I think that reading is always active. As a writer, you can only go so far; the reader meets you halfway, bringing his or her own experience to bear on everything you've written. What I mean is that it is not only the writer's memory that filters experience, but the reader's as well.

What does happen in 'Gourmet,' we had eight test kitchens, and at any given time, there were, like, ten or twelve test cooks. And whenever anybody finished something, they would yell, 'Taste!' and everyone would go running towards it, and then taste, and then brutally deconstruct the dish.

The critic has to do more of what the book critics and art critics have done in the past. Which is give you a context for understanding the restaurant, give you a better way to appreciate it, give you the tools to go in there and be a more informed diner who can get more pleasure out of the experience.

A thousand years ago the Chinese had an entirely codified kitchen while the French were still gnawing on bones. Chopsticks have been around since the fourth century B.C. Forks didn't show up in England until 1611, and even then they weren't meant for eating but just to hold the meat still while you hacked at it with your knife.

Growing up, I was utterly oblivious to the fact that Mom was teaching me all that. But I was instantly aware of her final lesson, which was hidden in her notes and leters. As I read them I began to understand that in the end you are the only one who can make yourself happy. More important, Mom showed me that it is never too late to find out how to do it.

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