Abstract
Pascual Soler offers a reading of chef Marco Pierre White’s autobiography, The Devil in the Kitchen: Sex, Pain, Madness and the Making of a Great Chef (2007) within the larger framework of criminal autobiography. The chapter offers a summary of the relationship between cooking and crime, focusing on the gangster conventions used by White, the sensational ingredients in his story and the moral ambiguity that ends the text. As well as looking at the ways in which fact combines with fiction, Pascual Soler explores White as the archetypal example of the criminal-chef persona. The chapter concludes by suggesting that this criminal persona is erected by the chef as proof of his artistic genius and as a defense mechanism against the feminization of the kitchen.
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Notes
- 1.
Mario Puzo’s The Godfather (1969), films such as Quentin Tarantino’s Pulp Fiction (1994), Guy Ritchie’s Snatch (2000), Matthew Vaughn’s Layer Cake (2004), Martin McDonagh’s In Bruges (2008), not to mention the television series The Sopranos, created by David Chase (1999–2007), as well as the music industry (Hagedorn 2008) continued to contribute to this flattering portrayal of the criminal.
- 2.
Fear of crime is not necessarily in accord with increases in offending. In the view of Michael G. Maxfield (1987), it operates quite independently of crime itself. Crime and justice statistics posted on the website of Eurostat indicate that in the European Union the number of crimes (violent crime, homicide, robbery, property crimes and drug offences) has been steadily decreasing since 2003, with 12 percent fewer crimes recorded in 2012 than nine years earlier. In the USA, according to the 2014 National Crime Victimization Survey in the webpage of the US Census Bureau for the Bureau of Justice Statistics, crime has declined significantly since the early 1990s. That notwithstanding, fears of crime have burgeoned (Callanan 2005). John Pratt relates fear to “the threatening forces of modernity and the erosion of traditional support structures like the family” (1997, p. 151). For his part, Robert Reiner (2007) argues that a market system prone to cycles of boom and depression and the ensuing political toughening of crime control exacerbates anxiety over crime. For an overview of the normalization of fear of crime in the twentieth century and its (ir)rationality, see Lee Murray (2011).
- 3.
Among the group of bad girls’ confessionals, the following can be cited: Katherine Darling’s Under the Table (2009); Kathleen Flinn’s The Sharper Your Knife, the Less You Cry (2007); Gabrielle Hamilton’s Blood, Bones & Butter (2011) and Dalia Jurgensen’s Spiced (2009). Their portrayal of violence differs from men’s in terms of intensity (women are less aggressively physical) and motivation. In this case, women’s violence originates as resistance to male violence, from their powerless position in the professional kitchen. On women projecting a bad persona and “acting bad” versus “being bad” as “a necessary survival strategy,” see Lisa Maher (1997, p. 95).
- 4.
The text was ghost-written by James Sheen, but it is Marco Pierre White who figures as author on the cover.
- 5.
The image of “the enfant terrible of haute cuisine” (White 2008, p. 151) shattering old rules of fine-dining tradition is performed on the cover of The Devil in the Kitchen. It displays “a sexy, menacing portrait, by art photographer Bob Carlos Clarke, of White in his prime: his hair Euro-wavy like a Fiat heir’s, his face elegantly gaunt, his muscular right forearm tensed as he ominously clutches a cleaver,” like a weapon (Kamp 2007). Sexy and menacing is also the portrait on the cover of White Slave where White, dressed in a dark striped suit, is smoking a big black cigar, the ultimate symbol of gangsterism. The chef looks directly at the viewer, challenging the voyeurism of the spectator.
- 6.
Documentary film Take Three Violent Chefs (1995; Twenty Twenty Television, IMBb), directed by John Brownlow, investigates violence in the kitchen recording secretly the brutal ways of Chefs Marco Pierre White at Harveys, John Burton-Race at L’Ortolan restaurant and Gary Holyhead, head chef at L’Escargot, Soho.
- 7.
Philip Jenkins explains that criminals in real life pattern their lives on fictional accounts and that fictional accounts are patterned on official accounts (2009, p. 22). For a discussion of the combination of fact and fiction in criminal autobiography, see Gregoriou (2011, p. 2) and Seltzer (2011, pp. 16–19). On cookbooks as autobiographies, see Bower (1997), Ireland (1981) and Theophano (2002). However inextricably interlinked, from the generic point of view they are separate literary kinds. See Chap. 1 of this book for genre analysis.
- 8.
Kevin Burton Smith (2010) refers to the mysteries of Andrea Camilleri, Robert B. Parker, George Simenon and S.S. Van Dine. To reinforce the tight alliance of food and crime he mentions the cookbooks of Nero Wolfe (Stout 1973), Lord Peter Wimsey (Eakins and Bond Ryan 1981) and Sherlock Holmes (Bonnell 2001). In the classical mystery formula, food is treated either as a red herring, to keep readers from solving the crime, or as a clue to the murderer’s identity. More often than not, cooking, normally done by the detective when alone in the kitchen, and eating (he usually dines alone too) are times of meditation for the sleuth, closely aligned with rationality and his ability to understand and control reality. His interest in eating well and the relish he takes in sophisticated dishes constitutes proof of professional expertise: a discriminating palate shows a discriminating mind. White, however, draws on two other formulas, the hard-boiled and the gangster. In the hard-boiled formula, the detective is deeply unconcerned with what he puts in his mouth. His toughness manifests in the utter disregard for his body and the amount of alcohol he drinks. When the hard-boiled detective is a cook—that being the case of Anthony Bourdain’s novels Bone in the Throat, 1995; Gone Bamboo, 1997 and Bobby Gold, 2002—toughness is conveyed through hard work, language and violent behavior towards others in the kitchen. As a rule, in the gangster formula meals are social activities and occasions for talk. In the process of eating and cooking, talkative gangsters conduct business, seal deals and philosophize about views of life and food. For an overview of the relationship between detectives, food and crime, see Pascual Soler (2009).
