Will Self

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Archives for 2011

Real Meals: Chicken Himmler

February 13, 2011

This time last year, I was in Berlin. One evening, strolling towards Unter den Linden after a concert at the Philharmonie by the Tiergarten, I decided to take a short cut by walking through the Holocaust Memorial.

A lot of print and hot air has been expended on the whys and wherefores of Peter Eisenman’s 4.7-acre “sculpture”, which consists of a grid of 2,711 concrete slabs or “stelae”, implanted in a shallowly sloping depression in the ground. According to Eisenman’s proposal, the memorial is designed to produce an uneasy, confusing atmosphere and, let me tell you, alone, late at night in the snowy midwinter, trudging down the long defiles with the slabs rising up above me to twice head height, I felt this and more: an intense oppression and a sense of the man-made as inherently minatory, if not genocidal, began to bear down on me.

This feeling of unutterable desolation was broken only when, mounting up the far side of the memorial, I saw some cheery lights that, as I drew closer, resolved themselves into the neon-lit façade of a Greek restaurant with a name as deliciously inappropriate as Pericles’s Taverna.

I’d like to report that I entered the taverna without demur and replaced the nightmare of history with some stuffed vine leaves – but I’d already eaten. However, the experience did get me thinking on the connections between ordinary eateries and mass murder. A half-Swiss friend tells me that, in his father’s home village in some God-awful backwoods canton, the local Schnitzeleria serves a dish called Chicken Himmler. When my friend asked why, the unashamed answer came back: because Himmler once ate here and this is what he had.

But you don’t have to go that far. In London, there’s a trio of noodle bars with the arresting name of New Culture Revolution. I’ve often passed the one in Notting Hill Gate and wondered what would persuade people to eat in such an establishment. I mean, surely it would be difficult to suck down your ma la niu rou mein without, at least, a stray troubling thought? Possibly the killing that inaugurated the Cultural Revolution would come to mind: in August 1966, the deputy head teacher of a school in Beijing where the children of Mao Zedong and other officials had been educated was kicked and beaten to death by her own female pupils.

This intergenerational frenzy launched a convulsion in Chinese society that resulted in the violent deaths of an estimated three million people . But then, wasn’t it Mao who observed that the revolution was “not a dinner party”? Perhaps I shouldn’t be so squeamish about the sight of dumb-ass trustafarians and baby Cameroons tucking in to dumplings under the banner of a tyrant’s zeal because, after all, I once ate at the New Culture Revolution on King’s Road – and the dumplings were pretty damn tasty.

Still, I couldn’t forbear from writing to David Lau, New Culture Revolution’s senior cadre, and asking about his chain’s nomenclature. Here is his reply:

Dear Will Self,

Our name originates from our style of cooking. This style is from the north of China, which has a colder climate, and where people use wheat flour rather than rice. We cook noodle and dumpling dishes just as people in that region do. Furthermore, we do not use flavour-enhancing additives such as monosodium glutamate. We make our own noodles and dumplings. When we founded the first restaurant, this was an innovation – a revolution – and this made us think of the memorable name.

Culinary art is part of humanity’s culture. If we can be of any assistance on Chinese cuisine in general, please let us know and we will try to help.

Kind regards,

David Lau

Only a churl would press a restaurateur further after such a gracious reply. But I am a churl, so I went on badgering poor Mr Lau. He held firm, even when I pointed out that analogous restaurant names might be New Final Solution (a bratwurst and beer joint in Harpenden) or New Terror (a borscht and vodka bar near Chorleywood). I’m inclined to take him at his word, as I recall the sign my late mother once saw in a café window: “Come in and eat – before we both starve.”

On the Coen brothers

February 11, 2011

“Sometimes it occurs to me that the job of a serious cultural critic mostly consists in telling the generality of people that their opinions – on films, on books, on all manner of widgets, gadgets and even the latest electronic fidgets – simply aren’t up to scratch. It’s a dirty, thankless task, but someone has to do it; someone has to point out that, no, Inception wasn’t the last word in SF meta-sophistication, but rather a stupid person’s idea of what an intelligent film is like. And by the same token, as the Coen brothers’ True Grit comes galloping into our multiplexes surrounded by dust clouds of Stateside approbation, someone has to take a bead on the whole sweep of their careers, squint, and then if not exactly shoot them down, at any rate cold-cock the notion that the Coens are the great American auteurs of their generation, when, sadly, they are only a moderately clever person’s idea of what great American auteurs might be like.

“Either of the two films that preceded True Grit, Burn After Reading (2008), and A Serious Man (2009), would have been a career-finisher for a tyro writer-director. Halfway through the latter I asked my wife what she thought of it and she replied “Awful”. I demurred: “It’s pretty dreadful . . .”, and she shot back: “In what precise way does that differ from ‘awful’?” I set down this exchange because I think it encapsulates a lot of what has enabled the Coens to continue to ride high in popular estimation – and to win Oscars, rake in receipts and put bums on plush – which is that they are insistently likeable film-makers. Their likeability is such – and is projected in such a canny way through their nebbish male characters, and resourceful female ones – that it seems like a solecism to criticise them too strenuously.

“I’ve taken this line myself in the past. Recall: True Grit isn’t the only remake the Coens have shot; back in 2004 when I was writing regularly as a film critic, they brought out The Ladykillers, a remake of the Ealing Studios classic, with Tom Hanks taking on the role of the Professor, originally played by Alec Guinness. The film was pretty crap; the performances hammy rather than buffo, the narrative pace feeble rather than farcical – but such was the amiability of the exercise, and my own reservoir of affection for what the Coens apparently represent – namely, considered, intelligent, witty film-making in an era characterised by crassly merchandising blockbusters – that I gave The Ladykillers a decent review.”

Read the rest of Self’s take on the Coen brothers at the Guardian here.

John Gray talk at the RSA

February 10, 2011

A reminder that although Will Self’s talk with John Gray to discuss his new book – The Immortalization Commission: Science and the Strange Quest to Cheat Death – at the Royal Society of Arts tonight is sold out, you can listen to it online at the RSA website here from 6pm. It’s also available as a free mp3 audio file, and you can watch it here too.

Birth of the British Novel

February 8, 2011

Watch Will Self talking about Jonathan Swift (and Martin Amis on Henry Fielding) in BBC4’s Birth of the British Novel here. Self’s contribution appears at about the 16-minute mark.

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Will’s Latest Book

Will Self - Elaine
Will Self's latest book Elaine will be published in hardback by Grove on September 5 2024 in the UK and September 17 2024 in the USA.

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Will Self - Will
Will
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Phone
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Shark
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The Butt
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Perfidious Man
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