Tanya Gold

Katz’s Delicatessen, established 1888, is a theme park of Jewish-American food, with tribute gift shop, on the lower east side of Manhattan. There is nowhere more Jewish than Katz’s except Haredi Brooklyn, but if you go there you don’t come back. Katz’s offers a gentler Jewish experience, if you can conceive of such a thing, or it at least attempts it; it offers a kind of Judaism you can enjoy over lunch, which I find amazing because I have never managed it. (No one, for instance, talks about the Holocaust in Katz’s, not because they don’t want to but because they can’t. Try saying Treblinka with a dumpling in your mouth.

Bibendum is a hushed restaurant on the first floor of the Michelin House on the Fulham Road. (Bibendum is the name of the Michelin Man; as such, he is the only restaurant mascot I can think of who is a morbidly obese drunk, and here of all places. It is a noble gesture in a district full of Prada and control). The building is extraordinary — an art-deco whim standing on a corner like Cinema Paradiso without the dreams. It was once the headquarters of the Michelin tyre company; as such, I admire the ambition of placing a tyre company in what is essentially a Venetian palace, but perhaps tyres were considered special then. In the Congo, for instance, rubber took a lot of people with it.

Hip Chips is a specialist crisp restaurant in Old Compton Street, Soho; no, it is stupider than that. It is a specialist posh crisp restaurant and it is a grave disappointment to the compulsive overeater. The Bacon Nik Nak Shack would surely be a better idea because crisps, like leisure wear and coaches, can never really be posh. They should not even, ideally, be fresh; the joy in eating a packet of Pickled Onion Monster Munch is in the mingling of the Monster Munch and your own blood as the skin on the roof of your mouth melts off, and there it is. But these are details: who am I to stand against the tide? Even so, the success of the Cereal Killer Café in Brick Lane shows exactly how much infantile adults will pay to have their infantilism sanctioned by consumer capitalism.

To the Ned, as diarists say when they can’t provide a rational reason for their voyage: the colossal banking hall transformed into ten restaurants, or one super-restaurant with ten menus, by the owners of Soho House, who are sucking up all the press coverage the age of churnalism can grant. I cannot yet decide what is more chilling: a Soho House open to all or a Soho House safely hidden behind its semi--weaponised membership criteria. I began to loathe the brand when I saw the table-tennis tables and selfie booths at Shoreditch House.

Pollen Street Social lives in a Georgian house on Pollen Street, Mayfair, a narrow curve between Hanover Street and Maddox Street. Vogue House, HQ of Condé Nast magazines, is nearby, and Pollen Street is very like it: almost nothing can get in or out. The Tatler in-house dachshund Alan TBH Plumptre tried leaving Vogue in 2013, and was murdered by the revolving doors. Did he want better — or fewer — things? We will never know. Pollen Street Social is a ‘modern urban meeting point’ according to the babble on the website, which is ever more deranged, and makes me think: as opposed to what? It is the flagship restaurant of Jason Atherton, who was named best restaurateur at the GQ Food and Drink Awards last year.

Six Storeys on Soho is in a slender grey townhouse on Soho Square: a bar, restaurant and club. It is technically art deco, but it feels much older; it grasps back for 18th-century Soho without the typhoid epidemic and the corpses. It used to be a gay bar called the Edge, but the gay bars are closing in London, victims of a new epidemic called Grindr. Now it feels like Mary Poppins’s house after she lost hope. I came to the Edge with my friend the artist Sebastian Horsley, who wore purple suits and a top hat, and made A.A. Gill look slovenly. He kept a gun by his bedside on Meard Street, but in the end he did not need it. He fell asleep on heroin and did not wake up, and he would love it here. He would match the furniture, and they have a lot of gin.

Cafe Football is in the Westfield shopping centre in Stratford, east London, a shopping centre with a faulty name. It isn’t in the west, and it isn’t in a field. (The original Westfield is in Shepherd’s Bush. That is in the west, but not in a field. It is by the A40 and it is like America without the joy.) Westfield Stratford City sits in a puddle of chain cafés and restaurants and shops. It has been on my review list for three years, 2.9999999 of which I have spent cowering in north London. Stratford was — shall we call it renovated? — for the London Olympic Games in 2012, and it is now a windy building site full of air pollution and hipsters and thwarted hopes.

Howard Jacobson awoke to the news of Trump’s victory in November. He had no newspaper column so, what could he do? Write a novel, said his wife, and he did, in six weeks. It is called Pussy, and it is a short and horrifying hypothetical biography of Donald Trump, now an infant prince called Fracassus, born into a noble family of property developers. Fracassus hates words. He hates women. He tweets. Jacobson throws every weapon — every word — he has into Pussy. He is the voice of the metropolitan liberal elite emitting a death rattle, and that is a grave calling.

