Secret Ingredients (11 page)

These continuities suggest that a strong allegiance to the past acts as a drag on the present. But, after several months of painstaking, tie-staining research, I think that the real problem lies in the French genius for laying the intellectual foundation for a revolution that takes place somewhere else. With movies (Méliès and the Lumière brothers invented the form, and then couldn’t build the industry), with airplanes, and now even with cooking, France has again and again made the first breakthrough and then gotten stalled. All the elements of the new cooking, as it exists today in America and in London—the openness to new techniques, the suspicion of the overelaborate, the love of surprising juxtapositions—were invented in Paris long before they emigrated to London and New York and Berkeley. But in France they never coalesced into something entirely new. The Enlightenment took place here, and the Revolution worked out better somewhere else.

The early seventies, when I was first in France, were, I realize now, a kind of Indian summer of French haute cuisine, the last exhalation of a tradition that had been in place for several hundred years. The atmosphere of French cooking was everywhere in Paris then: thick smells and posted purple mimeographed menus; the sounds of cutlery on tables and the jowly look of professional eaters emerging blinking into the light at four o’clock.

The standard, practical account of the superiority of French cooking was that it had been established in the sixteenth century, when Caterina de’ Medici brought Italian cooks, then the best in the world, to Paris. It was not until after the French Revolution, though, when the breakup of the great aristocratic houses sent chefs out onto the street looking for someone to feed, that the style of French cooking went public. The most famous and influential figure of this period—the first great chef in European history—was Antonin Carême, who worked, by turns, for Talleyrand, the future George IV, Czar Alexander I, and the Baroness de Rothschild. He invented “presentation.” His cooking looked a lot like architecture, with the dishes fitted into vast, beautiful neoclassical structures.

The unique superiority of French cooking for the next hundred years depended on the invention of the cooking associated with the name Auguste Escoffier. Escoffier’s formula for food was, in essence, the same as Jasper Johns’s formula for Dada art: take something; do something to it; then do something else to it. It was cooking that rested, above all, on the idea of the master sauce: a lump of protein was cooked in a pan, and what was left behind in the pan was “deglazed” with wine or stock, ornamented with butter or cream, and then poured back over the lump of protein. Escoffier was largely the creature of courtiers and aristocratic patrons; the great hoteliers of Europe, and particularly César Ritz, sealed in place the master-sauce approach that remains the unchallenged basis of haute cuisine.

It was also an article of faith, dating, perhaps, to Alexandre Dumas père’s famous
Grand Dictionnaire de Cuisine,
that the cooking of Carême and Escoffier had evolved from a set of provincial folk techniques. At the heart of French food lay the pot-au-feu, the bouillon pot that every peasant wife was supposed to keep on her hearth, and into which, according to legend, she threw whatever she had, to stew for the day’s meal. French classic cooking was French provincial cooking gone to town.

I heard another, more weirdly philosophical account of this history, from a professor named Eugenio Donato, who was the most passionately intellectual eater I have ever known. Armenian-Italian, reared in Egypt and educated in France, he spoke five languages, each with a nearly opaque Akim Tamiroff accent. (“It could have been worse,” he said to me once, expertly removing one mussel with the shell of another as we ate
moules marinière
somewhere on the Place de la Sorbonne. “I had a friend whose parents were ardent Esperantists. He spoke five languages, each with an impenetrable Esperanto accent.”) Eugenio was a literary critic whom we would now call a post-structuralist, though he called what he did “philosophical criticism.”

Most of the time, he wandered from one American university to another—the Johnny Appleseed or Typhoid Mary of deconstruction, depending on your point of view. He had a deeply tragic personal life, though, and I think that his happiest hours were spent in Paris, eating and thinking and talking. His favorite subject was French food, and his favorite theory was that “French cooking” was foreign to France, not something that had percolated up from the old pot-au-feu but something that had been invented by fanatics at the top, as a series of powerful “metaphors”—ideas about France and Frenchness—which had then moved downward to organize the menus and, retrospectively, colonize the past. “The idea of the French chef precedes French cooking” was how he put it. Cooking for him was a form of writing—Carême and Escoffier had earned their reputations by publishing cookbooks—with literature’s ability to make something up and then pretend it had been there all along.

