The World Table

An interactive culinary compendium: recipes, lexicon and study

Egyptian · Dessert

Basbousa

  • Intermediate
  • 25 min
  • roughly 2 of 4 for cost
  • Vegetarian

nutty-toasted · bright Leads with toasted, nutty warmth throughout, acid holding everything up to the light.

Ingredients

  • 400 g coarse semolina
  • 200 g caster sugar
  • 250 g full fat yoghurt
  • 150 g samna, melted
  • 60 g desiccated coconut
  • 10 g baking powder
  • 20 g tahini, for the tin
  • 40 blanched almonds
  • 400 g sugar, for the syrup
  • 250 ml water, for the syrup
  • 15 ml lemon juice

The skills inside

ScoringBlanching & shocking

Allergen screen

Found: gluten · dairy · nuts · sesame

Screened for: gluten, dairy, egg, nuts, peanuts, fish, shellfish, molluscs, soy, sesame, celery, mustard, lupin, alcohol. Not screened: sulphites.

Screened by keyword from the ingredient list, not reviewed by a person; check every label for what the list cannot show.

Method

  1. Make the syrup first: boil the sugar, water and lemon juice to 105C (220F), about 8 minutes, until it runs from the spoon in a thin thread, then cool it completely. 8 min
  2. Stir the semolina with the caster sugar, coconut and baking powder, then beat in the yoghurt and warm samna to a thick dropping batter and leave it 30 minutes for the grain to drink. 30 min
  3. Smear the tin with tahini, level the batter to 2 cm, score it into diamonds cutting right down to the base and press an almond into each.
  4. Bake at 190C (375F) until the top is an even chestnut brown and the edges have shrunk from the tin, 30 to 35 minutes. 35 min
  5. Pour the cold syrup over the cake the second it comes out of the oven, aiming into the score lines; it should hiss and vanish within a couple of minutes. Leave it 2 hours before lifting the pieces out. 120 min

How to tell it is going right

This dish has no standard of its own yet. It is judged on the techniques it exercises: checked at the pan, while there is still something to be done about it.

Scoring 28 recipes

  • Lift one cut open with a fingertip: it parts through the skin and stops in the fat beneath, showing a pale wall at its base. Any cut showing red or fibrous flesh has gone too deep; any that has not reached the fat has left the skin tethered, and it will tighten under heat.
  • The lines run parallel at even spacing, roughly a finger's width apart, each carried the full length of the face and stopped the same margin short of the edge. Sight down them: lines that converge, wander or crowd at one end cook at different rates and read as careless on the plate.
  • Each line is one clean draw of the blade held at a slant, not a sawn or doubled track, and it leaves a bevelled lip standing slightly proud rather than a vertical slot. The surface should be dry and cold, near 4C (39F), when it is cut; worked warm and slack it drags, and the blade tears where it should part.
  • After cooking the cuts have opened and set, each a clear gap with firm browned walls. Lines closed back to faint scratches were cut too shallow or too straight down, and the surface has shrunk over them instead of through them.
  • The piece lies flat and true when it is set down, with no cupping through the middle and no lifted, curled edge. A bowed piece means the tightening surface was never released, so it pulled the whole thing up and left the underside pale where it stood off the heat.

Where it goes wrong The blade was pushed rather than drawn, through a surface left warm and slack, so it went past the fat and into the flesh. The cuts bleed as they cook and the juices flood the surface, so it steams instead of crisping: the lines gape into wet ragged trenches, the flesh between them dries into hard ridges, and the skin stays leathery and pale where it should have blistered and set.

Blanching & shocking 76 recipes

  • A large volume at a hard rolling boil, and enough of it that adding the food barely interrupts it; a pot that goes quiet has started stewing rather than blanching.
  • Timed rather than watched, and short. This is an interruption in the cooking of something, not the cooking of it.
  • The ice bath was made and standing beside the pot BEFORE anything went into the water, not started once the timer went off.
  • It went straight into the ice water, fully submerged, and stayed until cold at the centre: a piece still warm inside is still cooking, and the arrest has not happened yet.
  • Drained and dried afterwards rather than left sitting in water, so it does not carry that water into whatever it meets next.

Where it goes wrong The ice bath was not ready, so the food sat draining in a colander while its own residual heat carried on cooking it. By the time it cooled it was a stage past where it was pulled, and exact arrest is the entire reason for blanching rather than simply boiling.

At the Table

The Pour
Moscato d’Asti
Also Right
Late-harvest Riesling
From the Taps
Witbier
Zero-Proof
Sparkling elderflower

Citrus desserts need a wine sweeter than they are, with acid enough to keep up: light, frothy, and low-proof wins.

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Film school

This dish, cooked on camera Search films of Basbousa The cuisine, deeper Technique films from the Egyptian kitchen