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However, so strong is the smell that I am not sure that I would recommend it to anyone but an adventurous eater. I loved the dish. With a half bottle of the house red, Campirossi primitivo, and water the bill totalled 66 euro.

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Highly recommended. Closed Monday. It is within an easy drive of Otranto and the nearby beaches of the coast. Be prepared for tricky drive through the town before you get there. Send a private message to Viajero2. Find More Posts by Viajero2. I am glad you enjoyed. While there is undoubtedly a wealth of historical sights, our focus was the food and scenery of the region. If you want to read more on the history, I would recommend the Lonely Planet guide which seems to have the most information in English.

Thanks for the great links! Puglia and Basilicata-- designated Italy's most up-and-coming destinations!!! You're off to a great start with this trip report. Really looking forward to the rest! Send a private message to LowCountryIslander. Hello ekscrunchy, I cannot think of a better lead up to our impending holiday in Puglia than to read your unfolding report. Masseria Gattamora already sounds worth the trip all on its own!

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Find More Posts by loncall. I've been eagerly looking forward to your report! Thanks so much for posting. Send a private message to julia1. Find More Posts by julia1. We began the following day with breakfast at the masseria: Bread, cakes, pastry, and local jams and jellies were among the offerings to be taken inside or on the adjacent vine-shaded terrace.

When we asked the waiter at Masseria Gattamora about the best beaches in the region, he had enthusiastically recommended Porto Badisco, we headed first to this cut in the low, stony headland that formed a glorious screen-saver-worthy cove with transparent turquoise waters that I had no idea existed anywhere in Europe.

We followed a dirt road north from the almost deserted tiny hamlet, and found ourselves in a parking lot edged by a tiny sandy beach where a small sprinkling of locals were swimming and lounging. I imagine that in season this place would be a madhouse but on that day in late September it was a scene that I will long remember. We stopped to take in the view from an ancient stone watchtower; the clearest of days reportedly allow a vista across the Adriatic to Albania and Corfu from this coast, and in fact the scenery is reminiscent of Greece.

Here, rather than a sandy beach, we watched swimmers wading into the sea off graded stone platforms that jutted into the turquoise waters. I was swept away by the beauty and very sad that we had only one day to explore this area. Rather than continuing on to Galipoli, we headed only as far as the Marina di Pescoluse, another sandy strand lined with private beach concessions which were closed for the season at the time of our visit.

The beaches here are also glorious. Finally, we drove back to the Masseria, cutting inland through Patu and north to Maglie, in the direction of Ogtranto. By ending our tour, we missed exploring the inland towns of the Salento including Galatina. I would love to return here and spend a week relaxing and ferreting out interesting small towns.

The driving is easy and the people are uniformly welcoming, as they were through out our stay in Puglia. After a swim at the beautiful hotel pool and a bit of a rest, we set off for our dinner destination. This being a Monday night, most restaurants were closed and not even our hotel was serving dinner.

I had asked the hotel for a recommendation and with difficulty, they found that a restaurant in the nearby town of Guirdignano. En route to dinner we stopped again at Uggiano La Chiesa because I wanted to get a better look at this town that we had driven through the night before. Hearing that the town had just celebrated the Festival of Bread and Oil, I wanted to sample some of the local bread.

We found one bakery but it was closed. No problem!

When we asked a passing local for another bakery, he dragged us next door to the home of the baker, rang the bell, and told him that we wanted to buy bread. And so Silvano Corvaglia opened his shop for us at 30, Via degli Ulivi, on the main road into town. Although all the bread was gone for the day, we bought bags and bags of the local favorite, friselline, a savory treat made with flour, olive oil, salt, and in some versions, piquant red pepper.

The stop was made memorable by the animated conversation we had with him about the town and the Salento. The flat landscape around Uggiano la Chiesa and Giurdignano, teems with Neolithic sites in a concentration greater than anywhere else in Italy. The dolmen di Scusi is outside Uggiano and in the town of Giurdignano itself, we admired a menhir dating from the 16th Century B.

But alas, it was closed on Mondays Osteria degli Amici occupies part of an imposing Cinquecento palace on the Piazza Municipio of this handsome small town about 20 minutes from Otranto and down the street from a mysterious 16th Century menhir. The dramatic vaulted dining room is cozy, with worn wood tables and chairs and a pizza oven in the rear. We had high hopes but I am afraid that we were somewhat disappointed. We began with a pizza margherita which suffered from a rather tasteless crust. This dish was excellent everywhere we sampled it 7. Very good. With a carafe of house wine, and water, the check was 34 Euro.

Here, as elsewhere in the region, the food prices were much lower than in regions further north that I have visited. Just curious. If you aren't, how do you deal with the language barrier in areas where less to none english is spoken? You must take copious notes! Very insightful and appetite stimulating narrative! Send a private message to cmndesign. Find More Posts by cmndesign. On the bright side the Eggplant Parmigiano was excellent and I have to admit that is one of my all-time favorite dishes! I tend to try it everywhere I go in Italy!