- 9.
Anthony Bourdain has repeatedly read White Heat as an autobiography and has cited the book as a major influence on American chefs: “Suddenly, there was life preMarco, and postMarco.” The description of his feeling at opening the book is worth quoting in full to confirm White’s prototypical status: “It was 1990 in New York City, and none of us knew who Marco Pierre White was. While some of us might have been dimly aware of great chefs in England, that country’s restaurant scene was held in little—if any—regard. Our role models, the standard bearers of excellence in our craft, were generally pudgy French guys, most of them older than us, none of whom we’d ever consider hanging out with. Most of them lived in a foreign land, far away, where they spoke another language and didn’t like us very much. Few of them looked fuckable.” White did. Bourdain adds: “Ten years before Kitchen Confidential supposedly ‘ripped the lid off’ the grim realities of the restaurant business, White Heat brimmed with casual admissions of what we all knew as chefs: that it was a hard, brutal, repetitive business.” By Bourdain’s admission: “Marco Pierre White gave us all a voice, gave us hope, a new template for survival” (Forbes 2015).
- 10.
See also Jacques Kermoal and Martine Bartolomei’s La mafia se met à table (1986), a history of the mafia on the basis of decisive dinners, starting with the Garibaldi banquet in Messina in 1860, and finishing with that prepared by Mamma Brazutti in 1972. Food was used to reach agreements, to break them and to murder those who did not abide by them.
- 11.
Jack Katz develops at length an understanding of the “ways of the badass” by distinguishing among three levels of intimating aggression. The first stage in becoming a badass is toughness: “Someone who is ‘real bad’ must be tough, not easily influenced, highly impressionable, or anxious about the opinions that others hold of him.” The second stage is to celebrate an incapacity for moral responsiveness. The third stage “must add a measure of meanness” (1998, p. 80). White satisfies the three levels. On White as “the most foul-tempered, most mercurial and most bullying” of chefs, see Buford (2006, p. 8). On his reputation as “the Mafia-don-type character,” see Harley (2014).
- 12.
See tweets on Forum “Chopping Block on NBC with Marco Pierre White” that started on March 4, 2009 at: https://www.wackbag.com/threads/chopping-block-on-nbc-with-marco-pierre-white.104494/. Accessed on February 24, 2017. Reading them suggests that chefs can be divided into the categories of true and counterfeit according to the degree of violence they exercise in the kitchen and the harm they cause.
- 13.
- 14.
Denise Gigante remarks that “nineteenth-century gastronomy was a male-gendered aesthetic” based on the traditional association of mind with male and body with female (2005, p. xxxv). The gastronome tasted with his mind and women were too embodied to achieve that status. So, while men authored gastronomic literature, women authored domestic cookbooks . It is only by the close of the century that “select women [M.F.K. Fisher, Alice B. Toklas and Elizabeth David] had begun to transgress the bounds of domesticity in order to claim the aesthetic pleasures of gastronomy and to construct a place for physical and intellectual appetite within the woman’s food writing tradition” (McLean 2012, p. 1).
- 15.
- 16.
When it comes to haute cuisine, the notion that gossip is feminine (Rysman 1977) is challenged by the old masculinity of the restaurant business and the recent masculinization of the home cook. In England, “studies by the NOP Research Group suggest that today ‘cooking [is] cool’” and appeals to men (Bullaro 2006, p. 2). According to Vidya Rao, “[m]en today have tripled the amount of time in the kitchen as they did in 1970” (2011). The influx of men into the kitchen has altered the nature of kitchen readership so that the ideal recipient of sensation fiction is no longer a woman.
- 17.
The term “crime” designates an act that breaks the law or offends the moral conventions of socially acceptable behavior. Merriam-Webster’s Dictionary contemplates these two options in its entry on crime, defined both as “activity that is against the law; illegal acts in general,” and “an act that is foolish or wrong.” Under this second definition no one is immune from criminality. White navigates this terminological imprecision by presenting himself as an ordinary man of the people. On “when rough camaraderie crosses the line and becomes abuse” in the kitchen, see Caulcutt (2014).
- 18.
The absence of narratives of violent cooking in the first person before the twentieth century may be due to the facts that: a) servant literature was written for servants and not by them (Hallowell Perkins 1928, p. 167), and b) food held no interest to readers and writers of autobiography.
- 19.
According to Messerschmidt, women commit fewer and less serious types of crime than men (1993, p. 29). More recently, in Crime as Structured Action, he confirms that “[m]en and boys dominate crime” (2014, p. 5). Ngaire Naffine in Female Crime also presents a strong case for the masculinization of violent crime and the social construction of less feminine women as “more delinquent than their more feminine counterparts” (2016, p. 59). Notably, in One of the Guys (2001), Jody Miller shows that some women under specific situations (in gangs) construct their femininity through criminal practices, not by acquiring the status of males but by separating themselves from traditional femininities. It is beyond my scope to discuss masculinizations of femininities. Let it be noted, though, that just as gay men are imagined to be feminized, lesbians are imaged as masculine women, which might explain Toklas’ transgression of the boundaries of the masculine gastronomic self.
- 20.
Significantly, Beth Aretsky is “currently producing T-shirts with exclusive rights to Anthony’s logo and slogan,” marketing violent entertainment in the kitchen (Druckman 2012, p. 70). On Aretsky’s Bourdaininian days, see Druckman, pp. 78–111.
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Pascual Soler, N. (2018). The Cook-as-Criminal Autobiography. In: Food and Masculinity in Contemporary Autobiographies. Palgrave Studies in Life Writing. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-70923-9_3
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