The invention of the French restaurant, Eugenio believed, depended largely on what every assistant professor would now call an “essentialized” idea of France. One proof of this was that if the best French restaurants tended to be in Paris, the most “typical” ones tended to be in New York. Yet the more abstract and self-enclosed haute cuisine became, the more inclined its lovers were to pretend that it was a folk art, risen from the French earth unbidden. For Eugenio, the key date in this masquerade was 1855, when the wines of Médoc were classified into the famous five growths in which they remain today. “The form of metropolitan rationalization being extended to the provincial earth,
in the guise of the reflection of an order locked in the earth itself,
” he announced once, bringing his fist down on the tablecloth. He was a big man, who looked uncannily like John Madden, the football coach.

On that occasion, we were eating lunch in one of the heavy, dark, smoky Lyon places that were popular in Paris then. (There is always one provincial region singled out for favor in Paris at any moment—“privileged” would have been Eugenio’s word. Then it was Burgundy; now it is the southwest. This fact was grist for his thesis that the countryside was made in the city.) The restaurant was, I think, someplace over in the seventh—it may have been Pantagruel, or La Bourgogne. At lunch, in those days, Eugenio would usually begin with twelve escargots in Chablis, then go on to something like a
filet aux moelles
—a fillet with bone marrow and Madeira sauce—and end, whenever he could, with a mille-feuille.

The food in those places wasn’t so much “rich” as deep, dense. Each
plat
arrived looking mellow and varnished, like an old violin. Each mouthful registered like a fat organ chord in a tall church, hitting you hard and then echoing around the room: there’s the bass note (the beef), there’s the middle note (the marrow), and there’s the treble (the Madeira in the sauce).

It couldn’t last. “We have landed in the moment when the metaphors begin to devour themselves, the moment of rhetorical self-annihilation,” Eugenio once said cheerfully. This meant that the food had become so rich as to be practically inedible. A recipe from the restaurant Lucas Carton I found among a collection of menus of the time which Eugenio bequeathed to me suggests the problem. The recipe is for a
timbale des homards.
You take three lobsters, season them with salt and pepper and a little curry, sauté them in a light
mirepoix
—a mixture of chopped onions and carrots—and then simmer them with cognac, port, double cream, and fish stock for twenty minutes. Then you take out the lobsters and, keeping them warm, reduce the cooking liquid and add two egg yolks and 150 grams of sweet butter. Metaphors like that can kill you.

Something had to give, and it did. The “nouvelle cuisine” that replaced the old style has by now been reduced to a set of clichés, and become a licensed subject of satire: the tiny portion on the big oval plate; the raspberry-vinegar infusion; the kiwi. This makes it difficult to remember how fundamental a revolution it worked in the way people cooked. At the same moment in the early seventies, a handful of new chefs—Michel Guérard, Paul Bocuse, Alain Senderens—began to question the do-something-to-it-then-do-something-else-to-it basis of the classic cooking. They emphasized, instead, fresh ingredients, simple treatment, an openness to Oriental techniques and spices, and a general reformist air of lightness and airiness.

The new chefs had little places all around Paris, in the outlying arrondissements, where, before, no one would have traveled for a first-rate meal: Michel Guérard was at Le Pot-au-Feu, way out in Asnières; Alain Dutournier, a little later, settled his first restaurant, Au Trou Gascon, in the extremely unfashionable twelfth. In the sad, sedate seventh arrondissement, Alain Senderens opened Archestrate, first in a little space on the Rue de l’Exposition, in the shadow of the Eiffel Tower, and then on the Rue de Varenne.

From the beginning, the new cooking divided into two styles, into what Eugenio identified as “two rhetorics,” a rhetoric of
terroirs
and a rhetoric of
épices
—soil and spice. The rhetoric of the
terroirs
emphasized the allegiance of new cooking to French soil; the rhetoric of the
épices
emphasized its openness to the world beyond the hexagon. The soil boys wanted to return French cooking to its roots in the regions; the spice boys wanted to take it forward to the new regions of
outremer.
Even as the new cooking tried to look outward, it had to reassure its audience (and itself) that it was really looking inward.

