Edward White’s monthly column, “Off Menu,” serves up lesser-told stories of chefs cooking in interesting times.

Still from Fanny Cradock’s BBC Christmas Special

On the evening of November 11, 1976, the BBC broadcast the third episode ofThe Big Time,随后公众teted themselves in high-pressure situations. It was what we’d term today a reality TV–style show, and that week was the turn of Mrs. Gwen Troake, a middle-aged woman from rural Devon in southwest England, who was being given the chance to design and cook a special banquet at the world-famous Dorchester Hotel in London. Troake, an amiable, soft-spoken lady any audience would root for, was assigned the most demanding mentor the production team could muster: Fanny Cradock, an extraordinary character who was the face and voice of cooking on British television from the mid-’50s to the mid-’70s and was once described by one national newspaper as “a preposterous character, the foodie you loved to loathe.”

Cradock built an entertainment brand on her putative brilliance in the kitchen, but also her superciliousness, hectoring her husband, mistreating her colleagues, and patronizing her audience, the great British public, whom she regarded as gastronomic philistines. Evidently, this included Gwen Troake, the amateur cook onThe Big Time. As Troake ran through what she was planning to serve at the banquet—a seafood cocktail, followed by duck, and rounded off with a rum and coffee cream pudding—Cradock rolled her eyes, gulped, and grimaced in a pantomime of disgust and disbelief at the overbearing richness of the menu, at one point blowing her cheeks out as though she were about to be physically sick. When Troake revealed that the duck would be served with a blackberry jam, Cradock could stomach no more and unleashed what she thought was the ultimate insult. “All these jams,” she said, “they are soEnglish.” Despite being stereotypically English in so many ways, in her mind the only really good English—or, indeed, British—food was really just French food by a different name. “The English have neverhada cuisine. There’s nothing English. Yorkshire pudding came from Burgundy.”

She was probably wrong about Yorkshire pudding, but she definitely had a point, both about the heaviness of Troake’s menu and about the sorry state of her nation’s cuisine. In the postwar decades of Cradock’s great success, amid heated debates about what it meant to be British in a post-imperial world, British food was an international laughingstock.It was fitting, then, that Cradock herself seemed to be in a perpetual identity crisis. Her personality was as peculiar as many of her famous recipes, and nobody was quite sure which of the stories she told about herself were true, and whether, despite her constant talk of refined French food, she was half as accomplished in the kitchen as she claimed to be. As Kevin Geddes, in his biographyKeep Calm and Fanny On,quotes one of Fanny’s friends, Evangeline Evans, as saying, “She wasn’t real … she didn’t know who she was. She made herself up as she went along.”Read More

Edward White’s monthly column, “Off Menu,” serves up lesser-told stories of chefs cooking in interesting times.

Original Kellogg’s cereal box (left), Ella Eaton Kellogg (right)

Few novels in American history have had the seismic social impact ofThe Jungle, Upton Sinclair’s 1906 work set among the gore and misery of Chicago’s slaughterhouses. Though the critics were sniffy about Sinclair’s drum-beating prose, his vivid descriptions of the insanitary conditions inside America’s abattoirs caused an outcry that hastened the passing of the Pure Food and Drug Act. Despite the sales figures, Sinclair was only partially satisfied with the public reaction to his book. His aim had been to convert Americans to socialism; instead, he lamented, he had succeeded only in turning them into fussy eaters. “I aimed at the public’s heart,” he later wrote, “and by accident I hit it in the stomach.”

1906 turned out to be a landmark year for both the American food industry, and American cuisine. WhileThe Jungle在国会,点火巴特尔克里克,Michigan, William Keith Kellogg struck a deal with his brother John Harvey Kellogg that would begin a new, acrimonious chapter in the peculiar psychodrama of their relationship, and spark a revolution of the breakfast table. William bought from John full ownership of the company that produced their Toasted Corn Flakes, and swiftly turned a niche health food product into one of the biggest American brands in history, changing the diets of billions around the world.

