Restaurants

Cliveden is a good review for a divided country and I have waited, not too long, for it to feel resonant for Spectator readers; it aches with class-consciousness. It has food pens dependent on your status — whether you are eating in the National Trust grounds, or the swanky (I love this word; it’s so bitter) hotel inside the ‘manor’. And even if you are staying in the swanky manor, famous as the venue where John Profumo exploited the not-recovering child-abuse victim Christine Keeler — don’t call me a sighing Guardianista, I have done my research and she once aborted a child with a pen — in a swimming pool, you have signage to soothe your comparative class wretchedness, for you do not have a country house of your own.

Cafe Monico, as if named by an illiterate playboy, is on Shaftesbury Avenue between The Curious Incident of the Dog in the Night-time and Les Mis, so if you want to be in an Asperger’s syndrome/-singing French revolutionary restaurant sandwich it is the café for you, and only for you. It is from Soho House, whose quest to make the whole of Britain a crèche-restaurant with table-tennis tables and photo booths for moronic remembrance goes on. There are more Soho House franchises now than Ivy franchises; even Chiswick has one. It is confusing, but if it upsets the media executive class, who must find new ponds to preen and fight in, I do not mind. Except that Cafe Monico does not work.

In the 1970s, when there were many fewer restaurants in London, Locket’s was much the best place to eat around Westminster. The IRA once paid it a compliment by -trying to bomb it. If a lobbyist -invited one to lunch there, it meant that a) his firm had a large budget, b) he was hoping for important information — or c) he was feeling like a good lunch. The food was a pre-nouvelle cuisine London version of sophisticated French food: dishes such as Tournedos Rossini or Steak Diane; you get the picture (the upper-middle-class version of prawn cocktail and Black Forest gateau). Locket’s catered for trenchermen’s appetites, and I remember a couple of proper sessions there with Denis -Healey.

I have been waiting, like a heroine in fiction, for the specialist lasagne restaurant. London has long been heading this way for the benefit of the consumer-simpleton who can only process one piece of information at a time. It is clearly a response to the glut of choice in late capitalism, and so close to Karl Marx’s home in Dean Street that I can almost feel his cackling shadow. Less choice for your aching head, child, but isn’t it really more choice? The choice not to choose? That phenomenon brought us the pop-up Cadbury’s Creme Egg restaurant, which only served food made with Cadbury’s Creme Eggs. Because people are mad, and getting madder, it had queues around the block.

The Keeper’s House sits in the basement of Burlington House, a restaurant in disguise. It is quite different from the grand cafés of St James’s and Mayfair, which are raging exhibitionists with banquettes splayed like limbs. It is secretive and it knows, consciously or not, the tricks of children’s literature: the looking-glass, the wardrobe and the door. It is an 18th-century basement transformed, by magical whimsy, into a restaurant. To visit the loo is a quest for which you need a Gandalf, a hobbit and a lamp. Burlington House looks like an English mansion that stared at Palladio, had a panic attack and exploded.

Miracles are not ceased. A few years ago, a kindly educational therapist took pity on John Prescott and set out to devise a way to reconcile the Mouth of the Humber and his native tongue. He came up with Twitter. That explains the restriction to 140 characters, barely room for Lord Prescott to commit more than three brutal assaults on the English language. A hundred and forty was too much. Twitter did not cure John Prescott. But it did gain pace among the young — and, the miracle, with Nicholas Soames. Nick is one of the funniest men of this age. With Falstaff, he could say (he could say a lot with Falstaff): ‘I am not only witty in myself but the cause that wit is in other men.’ Even so, he is not new-fashioned.

It is summer and the listless metropolitan thinks of grass. It cannot afford to stay at Durslade Farmhouse, Somerset, a branch of the Hauser & Wirth art gallery that serves food and plays cow noises in a former barn as authentic country folk rip their eyeballs out. Locals talk about Durslade Farm as a child that died. I think it is a Holocaust memorial for cows, but oblivious. Babington House is the country branch, and it is open to members, their friends, and hotel guests. There is a a spa called the Cowshed that sells ‘Lazy Cow’ and ‘Moody Cow’ beauty products (misogyny masquerading as irony), a restaurant and a church, which looks uneasy in the grounds, probably because it has to tolerate celebrity weddings.

Batman owned the Criterion in The Dark Knight, but could he do anything about British Telecom? Savini at Criterion, an Italian restaurant, waited four months for an internet connection and telephone line as they prepared to launch this year; when it arrived they gave BT what must be the worst review in the history of telecommunications: ‘This wouldn’t happen in Italy.’ It ruined the launch, they said. They couldn’t invite actors, except by pigeon post. And because actors are, in restaurant marketing terms, signposts — and they do look like signposts, specifically Monagasque signposts — no one knew Savini was there. It has no constituency. It is George Galloway, who has inexplicably blocked me on -Twitter. But I am too gloomy.

Wheeler’s is such a dreadful restaurant that I wonder if Marco Pierre White even knows his name is on it. I suppose, for legal reasons, we must assume he does, and was not held hostage in a cellar while they built and fretted and hung inflated photographs of their prisoner all over it, like the bedroom of a starlet in full madness.

Pharmacy 2 is the reanimated child of Damien Hirst; it lives inside the Newport Street Gallery in a forsaken patch of Lambeth by the railway arches. This makes it look, inevitably, like the set of The Bill, but with a painting of Damien Hirst on a nearby wall, which would surely confuse the Bill. Pharmacy 1 was, for five years until 2003, in Notting Hill. So we are already doing better. It is said that the Royal Pharmaceutical Society of Great Britain complained about Pharmacy 1, and worried it would confuse people looking for a real pharmacy, but I do not know if this was true. If it was, they were too stupid to live, even if they did eventually find a pharmacy. The gallery looks like the interior of a shell. I ask a man behind a desk: is the gallery open?

Sartoria is a pale grey restaurant on Savile Row. As evidence that this is London’s destination street — if menswear is your compulsion — Bill Nighy walked past me as I searched for Sartoria; I had walked, obliquely, into his film and I was not dressed for it. But when am I ever? I wore Gap to the Valentino couture show in Paris, out of sheer spite. Sartoria — a preening name which I dislike — wafts on reams of praise. Male critics love it; and it is a masculine restaurant. It is long and wide, with dark woods, expensive lamps and what here are called ‘neutral colours’.

Le Caprice is a monochrome patch of the 1980s behind the Ritz Hotel, in the part of St James’s that looks like Monaco. (There is a car park.) It was, along with Langham’s and the Ivy, the most fashionable restaurant of the Thatcher years, beloved of media slags and wankers; also of Princess Diana (the night after she died, her table was kept empty, which is a unique elegy), Princess Margaret, Mick Jagger and Jeffrey Archer, who ate his first meal here after he left prison, because he too is unique.