Jamie Oliver – like the poor he so adores – seems always to be with us; to be with us and to have been with us always as well, although it’s only 14 years since he first thrust his meat and two veg at us in the television series The Naked Chef. Since then, not a year has passed without some new Oliver production: cookery books, more TV, many Sainsbury’s advertising campaigns, restaurants, delicatessens, food product ranges and latterly a number of campaigns aimed at improving the eating habits of the nation, specifically its children.
At the dead centre of this book’s snaking path down the friable face of human history stands Aby Warburg, a scion of the well-known banking family and a dilettante scholar at a time – and in a place – when to be so was still intellectually respectable. When Patrick Marnham writes that Warburg “mocked the keepers of academic purity as ‘border police’”, I suspect a strong sense of identification is at work. Michael P Steinberg, the translator of Warburg’s discipline-transgressing monographs on the snake dances of the Hopi, characterised his voice as one of “spiralling and endless mediation, between peoples, between pasts and presents, between the self that is known and the self that is secret”. I suspect that this, too, could be a description of Marnham’s own efforts in this book to which he would assent.
“People are afraid to merge on freeways in Los Angeles,” or so the opening line of Bret Easton Ellis’s Less Than Zero would have it. For myself, I’ve never seen the least evidence for this, any more than I have that happy families are all alike. Everywhere I’ve ever driven in LA, its inhabitants have cheerfully braided me into their steely weave until I too have merged with their all-consuming automotive abandon.
Itsu is a Japanese-inspired chain of some 40 takeaways and a brace of proper restaurants that are scattered across London’s financial district with a few outliers, including one in Oxford. Itsu – which is a Japanese prefix meaning “when” – was founded by Julian Metcalfe, who is also responsible for Pret A Manger, so you get the semantic synonymy.
I ate in a branch of Itsu near St Paul’s a couple of weeks ago, and for some perverse reason I so enjoyed the experience that I returned to see whether I had been suffering from a hallucination: the decor had seemed so pleasing, the service so light-touch and the food so deliquescent.
What a lot of skeuomorphs there are around nowadays – once you begin noticing them, they crop up everywhere. A skeuomorph, for those of you not design-savvy, is any derivative object that treats as ornamental elements that were functional in the original. One of my favourite examples is Anaglypta wallpaper, which I didn’t know – until I was told by the director of the National Gallery, no less – owes its raised ridging and epidermal feel to its origin in the tooled hides that adorned the walls of the wealthy in the 16th century. More modern skeuomorphs would include electric-light fitments designed to resemble candles (complete with artificial blobs of wax), and the half-timbered aspect of the Morris Traveller, that Anglo-Saxon hovel of mid-20th-century automobiles.
The latest Real meals column from the New Statesman is here.
Five Guys is a US fast-food chain that’s been high-profile there for some years. This is for two reasons: way back in 2009, President Oburger – sorry, I mean Obama – made a televised visit to one of its burger joints in Washington, DC and since then he’s been subject to holding press conferences there whenever it’s too rainy for the Rose Garden. So politically influential has Five Guys become that when the Washington Examiner was scrabbling for objectors to the president’s new health insurance scheme – not, as you realise, a difficult task – it alighted on a franchisee owner of eight Five Guys outlets, who did indeed oblige by saying that he’d have to jack up his prices in order to pay the mandatory employers’ levy.
At the speed awareness course run by AA DriveTech somewhere in the arse-end of the Angel, I run into Stephen Bayley, the design guru. Bayley is the author of (among many other works) Sex, Drink and Fast Cars, a copy of which he rather opportunistically has in the Gladstone bag he’s lugging along at the end of his cream-linen-clad arm. A quick exchange establishes that he, like me, was nabbed by the speed cameras on Tower Bridge doing 27mph. Our admission calls forth from our fellow course participants, who are sitting on plastic stacking chairs waiting to undergo the “registration process”, that they – old, young, black, white, brown, male, female, gay and straight – are all guilty of exactly the same offence.
A while ago, a regular round-robin emailer, Hassan (big-up to him), sent me a link to a Palestinian “Gangnam Style” video on YouTube. In this, a group of young men living in the Gaza Strip do all of the things that the South Korean rich kids do in the original Psy pop promo. That they’re confined in what is – to all intents and purposes – a giant concentration camp soon becomes painfully clear: they have to push their car in to the petrol station; they have no money to hang out in stylish bars – and there are no stylish bars anyway; nor, for self-evident reasons, are there a lot of scantily clad young women around agitating their booties, so instead our posse is reduced to single-sex dancing on the scabrous strip that passes for a beach.
I ran into the crime writer Philip Kerr at Gatwick – he and his family were happily on their way to Corfu, while I was gloomily en route to Berlin to do some work with my German translator. Kerr was ebullient and ridiculously fit-looking – full head of dark and luxuriant hair, tanned and solid. I was wraithlike and skulking about in the duty-free shop, wondering if I could slit my wrists with a Swarovski crystal gewgaw. When I told him my destination, a faint shadow seemed to cross his handsome features and I thought: fair enough. After all, Kerr has been writing his Bernie Gunther thrillers, which are set in Berlin, for decades – and he probably thinks of the city as belonging to him in a perverse way. That’s what writers are like.