Chili Con Carne - Origins and History

Origins and History

In Spanish, the "chile" refers to a chile pepper and "carne" means meat. The first documented recipe for "chile con carne" is dated September 2, 1519. The ingredients were boiled tomatoes, salt, chiles and meat. Bernal Diaz del Castillo, one of Hernan Cortez's captains and the source of the recipe, states in his book, that the Cholulan Indians, allied with the Aztecs, were so confident of victory in a battle against the Conquistadors the following day that they had "already prepared cauldrons of tomatoes, salt and chiles" in anticipation of a victory feast. The one missing ingredient, the meat, was to be furnished by the Conquistadors themselves: their own flesh. (The Discovery and Conquest of Mexico--Bernal Diaz del Castillo)

The recipe used by American frontier settlers consisted of dried beef, suet, dried chili peppers and salt, which were pounded together, formed into bricks and left to dry, which could then be boiled in pots on the trail.

The San Antonio Chili Stand, in operation at the 1893 Columbian Exposition in Chicago, helped people from other parts of the country taste and appreciate chili. San Antonio was a significant tourist destination and helped Texas-style chili con carne spread throughout the South and West. Chili con carne is the official dish of the U.S. state of Texas as designated by the House Concurrent Resolution Number 18 of the 65th Texas Legislature during its regular session in 1977.

Read more about this topic:  Chili Con Carne

Famous quotes containing the words origins and, origins and/or history:

    Lucretius
    Sings his great theory of natural origins and of wise conduct; Plato
    smiling carves dreams, bright cells
    Of incorruptible wax to hive the Greek honey.
    Robinson Jeffers (1887–1962)

    Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.
    W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)

    Postmodernism is, almost by definition, a transitional cusp of social, cultural, economic and ideological history when modernism’s high-minded principles and preoccupations have ceased to function, but before they have been replaced with a totally new system of values. It represents a moment of suspension before the batteries are recharged for the new millennium, an acknowledgment that preceding the future is a strange and hybrid interregnum that might be called the last gasp of the past.
    Gilbert Adair, British author, critic. Sunday Times: Books (London, April 21, 1991)