Food

Sometimes, cooking is art. Other times, it’s science. When it comes to baking, both are involved, which is what can cause problems for those who are otherwise skilled in the kitchen. Whereas throwing together ingredients and tossing them in the slow cooker or on the grill can produce delicious results, baking demands precision. I have experienced great successes when making a host of dishes that don’t require me to get overly scientific A little too much sugar in the dough can cause cookies to flatten, caramelize or end up burned. Setting an oven to the wrong temperature – or failing to preheat – can produce bread or cakes that are unevenly cooked.

The name can’t help but invite mockery. When Sainsbury’s launched its ‘Taste the Difference’ range 25 years ago this autumn, I wasn’t alone in noting that the phrase almost begged for a question mark at the end. But the British public are (mostly) more concerned with dinner than with sarcasm. The Taste the Difference range now extends to more than 1,200 products, from Pugliese Burrata with Sunsoaked (sic) Tomatoes and Bacon Wrapped Halloumi Sticks with Hot Honey Drizzle to Anya Potatoes and Nocellara Del Belice Olives. I admit to having eaten most of the above products, despite being a keen ‘cook from scratch’ sort who loves to ramble around Electric Avenue in Brixton to buy fish, veg and lamb chops.

I’m driving a dirt road in the wilds of central Sardinia. And I mean what I say by ‘wilds’. This rugged region in the sunburned Supramonte mountains was called ‘Barbagia’ by Cicero – i.e. ‘land of the barbarians’ – as even the Romans never quite managed to subdue it. Centuries later it became famous for bandits, kidnaps, local mafias – and casu marzu, the infamous ‘Sardinian maggot cheese’. I turn to my resourceful local guide, driver and interpreter, Viola, as she negotiates the olive groves and goat tracks. ‘Do you really think we will find casu marzu?’ My voice is slightly falsetto with tension. Viola turns: ‘I hope so, there is a pretty good chance. And maybe we will find something even more unusual…’ But first, let’s rewind 30 years.

Eleven Madison Park, perhaps the finest of New York’s fine-dining establishments, is adding select meat dishes back to its prix fixe menu after an ill-fated foray into veganism after the pandemic. Chef Daniel Humm announced the move in the New York Times, citing all the predictable reasons for ditching a plant-based menu. First and foremost: the finances. “It’s hard to get 30 people for a corporate dinner to come to a plant-based restaurant,” Humm told the Times, noting the negative feedback from diners over the years. Still, he framed the move in moral terms, explaining how he didn’t “realize that [the vegan menu] would exclude people.” To this, I can only muster an eye roll.

Long Compton is in the Cotswolds, but to the east, where there are no boutique hotels or shops selling artisan candles to tourists. Banburyshire and its surrounds are actual countryside. Fields roll away in the manner Germans call Kulturlandschaft, meaning landscape shaped by centuries of human care. This is the sort of country that makes people write poetry about hedgerows and choral music about sheep: lovely to live in but, by long British tradition, a dismal place to dine out. Discovering a truly great restaurant in Long Compton – population 764 – feels like finding in rural Warwickshire one of those bucolic la France profonde dining experiences that seemed nostalgic fantasies even when M.F.K Fisher described them.

Does your museum feel tired and run down? Is the entrance unwelcoming? The bookshop shabby? The restaurant a mere café? If so, call Annabelle Selldorf, the German-American architect whose talent and sensitivity have made her the go-to person for reviving weary museums. Her recent transformation of the Frick in New York has been widely acclaimed and she will soon start work on the Wallace Collection in London. But the latest masterwork has seen Selldorf sprinkle her fairy dust on the Sainsbury Wing of London’s National Gallery. Those with long architectural memories will recall how in 1984, the then Prince of Wales christened the proposed new wing of the Gallery “a monstrous carbuncle on the face of a much-loved and elegant friend.

On holiday in the Dordogne, I face an annual dilemma. My weekly Any Other Business column ruminates on the financial world with occasional restaurant tips to lighten the tone – and many readers tell me they frankly prefer the menus du jour to the boardroom dramas. My difficulty is that in a single page of The Spectator there’s never space to do justice to both. Last week, I ended up cramming seven restaurants into one short paragraph, a paltry snack where I’d like to have offered a banquet. So here’s my 2025 tour de France, as I called it, at somewhat fuller length, perhaps one of these days to be super-sized into an entire guidebook. This set of recommendations, I should explain, come mostly from British readers and friends in other parts of France.