Fast Food is a new, regular feature on EB.net by Thomas Schoenberger and Max Dax. Every Saturday you can read a new piece of a sophisticated ongoing conversation about cooking, traditions and how to read the menu of any given restaurant. It is a discussion about disappearing spaces and why so many chefs listen to Miles Davis’ so-called ‘electric period’ after an exhausting night in the kitchen.
Dax: The semi-legal Hafenstraße backdrop was essential for the restaurant’s founding myth. It is in fact only possible to pin down the story of the Restaurant Schönberger—and I know that this might sound redundant at first glance—because there is a story to tell. As opposed to, say, all those franchises of restaurant chains where no real story can ever to be told or written down. You need a story like this to make an inventory of a restaurant. I believe that you can approach a restaurant with a similar methodology and vocabulary as you classify, document and contextualize a piece of art. By talking about the Restaurant Schönberger we save it from oblivion.
Schoenberger: Let’s face it: We are very much aware of the fact that we conduct this dialogue about cooking not only in a public space . . .
Dax: . . . we are sitting in the Osteria al Bacco opposite the Geto Novo in Venice’s Cannaregio quarter. It is now 10 p.m. and we are recording this conversation with my tape recorder, a digital Olympus Dictaphone. There is five other guests in the osteria.
Schoenberger: Not only that. Even more important is the fact that we are fully aware of the fact we are conducting the dialogue in front of a virtual audience. Everything we discuss will be transcribed and published in this blog—before it will eventually be released as a book. Every mental leap and every cross-reference leads somewhere in this stream of consciousness. We chose the story of the Restaurant Schönberger as a starting point for this narration as we knew that we literally needed a heavily charged location. A space that serves as a proxy for the hundreds or thousands of spaces that we could have mentioned instead. Fast Food reports about the enjoyment that can be found in everyday occurrences such as dining, cooking and drinking. It repeats the idea that certain traditions must not be forgotten. As I said before: Every family-run restaurant with a story that has to close because a quarter becomes gentrified is a real loss. We have to defy perdition in the same cadence as the Hafenstraße squatters who couldn’t accept their street becoming an object of real estate speculation—that would have changed the face of St. Pauli forever.
Dax: I remember: At a certain point I had finished cleaning the string beans. You were still on the phone discussing something with someone I didn’t know. You had put on a record called “Pangaea” by Miles Davis—by the way my first introduction to jazz. I was sitting at my table, enjoying my white wine when the kitchen brigade arrived. I had to go then and we didn’t see each other for some time. Even though we had barely said a word, I associate this dizzy fall afternoon with the beginning of our friendship.
Schoenberger: For sure it was a memorable encounter. I still remember what I thought when you started to clean the beans. I thought: Here we have a guy who had no connection to me whatsoever except that he liked what I was doing. But the appreciation was mutual. I knew quite a bit about you because I had done my research. I knew, for example, that you had quit your work at Alfred Hilsberg’s. And I knew that you’d been Jeffrey Lee Pierce’s personal assistant and that you had—when you were still living in Kiel—suggested a caterer friend of yours in Kiel to order large amounts of Trebbiano from my Vertrieb trockener Weine. You had changed sides and become a journalist. I very clearly recall how I became aware of you and why I eventually did this research about you. One day, my maître d’ approached me and insisted that I read an article about the restaurant that he’d found in a newspaper. As usual, I resisted. I hate food journalism. It didn’t even matter if an article had been written about the Schönberger or about another place. I hated them all. The vast majority of journalistic pieces about restaurants or food are crap. They are written without any consciousness of tradition and knowledge of context. These articles usually, first and foremost, display the ignorance of their authors. It becomes even worse if the writers actually do know a bit about cooking. Most of their articles use language as a deadly weapon. They kill or hail chefs and restaurants with their writing as they are pretty class-conscious in the worst sense of the word.
Dax: The role of the critic has dramatically changed with the triumphal procession of the Internet and the availability of information in general. I totally understand your aversion against journalists whose job it is to professionally criticize. Nothing against that job description. Every now and then I read fantastic reviews. The way The New Yorker’s Richard Brody reviews “Shoah” by Claude Lanzmann, for instance, is just state of the art.
Schoenberger: The same goes for food critics like François Simon of Le Figaro fame or Maurice-Edmond Sailland, better known as “Curnonsky”. I don’t know how to put it: They were different.
Dax: . . . or take music critics such as The Wire’s Chris Bohn or, in Germany, Diedrich Diederichsen who successfully invented a brand new way of saying complex things in the German language. To me, these are real writers in a literal sense. But the profession of the critic is at stake today. Yes, we need people who filter for us—and they have to find ways to filter better and even more accurately than the stunning algorithms that Google or Amazon are using. But no, we don’t need point of view journalism anymore if the human being behind this point of view doesn’t have the time to fundamentally look into the complexity of a given topic. For decades now, I doubt the so-called objectivity of the critic. I always preferred the subjective aggregation of information and context that admits that nobody can know everything. It’s like that famous Socrates quote “I know that I know nothing”. I would never predicate anything else than that. As a consequence, an article about the Schönberger or any other place would have to explain contexts such as the tradition of the working man’s canteen, the tavern and the osteria to rightfully carve out the differences and the unique aspects of any given space. If you don’t integrate this knowledge and if you don’t display these rhizomatic connections, you’d run the risk of comparing a telephone book with a novel. Or, to refocus back onto the field of gastronomy: to compare the typical pizzeria in a German provincial town with a Napoletanian place that only sells two types of pizza vera.
Schoenberger: Well, my maître d’ didn’t allow himself to be put off. He insisted that I read your piece about my place. Your article was headlined “Remembrance of Things Past”, just like the novel by Marcel Proust. When I read that line I wanted to read the rest of the review, too.
Published September 07, 2012. Words by Max Dax & Thomas Schoenberger.