So when we write about food, we write about class struggle. The French anthropologist Claude Lévi-Strauss wrote in 1966. The cooking of a society is a language in which it unconsciously translates its structure. feel better than people who waste their money on such people. We especially love stories about overpriced meals, from the calm, lucid Times critic Pete Wells concealment in 2015 of expensive Japanese restaurant Kappo Masa “brutal, irrational, relentless” on Manhattan’s Upper East Side – “a pantomime of service… a sham of luxury” – for travel blogger Geraldine DeRuiter’s taken down due to virus Last December Bros’ was awarded a Michelin star, in Lecce, Italy, in which 27 dishes were served, consisting mainly of “edible pieces of paper”, “glasses of vinegar” and “12 types of foam”, in There’s a dish that’s been sprayed on Plaster over the chef’s mouth and drooling down one side, so that diners can curl their tongues. Such stories confirm that the emperor had no clothes; that we’re not missing a thing.
IN “HEDYPATHEIA”, Archestratos refers to silphium, a wild herb that is thought to resemble asafetida and has been passed down through history. According to the Roman historian Pliny the Elder, the plant was so coveted that it was oversold, and in the first century AD, according to the Roman historian Pliny the Elder, could only be found “a single trunk”; Archestratos was an elegant man from before without even knowing it. What we gain from culinary intricacies inevitably comes at the expense of labor and the environment. It is possible that the nostalgia that O’Neill fears is the default for contemporary culinary work, in fact, is nostalgia for the present, drifting faster into the past, and even nostalgia for the future, something we may never have.
MFK Fisher, arguably America’s greatest food writer, if not one of the world’s greatest writers, is nostalgic, but she also has a wicked side. When she published her first collection of essays on food, “Serve it Forth“In 1937, The Times consider it “Interesting” but the material is “unfamiliar and quirky.” To this day, she doesn’t categorize; saying that she wrote about food is like saying that Virginia Woolf and James Joyce wrote about dinner parties. In “The Gastronomical Me” (1943), she recalled the mediocrity of childhood meals under the steely gaze of her grandmother, who, along with “millions of unfortunate Anglo-Saxons”, had learned on the principle” that real The product should be consumed without comment of any kind but above all without any sign of praise or delight”. A chef had only been on the job for a few weeks, and the results were confusing and dramatic, sending Fisher into “a sort of pain of joy”. Then, one evening, the cook did not return, and it turned out that she had killed her mother and herself, with the same knife she used so expertly in the kitchen.
It was a ghastly twist, but that didn’t dim the chef’s aura in Fisher’s eyes. She mourns but maintains a “sense of table possibilities” and grows up to be a person as a cook – and a writer – determined to shake people “out of their routine, not only about gravy-potato but also about thoughts, behaviors.” And, more strongly: “To destroy their safe and tidy little lives.” There’s certainly no good spell. More for a food writer today, wallowing in trash and swinging for the stars What more can we offer our readers? What good is reading about food, or for that matter, read about anything: looking in the mirror, or through the window; to escape the world, or to explore it?
Young Gun Lee’s food style. Designed by Victoria Petro-Conroy. Digital Technology: Lori Cannava. Photo assistants: Karl Leitz, Maian Tran. Food assistants: Tristan Kwong, Isabelle Kwong, Bri Horton. Set assistant: Constance Faulk
https://www.nytimes.com/2022/02/18/t-magazine/food-writing-journalism-criticism.html What we write about when we write about food