of lettuce was limp; another was somehow entirely lettuce rib. The turkey was fine, and the cheese was technically cheese, though the sandwich had achieved the improbable condition of being simultaneously refrigerator-cold and slightly melted. There were packets of Hellmann’s mayonnaise and mustard at the counter, which helped, but only so much.

This felt particularly insulting because I really, really love sandwiches—not merely as lunch, but as a form. Watching “Scooby-Doo” as a child, I came away with two clear ambitions for adulthood: a side gig solving mysteries and a refrigerator always full of sandwich ingredients. The towering versions assembled by Shaggy and Scooby embodied abundance, customization and the exhilarating possibility that nearly anything could be made better by placing it between two pieces of bread.

The airport sandwich represents the betrayal of that promise. It has presumably been engineered by a team, calibrated for refrigeration and focus-grouped into broad acceptability, yet it feels made by no one. Its chief ambition is endurance: it must survive transit, uncertain demand and an unknowable stretch between gates. Endurance is the full extent of its imagination. 

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Its true opposite is not the restaurant sandwich, constructed by a chef and eaten promptly under ideal conditions. 

It is the beach sandwich: made by everyday people with a zest for life and brine, then carried some distance before being eaten with an appetite sharpened by sun, swimming and the lugging of chairs across hot sand.

Building one brings out the latent chef in nearly everyone. Italian-American shore moms know this. So do dads carrying old-school Igloo coolers, each of whom, I suspect, has strongly held beliefs about bread density, condiment placement and whether tomatoes are worth the risk. These people may never use the phrase “moisture barrier,” but they know where the cheese belongs.

A good beach sandwich is designed not merely to survive the wait but to improve during it. The bread grows slightly more tender. The cheese softens. The sauces settle into the meat and greens. It becomes a little compressed, a little messier and somehow more itself.

Though the Scooby-Doo towers would never make it across the dunes, there are better ways to build a sandwich for adventure. Let me show you.

The beach sandwich blueprint 

Bread is the first and last defense against sogginess, which is why sturdy loaves — focaccia, baguettes, bâtards, Italian bread — shine in beach-sandwich applications. They can take a generous smear of sauce, withstand several hours of compression and still emerge recognizably bread-shaped.

For this sandwich, I wanted ciabatta because it is perhaps the most pillowy of the sturdy breads. It has enough backbone for the journey without requiring the determined chewing that makes lunch feel like a mandibular endurance event. Its open crumb absorbs just enough sauce to become more flavorful as it sits, while the soft crust remains easy to eat on a towel without showering your lap in shards.

Next come the condiments. I am an avowed condiment hound, especially when two sauces are doing different jobs. Double sauce is not necessary, but I like a little indulgence underscoring the practicality of a packable meal.

On one side goes lemon mayonnaise, our acid-fat lever: rich enough to keep the turkey lush, sharp enough to wake it up. On the other goes a coarse, olive-bar-inspired romesco made with jarred roasted peppers, sun-dried tomatoes, salted roasted almonds and smoked paprika. It brings vegetal sweetness, salt, smoke and nubby creaminess without requiring anyone to roast and peel peppers before packing the cooler. Marcona almonds are lovely if you want an amusing high-low dialogue with the potato chips that appear later, though any salted roasted almond will do.

I initially considered Manchego. Its saltiness and nuttiness made perfect sense with the romesco, but I realized I wanted foldiness rather than crystalline hunks. Muenster is less assertive but more accommodating: its mild butteriness stands beside the sauce without competing, and it softens agreeably in summer warmth without becoming stringy or oily. The best beach-sandwich ingredients have promising future states.

Then there is the turkey.

Like all good beach sandwiches, some of this comes down to pure personal desire. I could eat a turkey sandwich every day of my life. I maintain a running ranking of the best ones in Chicago, from the version at my local bánh mì counter—resplendent with pickled daikon and carrots, Vietnamese mayonnaise and soy sauce—to the one at my neighborhood café, served on crackly oat bread and actually worth its fifteen-dollar price tag.

I considered prosciutto, roast beef, cured meats and even a pickle-heavy chickpea salad. All would have worked. But good sandwich architecture is not the same thing as bloodless optimization. At some point, desire gets veto power.