On the surface, the beautiful orderly pattern continues. Alain Senderens is now in Michel Comby’s place at Lucas Carton and has replaced the
timbale des homards
cooking with his own style. Senderens’s Rue de Varenne Archestrate is now occupied by Alain Passard, the Senderens of his generation, while the original Archestrate is occupied by a talented young chef and his wife, just starting out, who have named the restaurant after their little girl: La Maison de Cosima.

But, twenty-five years later, the great leap forward seems to have stalled. A large part of the
crise
is economic: a hundred-dollar lunch is a splurge, a four-hundred-dollar lunch a moral dubiety. Worse, because of the expense, the cooking at the top places in Paris is no longer a higher extension of a commonplace civilization. It is just three-star cooking, a thing unto itself, like grand opera in the age of the microphone. Like grand opera, it is something that will soon need a subsidy to survive—the kitchen at Arpège depends on regular infusions of range-struck Americans to fill the space left by the French kids who no longer want to work eighteen-hour days for very little money while they train.

And it is like grand opera in this, also: you can get too much of it, easily. It is, truth be told, often a challenge to eat—a happy challenge, and sometimes a welcome one, but a challenge nonetheless. It is just too rich, and there is just too much. The new cooking in France has become a version of the old.

At Lucas Carton, you begin with, say, a plate of vegetables so young they seem dewy, beautifully done, but so bathed in butter and transformed that they are no longer particularly vegetal; and then you move on to the new lobster dish that has taken the place of the old one. Where the old lobsters were done in a cowshedful of cream, the new lobsters are done,
épice
style, with Madagascar vanilla bean. This is delicious, with the natural sugar of the lobster revealing the vanilla as a spice—although, for an American, the custard-colored sauce, dotted with specks of black vanilla, disconcertingly calls to mind melted lunchroom ice cream. For dessert, you might have a roasted pineapple, which is done on the same principles on which Passard’s tomatoes are braised: it ends up encrusted in caramel. This is delicious, too, though intensely sweet. Lunch at Lucas these days can fairly be called Napoleonic or Empire: the references to the revolutionary principles are there, but finally it’s in thrall to the same old aristocratic values.

Lucas is hardly representative, but even at the lesser, less ambitious places the cooking seems stuck in a rut: a chunk of boned protein, a reduced sauce; maybe a fruit complement, to establish its “inventive” bona fides; and a purée. The style has become formulaic: a disk of meat, a disk of complement, a sauce on top. The new cooking seems to have produced less a new freedom than a revived orthodoxy—a new essentialized form of French cooking, which seems less pleasing, and certainly a lot less “modern,” than the cooking that evolved at the same time from the French new cooking in other countries. The hold of the master sauté pan, and the master sauce, and the thing-in-the-middle-of-the-plate, is still intact.

Thinking it over, I suspect that Eugenio put his finger on the problem with the new cooking in France when it first appeared. “A revolution can sweep clean,” he said. “But a reformation points forward and backward at the same time.” The new cooking was, as Eugenio said, a reformation, not a revolution: it worked within the same system of Michelin stars and fifteen-man kitchens and wealthy clients that the old cooking did; it didn’t make a new audience; it tried to appropriate the old one.

In America—and in England, too, where the only thing you wanted to do with the national culinary tradition was lose it—the division between soil and spice wasn’t a problem. You could first create the recipes and then put the ingredients in the earth yourself. The American cooks who have followed in Alice Waters’s path-making footsteps at Chez Panisse, in Berkeley—the generation whom a lot of people think of as the children of M.F.K. Fisher—created a freewheeling, eclectic cosmopolitan cuisine: a risotto preceding a stir-fry leading to a
sabayon.
Then they went out and persuaded the local farmers to grow the things they needed.

In France, the soil boys won easily. Some of what they stood for is positive and even inspiring: the
terroirs
movement has a green, organic, earth-conscious element that is very good news. The
marché biologique
every Sunday morning on the Boulevard Raspail has become one of the weekly Parisian wonders, full of ugly, honest fruit and rough, tasty country meat. And it is rare for any restaurant in Paris to succeed now without presenting itself as a “regional” spot—a southwest, or Provençal, or Savoyard place. (Even at the exquisite Grand Véfour, at the Palais-Royal, the most beautiful restaurant in the world and a cathedral of the cosmopolitan tradition, it is thought necessary to parade around a plate of the cheeses of the chef ’s native Savoy.)