Both these events, the regulation of the meat industry and the rise of breakfast cereal, were redolent of the Progressive Era of the early 1900s, in which it was assumed that a mixture of moral zeal and technocratic expertise could remedy all social ills, and alleviate individual suffering. But they are also wonderful examples of an unmistakably American approach to cooking and eating, what the academic Nicholas Bauch describes as “an obsession with getting food right … never being satisfied with the movement of organisms from nature to the eater’s body.”

在凯洛格的故事有一个人在合适的婚姻对象cular devoted to getting food right—not the flamboyant, egocentric John, nor the embittered, entrepreneurial William, but Ella Eaton Kellogg, John’s wife, one of the most overlooked but most important names in the ever-twisting story of America’s relationship with food. It was Ella who applied the Progressive mindset to a working kitchen, sowed the seeds of dietetics, and devised a new culinary philosophy for ordinary Americans which she outlined in 1892 with her bookScience in the Kitchen. In her sober, efficient way—which perfectly mirrored the sober, efficient dishes she concocted in her kitchen—Ella bequeathed a huge legacy. Beyond the content of her recipes, which promoted vegetarianism and swore off refined sugar, she articulated the heady idea that perfecting food (and the systems in which it is created and consumed) is the key to perfecting human civilization. From Diet Coke to the Impossible Burger, America has long sought to perfect its food through scientific intervention. Few have gone at it as successfully as Ella Eaton Kellogg.

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Edward White’s monthly column, “Off Menu,” serves up lesser-told stories of chefs cooking in interesting times.

When a devastating cholera pandemic reached Italy in 1884, the disease took its heaviest toll on the sharp-edged, unpolished jewel of Naples. The authorities’ response was disastrous, and as panic and anger rose, a conspiracy theory circulated that the suffering was an orchestrated attack on the city’s poor. Physicians and public health officials were attacked in the street; a popular rumor had it that doctors received twenty lire for each person they bumped off, and that some were greedily chucking patients who were still alive onto funeral wagons. One man was arrested for inciting rebellion when he spread the notion that tomatoes, a symbol of Neapolitan peasant identity and a staple nourishment, were being laced with poison.

The discord caused alarm in the government. The Risorgimento—the movement behind the creation of a single, unified Italian nation in 1861—had promised a new era of prosperity and progress for all. Events in Naples made a mockery of that. Italy’s King Umberto I became a passionate advocate of a radical transformation of Naples that would improve the health of the city, and tie Naples closer than ever to the Italian nation. Corruption and chaotic administration kiboshed the plans, but the royal desire to celebrate the Italian-ness of Naples remained. When Umberto and his wife, Queen Margherita, visited the city in 1899, the queen, bored of overly complex French food, supposedly asked for somerealfood, a true taste of Naples. A local chef served her a pizza in the colors of the Italian flag—the red of tomato sauce, the white of mozzarella cheese, the green of fresh basil—which Margherita loved so much that it’s been named after her ever since. Whatever the precise truth behind the yarn, its intended message is unmistakable: the experience of being Italian is baked into the food of the ordinary Neapolitan.

It’s a story that would have intrigued Vincenzo Corrado, a man born and bred in the south a century and a half before Queen Margherita’s supposed conversion to the delights of Neapolitan cuisine. Corrado explored that cuisine in the pages of his series of cookbooks, which are a vivid testimony to the cultural life of eighteenth-century Naples, a city of dizzying social disparities and abundant artistic expression. Unwittingly, Corrado did more than almost anybody to define what we think of as Italian food, in which—especially as the food exists in its international incarnations—the flavors of Naples are so prevalent. Yet, one wonders what Corrado would have made of the ways in which food has been used as an important binding agent in the creation of an Italian national identity. Sincere as he was in his passion for the food of his homeland, he recognized that a plate of food is layered, like a Neapolitan timbale, with meanings and associations. As his recipes testify, much of what we consider to be authentically local, regional, or national, rests on small acts of self-deception and selective memory, the endless making and remaking of myths.

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