This report is positively edible!! I want to get on a plane! Many thanks. Send a private message to taconictraveler. Find More Posts by taconictraveler. Oct 13th, , AM. The next morning, after breakfast and a swim, we said goodbye to Masseria Montelauro and the coterie of rambunctious pups that had been our companions there for the two days of our stay, and headed north along the coast toward Lecce.

The coastline north of Otranto is lined with stabilimento balneare, or private concessions offering food, chair, umbrella and sunbed rental, restrooms, and other facilities. The lake was pretty, but for me, the seashore is the draw in this area. Sculpted rock formations and an ancient stone watchtower compete the picture. So I hopped out and found the hotel on foot.

The bellman followed me back to our car and we gratefully handed over the keys, not wanting to drive for one more second inside the city. We liked our hotel very much; staff were welcoming and helpful and the location was ideal. I'm really enjoying your trip report. Thanks so much for all of the details, and for all of the wonderful links and pictures.

Send a private message to jmct Find More Posts by jmct Oct 13th, , PM. Thanks so much, jmct! The historic core of Lecce encompasses a crosshatch of narrow winding streets punctuated by piazze grand and intimate—all positively aglow from warm golden sandstone, pietra leccese, elaborately carved into the flamboyant Baroque structures for which the city is famous.

We also marveled at the remnants of a 2-Century B. Dinner that night was the most anticipated of the week: A 10 minutes walk from the Piazza St. There is a paper menu but we let ourselves be guided by our congenial male host. We were not disappointed. Highlighting the array of mixed antipasti was a plate of marinated red and yellow peppers that were THE sweetest peppers I had ever tasted.

I just cannot tell you how good these were, not am I certain if the sweetness was from the peppers or from the addition of sugar in the marinade. These alone were worth the price of the meal. From our table in the center of the room I had a great view of the miniscule kitchen where Proprietress Sra Anna Carmela Perrone and two other women were toiling away. The kitchen may have been tiny but I had never seen pots that sparkled so brightly. I was interested to see that the signora was using a three step process to prepare eggplant for melanzane parmesan—salting and resting in a colander; grilling to achieve deep dark marks across the thin slices; and then heating again by frying with only the tiniest amount of oil, continually pressing down the slices in the pan.

Here and elsewhere, the completed dishes were notable for both freshness and lack of oil. My partner chose sagne with veal sauce; sagne incanulate are long flat lengths of pasta that look like lengths of ribbon that had been tightly curled around a pencil and then released. He pronounced his dish divine. Wanting to try a signature Leccese dish, I selected the cicerie e tria, long pasta similar to tagliatelle in a sauce of pureed and whole chickpeas.

A Day in Polignano a Mare / Puglia, Italy

This dish is notable because some strands of the pasta are fried after being boiled, contributing a terrific textural component. This was spectacular. With a half carafe of house wine, and water, the bill totalled 47 euro. Not only was the gelato out of this world, but the prices are notably moderate. This is an ideal spot to sample pasticciotto, a custard-filled and sometimes preserve filled shortbread-dough pastry that is to Lecce what sfogliatelle is to Naples. When the oversized snow globe arrived for Brief , and then the miniature artist easel, I was as gleeful as a kid opening a new toy.

You state on the website that your business decisions are guided by an attempt to perpetuate literature that is intellectually, culturally, and ecologically sustainable. This must be a difficult and costly though worthy endeavor. How is it working for you as a press and what are some of the benefits and pitfalls of following this policy? SW: I am certainly proud to be a part of a press that has sustainability at the heart of its publishing and distribution network, either through some of the subject matter our poets tackle or via some of our methods; especially the emphasis on electronic books and the other ways the press has been able to reduce our footprint.

I will let Debra speak more about the actual publishing techniques, but the collaborative model — what she calls a publishing mashup — is more than simply a metaphor for such things. I actually think that such a dedication to environmental, cultural and intellectual sustainability has helped us forge an important and appealing identity, as well as lead us to a kind of poetry and fiction that is concerned, thematically and in terms of methods of production, with the whole drive towards sustainability. I should mention here that we are beginning to advertise and solicit work for an anthology of ecologically engaged poetry based around the question of what poetry means in a transhuman, cyborg world.

I think we, as a race and a planet, are entering a radically new age that will be defined by entirely new concerns and urgencies. This is necessarily, I hope, going to produce incredibly new poetry, and we at Jaded Ibis are keen to position ourselves as a primary, relevant and even radically and appropriately new vehicle for such a poetics. The pitfalls I see are only in not adapting quickly enough to this new world — unless you are referring to the ultimate pitfall of environmental decay, species extinction, the ravages of new pathologies, cities under water, and so on.

Yes, we think so, too. But we believe that high art and culture also need to be sustained. And when I talk about energy, I mean everything from electricity lighting warehouses and shredding books, to fuel for shipping trucks, to trees cut down for shipping pallets, to human resources. Trying to reduce our carbon footprint and sustain ourselves as publishers of new literature has its obstacles, and most of them come from the book review industry.

Why not simply — and rightly — allow publishers to send pdfs for the first reading round? We produce beautiful pdfs of every title on our list. They do this specifically to reduce costs for smaller publishers and, obviously, do their part in sustaining important literature. Jaded Ibis uses Print-On-Demand technology to publish all books except limited editions and digital. As for cultural and intellectual sustainability? Rail: Some say we are in a poetry renaissance and some say that poets have a cultural and political responsibility inherent in their work.

