This is the bonus table — for the dishes that wouldn't fit anywhere else. Some are orphans — the side-dish that lives at someone else's stall but never gets its own page. Some are sources — the foundation-recipes that show up in five other dishes but never get taught. Some are home-tables — the dishes I cook at home, for my family, that never made it to the hawker stall because they belong in the home. The phoenix-tail prawns my daughter asks for in her tiffin. The weeknight mee hoon kueh. The sambal belacan I pound at six in the morning before the household wakes. The forty-five-day ang chao ferment that anchors a year of Foochow cooking. The white bee hoon at dawn — the book's closing dish, served from the cook to the reader. Reportedly a cookbook should end with the chef's signature. This is mine. The kitchen is the first room awake. It usually is.
Heritage Cantonese-banquet phoenix-tail prawns adapted for the Singapore home kitchen. Body butterflied and battered; tail-fan held proud and dry. The dish my daughter takes to school in her tiffin. The bonus table opens here.
Hand-torn wheat-flour-cake noodles in clear pale-amber anchovy-and-pork-bone broth. The weeknight bowl. The dough rests while the shallots fry. The children think the tearing is a game. The working day stops following you home.
The toasted-shrimp-paste-and-chilli sambal that anchors half the cookbook. Eight minutes at the mortar at six in the morning. The source paste — for rempahs, for kangkung belacan, for buah keluak, for pongteh — and for the bright-red dab beside the breakfast plate.
Forty-five days. A bowl of glutinous rice, a packet of red yeast rice, a sealed jar — and a year of Foochow cooking from a single morning of setup. Ruby ang jiu in bottles; brick-red lees in a small jar. Both keep for years.
The dawn breakfast. Heritage Sembawang seafood rice vermicelli in slow-simmered stock. The book's final dish — served from the cook to the reader, eater's-perspective. Two bowls, the workbench-table, the day not yet started.