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If the Marx brothers had ever taken to food writing, they might have produced something very like F.T. Marinetti’s marvelously slapstick work, The Futurist Cookbook. The provocative (and regrettably Mussolini-approved) Italian artist Marinetti was infatuated by all things sleek, sharp, electronic, and shiny, but he was also an avowed enemy of pasta, which he denounced as a pathetic Italian addiction to nostalgia and tradition. Instead, he preferred his Futurist meals to combine the radical use of color, shape, music, lighting, and ideas, leaving taste and nutrition off the list entirely. In fact, the modern vitamin supplement industry should make Marinetti a patron saint: He argued that all sustenance should come from pills, freeing up food to be the raw material of art, preferably to be consumed while listening to the soothing hum of an airplane engine.

His oddball cuisine debuted in the first (and only) Futurist restaurant, in 1929 Turin — an angular, alumina-plated interior called La Taverna del Santopalato, or Tavern of the Holy Palate. It was an event Marinetti considered on a par with the discovery of America and the fall of the Bastille (“the first human way of eating is born!”) His cuisine was then replicated at various Futurist events across Europe, to the horror of many pasta-lovers, and his 1932 cookbook has both delighted and mystified gastronomists ever since.


Taking the Cake

A reverse chronological history of the wedding feast centerpiece


A marriage may be between two people, but weddings tend to be between the couple and everyone else. Wedding guests called upon to bear witness to the ceremony, and to shower a new couple with verbal and financial blessings, can shape the proceedings and meanings of marital rites as much as the bride and groom do. I’ve played a number of performative roles in the weddings of loved ones — bridesmaid, maid of honor, toast-giver, poetry-reader, choreographer, and stage manager — and from the wings, I’ve observed how often the friends and family of the new couple feel entitled to weigh in on what is and is not done properly. Personally, I lucked out: My own parents’ rules for the ceremonial passage into a hallowed state of matrimony were simple and few.

Rule 1: Don’t get married until you’re 30.

Rule 1b: But you don’t have to get married ever, if you don’t want to.

Rule 2: If you do decide to marry — after age 30, that is — you are entirely free to elope, and save the money for a washing machine or something.

Rule 2b: But you do have to bring your mother a piece of wedding cake.


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There is an old Pennsylvania Dutch saying: weeche Waffle sin Dudelarwet ferlore, which means “soft waffles are love’s labor lost.” In the Pennsylvania Dutch universe, there is probably nothing worse than a soft waffle, a bedroom euphemism for male dysfunction. So ingrained are waffles in our culture that less-than-perfect specimens are ready objects of contempt.

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In the 16th and 17th century, when the renowned painters of other European countries largely painted religious scenes and royal portraiture, the Netherlands developed genres of painting that reflected the mercantilist, increasingly secular culture that produced them. Wealthy merchants and other upper-class landowners had buying power to rival the Catholic church, and their patronage encouraged guilds to practice highly technical, sumptuous paintings of things: seashells and flowers, musical instruments, fine silver, and of course food — all improbably arranged onto an overflowing table and rendered in luminous layers of oil. MORE

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Vegetarians have grown to relish—or at least tolerate—fake chicken, mock turkey, soy hot dogs, and flame-grilled tofu burgers. But the noble tradition of fake foods dates back to antiquity. Roman cooks loved to disguise the flavors of their dishes. The ancients relished food games at their banquets, and cooks took great pride in concealing flavors so that one type of meat might taste like another—or like nothing at all. One of the more peculiar recipes that survives from the first extant cookbook, dating to the fourth century A.D., is called, bluntly enough, Anchovy Casserole Without the Anchovies. The author, Apicius, proudly boasted, “No one at the table will know what he is eating.” Artists were employed at banquets to make realistic sculptures of lions out of chicken meat, bulls of fish flesh, camels of venison—anything to tickle the jaded diners. MORE

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What sinister historical forces have converged to create the freakish likes of Sandra Lee, Emeril Lagasse, Gordon Ramsay, and Jamie Oliver? As with so much else in the history of dining, we can trace the rise of celebrity chefs to the early 1800s, when he was transformed from a humble artisan into a revered artist — the modern Prometheus.

Of course, there have always been great cooks throughout history, but they stayed out of the limelight, as anonymous tradesman in the sooty kitchen. Since the Middle Ages meals were, first and foremost, about extravagant presentation, and the most celebrated figure was the maître d’hôtel, or steward — the front man who designed all the special effects of a banquet. It was he who chose the dishes, oversaw the decoration of the table, arranged the entertainment and choreographed the guests. MORE