Barbecoa is Jamie Oliver’s new restaurant on Piccadilly, and no matter how many times I mutter the name, I do not know what it means, if it means anything; it may be a posh riff on barbecue, which does not need gentrifying, because barbecue is cuisine’s mass murder. The only other mention I can find is the original Barbecoa in St Paul’s. This is Barbecoa 2, then: the sequel. I used to like Jamie Oliver, or the idea of him. I liked his willingness to be a spokes-chef; to damn parents who feed their children Turkey Twizzlers and roof insulation; I liked that he is fat.

It is rare for me to write a love letter to a London restaurant, but Joe Allen, which is 40 this year, deserves it; if you have any sense you will throw off misery and go there now for hamburgers. It is not really a London restaurant, which may be why I love it, but a Manhattan restaurant (established on 46th Street in 1965 by a man called Joe Allen) that was transplanted to London in 1977; the idea of Manhattan, anyway, which is more vivid in imagination than in life. I like to imagine the cast of All About Eve in Joe Allen, talking nonsense about ‘the theatre’ as they did in Joseph L. Mankiewicz’s words, because they were possessed. (‘You’re too short for that gesture.’ ‘What a dull cliché.’ ‘I hate men.

Ralph’s Coffee & Bar is in the Polo Ralph Lauren flagship store on Regent Street. It is rare that fashion admits food exists and when it does, it usually does something insane with it, like when the Berkeley Hotel celebrated fashion week by inventing a shoe biscuit, so you could eat your shoe. But Ralph Lauren, who dresses Melania Trump because other designers will not — believing that the withholding of couture equals meaningful opposition to tyranny, a position that makes me laugh even as I place my head in the oven — goes beyond couture and into the weird lands of lifestyle. Don’t know who you are, but want to pretend that you do? Find a lifestyle brand that approximates who you think you might be, and follow it into a Polo Ralph Lauren coffin.

The Waverly Inn is the house restaurant of Vanity Fair magazine in New York City. It is part-owned by Graydon Carter, the editor of Vanity Fair, whose life, at least since Trump rose, is dedicated to the realisation of social justice using his favourite weapon, which is being friends with celebrities. Carter’s political engagement is like a blusher brush’s political engagement. It is unfit for purpose, and it is too late anyway. Even so, Carter has declared war on Donald Trump by slagging off his restaurant in New York City — the Trump Grill in Trump Tower, which I reviewed, or rather crawled out of whimpering, in my last column after attempting to eat a taco bowl to prove I don’t hate Mexicans.

Trump Tower sits between Gucci and Tiffany on Fifth Avenue in New York City. It looks like infant Lego, the Duplo brand, but black — porn Duplo, then. It is militarised; by the door are the fattest police officers I have ever seen. They look like they have been dragged out of Overeaters Anonymous and given automatic weapons; and I wonder how much the NYPD really want to keep him alive. He is in the penthouse. The obvious comparison is with Al Pacino’s penthouse in The Devil’s Advocate, in which Pacino played a devil in a penthouse in New York City, but Trump Tower is less subtle than that, and I cannot decide whether it is more or less sinister.

Katie Hopkins did something dreadful this week, which is not unusual, because she craves such things. She retweeted praise — also not unusual, for she is narcissistic for a masochist — from a Twitter account called AntiJuden SS. The page even featured a swastika, should AntiJuden SS not have been clear indication enough. For Hopkins, however, neo-Nazi praise is a dog making love to your ankle. It would repel most people, but for her it still counts. Fake outrage begat fake outrage and Hopkins de-tweeted the retweet, and apologised: ‘My New Year’s resolution is to show contrition.’ To show contrition, not to be contrite; that is quite precise for Hopkins.

Jamie’s Italian is closing six branches, blaming Brexit. After all, what else could explain the lack of customers? The below Spectator review, from August 2015, offers some suggestions Jamie’s Italian is squeezed into the Devonshire Arms on Denman Street, Soho, borne on the duplicitous winds of TV shows and book deals. It’s an odd fit, like a Flump meeting Dante. The Devonshire was a pub at the end of the world, a Victorian dystopia made of violence and despair.

Margot is an Italian restaurant on Great Queen Street in the still interesting part of Covent Garden. The uninteresting part is the piazza, once the first classical square in London but now a shopping district so devoted to famous brands that it is essentially Westfield in WC2, and WC2 has no need of it, already having a superior culture of its own. Even so, I expect some day to find St Paul’s church a smouldering pile of ash waiting for an Audi concession. Margot used to be Moti Mahal, an unlamented Indian restaurant next to Freemasons’ Hall, which posed as MI5 in Spooks, a BBC drama in which a one-nation Tory called Harry repeatedly saves the city from apocalypse with his one-nation Tory goodness.