A common question asked of poets is to define the role of the poet in contemporary culture. How do you feel about this question and how would you define your role as both poet and editor? Identity politics surfaces as a clear example, at its worst. Likewise, too many traditional poets rely too heavily on the tradition, which is just stupid.

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So one of the roles of a poet, it seems to me, is to find ways to balance the two. Our currency as artists and editors, then, should be longevity, quality, freshness, and so on, not how spectacularly loud a noise we can make. And therein, it seems to me, lies the freedom and advantage of being involved in the production of literature in this day and age.

If you combine skill and perspicacity with a willingness to wait sometimes, if you resist easy cultural modes, and find the celebrated cultural edge of violence, to adapt a line by the Peruvian poet Cesar Vallejo, you can survive as a poet and as a publishing house. Much of this has to do with the proliferation of MFA programs. Yet we all know the hit poetry has taken in terms of its perceived cultural relevance, over the past 50 years or so.

Nobody today is looking for Terrance Hayes, D. Powell or Natasha Tretheway to make the cover of Time Magazine. My conclusion is that, for editors, this landscape represents a huge advantage, along with the obvious frustrations. That hits obvious nerves for any writer, particularly when so much unimaginative work does get rewarded. Why is that?

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It goes back to that notion of competing with the spectacle, engaging trends, rewarding subject matter that is familiar. In the end, the gift of a difficult landscape, both for editors and for poets, is that it forces you to build your work — and promote other poets and fiction writers — in a way that teaches you to survive.

Remember that Ezra Pound called literature news that stays news. A tough landscape can create exceptional work, if you navigate it properly, if you look hard enough for the right book — as an editor — and if you survive and adapt, as an artist. Rail: Many poets are upping the chance of recognition with social media and have blogs, tumblr accounts, post poems on Facebook and Twitter. As a publisher, do you think this dilutes or enhances the poet's chance of getting published? I think new social media can be an exceptional advantage for poets, fiction writers, and presses such as ours.

You could also forget about the sustainability aspect of the press if we were living in a pre-social media, pre-computerized world.

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The trick is to merge technology with genuine artistic innovation, something I think our press and our authors and artists do quite well. Just to give one last example, look at all the ways the experience of reading a poem is changing in this day and age. With voice-files, poetry videos, collaborations between artists and musicians and poets, and with sites like Youtube and Facebook, and online literary journals and bookstores, people around the globe have access to poetry that otherwise might have remained hidden in a print run of These are the kind of things that really motivate us at Jaded Ibis Press.

Did Michael Cadieux aid in the process, how much involvement did you have with that book? And if there is a story involved or something you would like to highlight in reference to either of these books or any others, please do. SW: I was drawn to Mathew Timmons work in Joyful Noise precisely because of the creative method and surprising language, and also because Timmons managed to create beautiful lines and to find and highlight real human drama in the context of that method.

Timmons is able to move us beyond the freshness of the language and the centrally ironic fact that poetic content could be generated by a series of machines, and I noticed that right away. In general, the poets are chosen in a rather traditional way. We set a submission period, advertise it in a variety of ways, and then spend the summer reading the work that comes in. That last concept is especially important to me as a poet, so it informs the work I do trying to find the best poetry books I can for Jaded Ibis to produce and promote.

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We live in an age of spectacle, to paraphrase a certain cultural critic. The mistake that a lot of poets and editors make is that they attempt to compete with the real cultural spectacles of our time — Hollywood, TV, popular music, political spectacles, and so on. As a poet and certainly as an editor, I am not trying to enter into such a competition. My motivations are remarkably predictable: to produce and promote poetry that is very good, and experimental, poetry that will last. Specifically, I choose poets based on the quality of their work and their willingness to balance that artistic quality with the kind of experimental engagement in subject matter and form we seek.

Colen, really jumped out at me in terms of its quality, its experimentalism, its subject matter, to name a few fine qualities. Rail: As both poet and publisher, and with your press on the leading edge of the use of this technology, would you be willing to list a few of your favorite both past and present and not necessarily Jaded Ibis poet's pieces that you have found online, that inform and excite you. Maybe just give us a couple of links you have bookmarked that you tend to visit when in need of inspiration or relief from exasperation? SW: You mean other than porn? What else?

That seems to be what attracted me to Jaded Ibis in the first place. And not to betray my roots, but I really admire the Virginia Quarterly Review as a place for poetry and new journalism. Alfred Prufrock , by T. Rail: How do you go about soliciting the materials, do you have specific artists in mind, what is the submission process, what format would ultimately be the touchstone for the project and what is the tentative publishing date if there is one.

SW: This project is just getting off the ground and we are only just starting to solicit work and come up with perfect prompts to generate fine writing from contributors. We might consider reprints, if the poem is right, and free, of course, but this is not going to be a vanity project or something where we hit up the usual suspects for all the wrong reasons. We want the freshest, newest and best poetry from people who are addressing these issues.