
If you can’t use flour or leavening agents, egg whites can do the job of adding lift to baked goods.
Photo by Cynthia Hochswender
If you bake, and especially if you bake bread, you are nervously watching what’s happening with the world’s supply of wheat right now.
Ukraine and Russia together supply about a quarter of the world’s wheat, according to the US Department of Agriculture.
Ships don’t want to pick up the wheat that’s available from Black Sea ports. And because of bad weather during the last two years in Russia, the world supply of wheat was already low.
There are fears that the war will keep Russia and Ukraine from harvesting the winter wheat that was planted last autumn; and that the spring crop won’t get planted.
There is a war going on and there is indescribable suffering in much of the world, so it feels very Marie Antoinette to point out that the price of wheat (and flour) is rising because of the war.
But if you bake, this might be a good time either to stock up on flour before the higher prices hit our supermarket shelves (I’m sorry; I know that is hoarding).Or you might want to start looking at recipes that use little or no flour.
Coincidentally, it is also almost Passover, a time when Jewish tradition forbids eating leavened flour products. Of the five main leavening agents for flour, one is air so … short of matzo, there aren’t a lot of flour-based foods that you can eat during the spring High Holy Days.
Nowadays, there are many kinds of gluten-free bread made of alternative flours, and many of them are tasty.
For desserts, the easiest flour-free options of course are custards and fruits.
We’ve published in this column a recipe for the world’s easiest custard, the Italian panna cotta; and we’ve also published instructions on how to make meringue and coconut macaroons, all of which are popular flourless desserts. You can find them at our online archive through the Scoville Memorial Library, https://scoville.advantage-preservation.com.
This year, we offer a ricotta cake that is wonderfully light and not too sweet and, honestly, not very hard to make but very impressive. It is adapted from the Australian food genius Donna Hay.
Of note: At the moment, there is no shortage of white flour, there is only a potential price increase. But as of this week, flour is still about $6 for a 5-pound bag and super fine almond flour is about $11 for 1 pound.
One stick of unsalted butter, room temperature, 1 1/3 cups sugar, 1 vanilla bean, split and seeds scraped (or 1 teaspoon of vanilla extract), 1/4 cup lemon zest, 4 eggs, separated and at room temperature, 2 1/2 cups of super fine almond flour, 10 1/2 ounces of good-quality ricotta (a drier denser more artisanal version will give you a better cake), sliced almonds and powdered sugar for the top.
Combine the butter, 2/3 cup of the sugar, the vanilla and the lemon zest in the bowl of an electric mixer and beat for 8 to 10 minutes, until the mixture is creamy and pale and well-mixed.
Scrap down the sides of the bowl, then gradually add the egg yolks, one at a time, continuing to beat until fully combined.
Add the almond flour and beat to combine.
Fold the ricotta through the almond flour mixture.
Unless you have two mixers, you’ll want to move this all to another bowl and then thoroughly clean your mixing bowl. Give it a wipe with some white vinegar to be sure there is no fat left on it, because you’re now going to beat your egg whites. Gradually add the remaining 2/3 cup of sugar to the whites and continue to beat at medium speed until stiff peaks form, about 10 to 15 minutes.
While the whites are beating, preheat your oven to 325. Butter or grease an 8-inch cake pan and then line the bottom and sides with parchment paper.
Gently fold a third of the egg whites into the flour/ricotta mixture, then add the rest of the egg whites.
Pour the mixture into the prepared cake tin, and tap the sides to try and get the batter as evenly distributed as possible.
Decorate the top with a layer of the sliced almond rounds. Bake for 40-45 minutes or until you can lightly poke the center with a finger and have it bounce back.
Remove from the oven and cool completely on a wire rack, in the baking pan. Dust with powdered sugar.
SHARON — Angela Derrick Carabine, 74, died May 17, 2025, at Vasser Hospital in Poughkeepsie, New York. She was the wife of Michael Carabine and mother of Caitlin Carabine McLean.
A funeral Mass will be celebrated on June 6 at 11:00 a.m. at Saint Katri (St Bernards Church) Church. Burial will follow at St. Bernards Cemetery. A complete obituary can be found on the website of the Kenny Funeral home kennyfuneralhomes.com.
Sam Waterston
On June 7 at 3 p.m., the Triplex Cinema in Great Barrington will host a benefit screening of “The Killing Fields,” Roland Joffé’s 1984 drama about the Khmer Rouge and the two journalists, Cambodian Dith Pran and New York Times correspondent Sydney Schanberg, whose story carried the weight of a nation’s tragedy.
The film, which earned three Academy Awards and seven nominations — including one for Best Actor for Sam Waterston — will be followed by a rare conversation between Waterston and his longtime collaborator and acclaimed television and theater director Matthew Penn.
“This came out of the blue,” Waterston said of the Triplex invitation, “but I love the town, I love this area. We raised our kids here in the Northwest Corner and it’s been good for them and good for us.”
Waterston hasn’t seen the film in decades but its impact has always remained present.
