Yes, I Went Out to Eat Tonight

Why is it one of the most predictable exchanges or conversations when dining in a restaurant goes something like this:

Diner 1: How’s your fish?

Diner 2: Not bad. A little dry.

Any food item and judgement thereof can be substituted, and the effect is the same: we ask about the quality of the food our companions are eating as if we’ve had anything to do with its preparation. As if we are somehow invested in how it has turned out, and our fellow diner’s relative enjoyment of it. (We might be monetarily, but the question of how the food is bespeaks a more producer-ist underlying concern on the part of the asker. And this is why such conversations struck me as odd.)

To contrast, rarely is such an honest review of a meal given in someone’s home, where the host or a family member has prepared it. It would be rude to say that your friend’s fish were dry. But somehow, in a restaurant, where presumably the cook cannot hear (although the wait staff certainly might) it is perfectly acceptable to be blunt. The spatial separation is key, here, in avoiding the rudeness label for such an exchange. That and the fact that the cook in a restaurant is a stranger with whom diners have no social relationship, while the cook in a home is.

Discussing food quality and the enjoyment of a meal with honesty is only acceptable in certain contexts. Contexts in which there is spatial and social separation between the cooker and the eater. So, basically, you can be honest about how well or little you like your food in the public sphere. In the private sphere, being honest (unless it’s positive honesty) is a faux pas; a snub at the edible gift.

It should be pointed about that dishonesty usually occurs in restaurants when the asker is the payer and the answerer is the receiver of the gift of the dinner. In this case, the asker of the “how’s your meal?” question is seen as having a vested interest in–and of having contributed to–the quality of the eater’s experience. To speak ill of the food that someone else has paid to put in your mouth would be to metonymically insult them via their gift. (But in most casual restaurant contexts, this does not apply. Diners feel free to speak ill of the food regardless of who’s fronting the money for it.)

All this is to say: how weird is it that we do not think about the feelings of the nameless cook in a restaurant as we bash their work and what they have made, but lie our asses off about the food a friend or relative or host has prepared? Upon deconstruction, it kind of makes sense, but it’s still odd. (And I really hope our waitress didn’t tell the cooks that I said their soup was salty and the cheese-bread smelled like chlorine.)

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Nostalgia as in-situ History Creation: A fragment

Occasionally a celebrity will die, or an old commercial tune will come on, or one person will mention a public figure also known to another person of the same generation. These types of scenarios often spark a collective nostalgia performance. And, if there is someone younger about who shows the least bit of curiosity (“who was that?“), or even if they show none, there will most likely be a history telling of this pop-culturally significant nostalgia. “Well, so-and-so was a well-known [insert occupation here] in the late 19[??]s who really [contribution to (pop) culture]…

Most often I experience this around my older relatives, removed by a generation, sometimes only by half a generation, if it’s a cousin who’s significantly older. This is different from sharing different subcultural knowledge. No, this has a historical element. This type of sharing and telling is bolstered by its nostalgia; by its being in the past and no longer being relevant (or present/visible) in the present cultural moment. This is about reliving the pop-culture the experiencer and teller has found important–and that past society has told them is important.

This is pop-culture canonization. Telling about those people and phenomena remembered as significant. Popular culture canonized in peoples’ memories and collected sharings of them as history. As truth about the past. This person I remember that you young’uns don’t was important, and let me tell you why.  (Because I can state some facts about themBecause the media told me they were important once. Because I remember seeing them on TV, hearing that jingle, reading about them in the paper, hearing my parents talk about them…)

What from the now will we each and together decide is worthy of canonization? Worthy of telling about in the future with that glazed-over look of privileged, historically-contingent knowledge. This happens, I suspect, both unconsciously and consciously with the help of media and cultural producers and talking with friends and contemporaries…alone together. When of course everything is mediated, if not in the massive sense of TV and internet, than through other means. But I want to find out: what will we make memorable? Make pop-history? What of the millions of details about popular culture in this very moment will we be able to recall for the younger generations to come?

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Filed under Contemporary, Historical, Media, Nostalgia

Sure, but does it cut cow-shaped purple steaks?

I’ve never seen a purple cow
I never hope to see one;
But I can tell you anyhow,
I’d rather see than be one
~Gelett Burgess, 1895

We’ve been here before at contemporarycontempt: last year I expressed my unfettered childish glee upon seeing a purple cow in Wales…that turned out to be a horse in a blanket (itself a sight worthy of deconstruction). And now I bring you the elusive purple cow in brand form:

Who knew paper-cutters could be fanciful?

This modest tool carries on its box a purple cow, and proudly aligns itself with hereforeto unknown parent company “Purple Cows.” I have no analysis to speak of, I’d just like us to take a moment to look and contemplate and perhaps chuckle at this piece of material culture.

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My Small Beef with “Midnight in Paris”

Forgive me, but I have to get this off my chest.

Why is no one talking about how Woody Allen ripped entire lines and caricatures from Hemingway’s “A Moveable Feast”? Why is everyone raving about this hacked-together borrowing of fun-facts and stereotypes of long-dead public figures? (Not everyone is raving, but I would say the vast majority are.) It was a double-layered cameo-fest where the historical figures were just snippets of their historically-remembered selves…many snippets of which were not even true. And those that did have a basis in fact were stolen from other people’s works. Why are critics raving about this child’s jigsaw puzzle of a movie?

If I’m going to be honest, though, I actually did enjoy watching this movie. It was fun and an interesting idea and the modern bits were insightful as far as how people relate to one another and lord knows I loved the era-specific costumes…but it wasn’t nearly as deep about nostalgia as it was trying to be, and the embarrassing parade of 1920s characters from “A Moveable Feast” was laughably trite and bordering on plagiarism. How are so many people applauding in awe of this half-assed exercise in bricolage?

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Filed under Contemporary, Television and Movies