Turkey, baby.

For greens, I turn to arugula. Crisp-head lettuces have their place — I love them on summer sandwiches destined to be eaten immediately — but given enough time, crunch becomes limpness.

Arugula knows how to wilt gracefully. Its peppery bite survives the wait, while the leaves soften into the sauces rather than collapsing into wet ribbons. It also lends the sandwich the air of something procured from a real cute deli, perhaps one with handwritten menu boards and expensive sparkling water.

Finally, the salt-and-vinegar chips go inside.

This is partly whimsy, but also practicality. Their crunch interrupts the softness of the turkey, cheese and sauces; their salt seasons the sandwich; and their pucker sharpens the lemon mayo and smoky-sweet romesco. Tucked against the arugula, they function almost like an extremely unserious vinaigrette.

They will soften somewhat as the sandwich waits, but not entirely. That slightly crushed, partially melded state is the point. A good beach sandwich should not remain frozen in the moment of assembly. It should settle into itself.

How you wrap it matters, too. I prefer parchment paper for the first layer, which allows the bread to breathe and avoids recreating the clammy condensation routine of the airport sandwich. Wrap it snugly enough to hold everything together and encourage a little beneficial compression.

If it is headed into a cooler, place the parchment-wrapped sandwich inside a resealable bag or hard-sided container. The inner layer remains breathable; the outer one protects it from the ice pack and the inevitable little lake at the bottom of the cooler. You are not trying to preserve the sandwich in suspended animation. You are creating the conditions under which it can improve without becoming waterlogged.

And improve it does.

It is delicious fresh. It is better after the walk to the lake and an hour in the water, when the ciabatta has grown slightly more tender, the Muenster has relaxed, the romesco has settled into the turkey and the crushed chips have become one with the peppery greens.

By then, the sandwich has changed, but so have you. Your appetite has been sharpened by sun, distance and swimming, and what you unwrap tastes less like something that survived the journey than something that has been quietly getting ready for you.

That is the true art of the beach sandwich: building something not merely to endure the wait, but to meet you at the other end of it.

 

 

The post The art of the beach sandwich appeared first on Salon.com.

The water was at our backs, but everything still looked blue.

It was a Saturday, and the sky above the lake was shockingly clear. The breeze hurried the fluffy clouds along like an invisible, impatient dog walker trying to jostle a pack of Pomeranians past the more interesting signposts and fence posts: a brief stall, then a fluid push forward.

Usually, all that blue would have felt like a gift. That day, walking home from a particularly sad documentary interview, I wasn’t sure it was helping.

Outside of writing this newsletter, I work on radio documentaries with my partner, Stephen. They are creative projects with the sneaky ability to hollow you out sometimes, especially when the story requires you to watch someone move through a series of the hardest days of their life. Not every documentary I’ve worked on has gone that way. This one has.

I carried my messy notes as we walked slowly. Stephen carried a neatly packed bag lined with recorders, headphones and batteries. We were quiet, as we typically are after interviews that heavy, letting our thoughts jostle and cure until we reached a coffee shop — always a coffee shop — where we could log the tape and our first responses to it.

That was when I spotted the Little Free Library.

It stood outside a brick six-flat, also fittingly painted blue, and decorated with a few stickers: “Protect Native Plants,” a rocket ship from a regional space camp, several iridescent birds. Inside, wedged among some children’s CDs—the kind I imagine hip parents buy, with sock monkeys and mandolins on the covers—a book about angel investing and a sweet, self-published chapbook of nature poems, was a copy of “The Secret Garden.”

Eerily, I had made a note only a few days earlier to see whether the real library had it.

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As we dug through the shelves, one of the building’s residents emerged from the front door with the stride of a woman on a mission. She wore no-nonsense sneakers with pink swooshes and carried two FedEx boxes.

“That is very good!” she called as she breezed past.

I couldn’t tell whether she meant the jazz CD Stephen was holding or “The Secret Garden,” but I took it as permission nonetheless and slipped the book into my purse. I’ll return it to another Little Free Library when I’m finished.

At home, I put it on my bedside table, pausing to start the rice cooker on my way. 