“It was a major event in my life at the time,” Waterston said of filming “The Killing Fields,” “and it had a big influence on me and my life ever after.” He remembers the shoot vividly. “My adrenaline was running high and the part of Sydney Schanberg was so complicated, so interesting.”
Waterston lobbied for the role of the Pulitzer Prize-winning journalist for years, tracing his early interest to a serendipitous connection while filming in England. Even before Joffé’s production was greenlit, he had his sights set on playing the role. “I knew I wanted the part for years even before it was a movie that was being produced.”
What followed was not just critical acclaim, but also a political awakening. “The film gave all of us an intimate acquaintance with refugees, what it is to be a refugee, how the world forgets them and what a terrible crime that is.”
In Boston, at a press stop for the film, two women asked Waterston a pointed question: now that he knew what he knew, what was he going to do about it? “I said, ‘Well, you know, I’m an actor, so I thought I’d go on acting.’ And they said, ‘No, that’s not what you need to do. You need to join Refugees International.’” And join he did, serving on the organization’s board for 25 years.
Both Schanberg and Dith Pran, whose life the film also chronicles, were “cooperative and helpful … in a million ways,” Waterston said. Upon first meeting Pran, Waterston recalled, “He came up to me, made a fist, and pounded on my chest really hard and said, ‘You must understand that Sydney is very strong here.’ He was trying to plant something in me.”
There were more tender gestures, too. Schanberg used the New York Times wire to relay that Waterston’s wife had just given birth while he was filming in Thailand, adding to the personal and emotional connection to the production.
Though “The Killing Fields” is a historical document, its truths still resonate deeply today. “Corruption is a real thing,” Waterston warned. “Journalism is an absolutely essential part of our democracy that is as under siege today as it was then. It’s different now but it’s the same thing of ‘Don’t tell the stories we don’t want heard.’ Without journalists, we are dust in the wind.” Waterston added, “Democracy is built on the consent of the governed but the other thing it’s built on is participation of the governed and without full participation, democracy really doesn’t stand much of a chance. It’s kind of a dead man walking.”
When asked what he hopes the audience will take away from the screening, Waterston didn’t hesitate. “This is the story that puts the victims of war at the center of the story and breaks your heart. I think that does people a world of good to have their hearts broken about something that’s true. So, I hope that’s what the impact will be now.”
Tickets for the benefit screening are available at www.thetriplex.org. Proceeds support Triplex Cinema, a nonprofit home for film and community programming in the Berkshires.
Scott Reinhard, graphic designer, cartographer, former Graphics Editor at the New York Times, took time out from setting up his show “Here, Here, Here, Here- Maps as Art” to explain his process of working.Here he explains one of the “Heres”, the Hunt Library’s location on earth (the orange dot below his hand).
Map lovers know that as well as providing the vital functions of location and guidance, maps can also be works of art.With an exhibition titled “Here, Here, Here, Here — Maps as Art,” Scott Reinhard, graphic designer and cartographer, shows this to be true. The exhibition opens on June 7 at the David M. Hunt Library at 63 Main St., Falls Village, and will be the first solo exhibition for Reinhard.
Reinhard explained how he came to be a mapmaker. “Mapping as a part of my career was somewhat unexpected.I took an introduction to geographic information systems (GIS), the technological side of mapmaking, when I was in graduate school for graphic design at North Carolina State.GIS opened up a whole new world, new tools, and data as a medium to play with.”
He added, “When I moved to New York City, I continued that exploration of cartography, and my work eventually caught the attention of the New York Times, where I went to work as a Graphics Editor, making maps and data visualizations for a number of years.”At the New York Times, his work contributed to a number of Pulitzer Prize winning efforts.
In his work, Reinhard takes complex data and turns it into intriguing visualizations the viewer can begin to comprehend immediately and will want to continue to look into and explore more deeply.
One method Reinhard uses combines historic United States Geological survey maps with “current elevation data (height above sea level for a point on earth) to create 3-D looking maps, combining old and new,” he explained.
For the show at Hunt Library Reinhard said, “I knew that I wanted to incorporate the place into the show itself. A place can be many things.The exhibition portrays the exact spot visitors are from four vantage points: the solar system, the earth, the Northwest Corner, and the library itself.” Hence the name, “Here, Here, Here, Here.”
He continued, “The largest installation, the Northwest Corner, is a mosaic of high-resolution color prints and hand-printed cyanotypes — one of the earliest forms of photography. They use elevation data to portray the landscape in a variety of ways, from highly abstract to the highly detailed.”
This sixteen-foot-wide installation covers the area of Millerton to Barkhamsted Reservoir and from North Canaan down to Cornwall for a total of about 445 square miles.
For subjects, he chooses places he’s visited and feels deeply connected to, like the Northwest Corner.“This show is a thank you to the community for the richness that it has brought to my life. I love it here,” he said.
The opening reception for the show is on June 7 from 5 to 7 p.m. On Thursday, June 12, Reinhard will give a talk about his work from 5:30 to 7 p.m. at the library.“Here, Here, Here, Here” will be on display until July 3.
Scott Reinhard’s 16-foot-wide piece of the Northwest Corner is laid out on the floor prior to being hung for the show. L. Tomaino