The farmers at Roaring Lion Farm are raising Meishan heritage pigs.
Peggy Grodinsky
Staff Writer
Peggy Grodinsky has been the food editor at the Portland Press Herald since 2014. Previously, she was executive editor of Cook’s Country, a now-defunct national magazine that was published by America’s Test Kitchen. She spent several years in Texas as food editor at the Houston Chronicle, seven years at the James Beard Foundation in New York, and a (magical) year as a journalism fellow at the University of Hawaii. Her work has appeared in “Best of Food Writing” (2017) and “Cornbread Nation 4: The Best of Southern Food Writing” (2008).
Bedside Table: No light reading here
Book recommendations from readers
After 72 years, FDA says French dressing won’t have a legal definition
Under the FDA’s “standard of identity,” French dressing had to contain vinegar, lemon or lime juice, with vegetable oil making up at least 35 percent of the product’s weight.
Maine Gardener: Hey gardeners, wondering how to occupy your time this winter?
We’ve got some projects for you. Get ready to organize, repair, and build a bin or trellis.
Brush up your dicing and slicing
Looking for a cooking class? Here are some options – virtual, in-person, hands-on and demonstration.
Portland Museum of Art receives photography collection that ‘puts us at another level’
The gift of more than 600 photographs from Judy Glickman Lauder features works by world-famous artists.
Book review: The scope of ‘A Future Without Walls’ – how to fix a divided world – is huge
Perhaps too big and complicated for a single 244-page volume to carry.
Maine Gardener: What could be ahead in the gardening world for 2022?
A shortage of larger saplings and shrubs, as well as a shortage of workers to help tend your garden. Also, a bit of fun while you wait for winter to end.
Green Plate Special: When you waste food, you waste a lot of (your own) money
If helping the environment can’t persuade you to waste less, maybe helping your pocketbook can.
The last volume in ‘A Life of Picasso’ is just as astounding as its predecessors
John Richardson’s latest (and last) follows the artist during the decade after Hitler rose to power.