I could say that lately I’ve been regarding the things I find nourishing with renewed appreciation. But that sounds more composed than I actually feel. What I really mean is that, in my downtime, I’ve been steeping myself in things I already know will bring me comfort.

This morning, I actually squealed when the library emailed to say my hold on “The Wind in the Willows”—a book I first read in sixth grade—was ready for pickup.

And, more nights than not lately, I’ve been making rice and eggs.

The bowl first entered my regular rotation in 2023, during the great feta-fried-egg boom, though I suspect its staying power has less to do with TikTok than with the state I was in when it found me. I was badly burned out: singed and shaky, waking so often with heart palpitations, sweaty palms and a vague sense of catastrophe that I became intimately acquainted with the way my apartment looked at 3 a.m. Every familiar object — the chair, the laundry basket, the glass of water beside the bed — seemed to acquire a slightly accusatory moonlit outline.

Getting better took a while. The thing that helped most was finding my own secret garden, a nearby bird sanctuary that crags out over Lake Michigan. Each day, I made the three-mile round trip to inspect the warblers, chipmunks and generally mysterious rustlings of the underbrush.

On my recent rereading of “The Secret Garden,” I was delighted by the moment when Mary, initially pale and peevish and uninterested in her breakfast, begins wandering the grounds with a jump rope in hand. The exercise and fresh air work their plain Victorian magic; soon she is ravenous for the porridge waiting at Misselthwaite Manor.

I understood completely. I would come home from the sanctuary hungry and make rice and eggs—if not that evening, then the following morning. Millennial porridge.

It’s funny, my mother used to look at me with an expression that was neither mocking nor exasperated, merely seasoned, and say, “Baby, not everything needs to be a production.”

This applied to rearranging my childhood bedroom furniture after reading about feng shui in a magazine, redoing my makeup when we were already late and, eventually, cooking. Once I learned what a roux was, I wanted every meal to have one. There was a period when dinner seemed to require a mother sauce, three pans and a 45-minute drive to the crunchy health-food store for microgreens that wilted almost immediately.

My mother, an excellent cook, understood repetition better. For years, I would come home from figure-skating practice bruised from falling, exhausted from trying not to fall and tender from the ambient heartache of being a teenager. She would make bowties in a light Parmesan sauce with peas, ham and an indecent amount of black pepper.

Surely she fed me other things. But when I remember that stretch of my life, I remember that bowl arriving again and again. What I failed to appreciate then was that familiarity was part of the offering. Having something good to return to is not a failure of imagination. Traversing the same landscape does not make it less beautiful.

My rice and eggs began with a feta-fried egg over steamed white rice. The rest accumulated slowly and, for the most part, logically: lemon zest for brightness, bacon for savory crunch, avocado for cool richness. Scallions and soy sauce arrived because I add them to almost everything, occasionally without proper cause. Red pepper flakes and everything bagel seasoning cover the remaining territory — heat, funk, nuttiness, crunch — in a few economical shakes.

At some point, the bowl was finished.

Naturally, I continued to interfere with it.

I swiped chili aioli over the top. I added enough hot sauce to drown out the lemon. I became overly generous with the bacon and avocado. I stirred miso butter into the rice, which was delicious but made the entire meal feel as though it had changed its name and moved to another neighborhood.

None of these were bad ideas. They simply were not my bowl.

There is a popular idea that good cooking is a matter of building flavor, and often it is. But it is also the quieter skill of noticing when the building is complete and putting down the hammer.

In my perfect version, the yolk breaks over the hot rice and mingles immediately with the lemon zest, becoming a kind of lazy hollandaise. The soy sauce deepens it; the bacon crackles; the avocado cools everything down. It costs only a few dollars a bowl, even with the avocado behaving like an avocado, but I feel rich when I eat it: nourished, complete and relieved that dinner did not need to become a production before it could take care of me.

Here is exactly how I make it.

This story originally appeared in The Bite, my weekly food newsletter for Salon. If you enjoyed it and would like more essays, recipes, technique explainers and interviews sent straight to your inbox, subscribe here.

The post It’s always rice and eggs appeared first on Salon.com.