Foodist culture is utterly grotesque and depraved, and thank god for a work of fiction that skewers it as neatly and convincingly as Steven Poole's polemic 'You Aren't What You Eat'. I loved this book.
I found 'The Cook' fun and easy to read, although I see from other Goodreads reviews that others struggled with Zac's garrulous, unpunctuated voice. I found it had a wonderful combination of cunning and naïveté, which at first makes you root for him in his journey as a chef, allowing his creepy obsession with food to dawn on you slowly.
Of course, I've watched my share of foodist TV, and the procedural rhythm Macauley sets up also lulls us into wanting Zac to succeed, to make it through competitive 'rounds' and survive judges' assessments. I found the descriptions of butchery quite confronting, but surely our polite concealment of where our food comes from is only the beginning of our willingness to ignore the brutality of late capitalism?
Zac is the avatar of neoliberal ideology. Unlike his resentful lumpen classmates at Cook School, his family, whose old-school working-class values he despises, and Hunter, the Levin-from-'Anna Karenina'-esque friend whose earnest, off-grid self-sufficiency Zac sees as a cop-out, Zac believes he understands how the world really works. He aspires to social mobility by pandering to the appetites of the wealthy – who are hungry not just for food, but also for deference. He rationalises that the nature and source of wealth may change, but the rich will always want to be served.
His humiliation is delicious to them, and Zac is willing to abase himself to provide the necessary seasoning. And, much as his tastes in food evolve from junk food to rustic peasant fare to an abstracted haute-cuisine essence, Zac himself becomes less recognisable as a person as the story goes on. He trains himself into a figure of pure cheffiness as finely honed – and as dangerous – as a kitchen knife.
But of course, Zac builds his ambitions on quicksand rather than bedrock. Investors are pulling out; projects are falling in a heap; contractors and suppliers aren't getting paid. There's an entropic air to this novel; a scary, vertiginous 'fall of Rome' vibe as Zac prepares ever more elaborate meals. (There's even a corny motif of actual cracks appearing in the mansion where Zac's employers live.)
'The Cook' satirises many different class markers and economic positions. Sanctimonious Melody, who protests Zac's employment as embarrassingly exploitative, is volunteering in a Cambodian orphanage while demanding financial support from her parents. Her father, Zac's 'Master', only comes alive when he trades commodities, while the unhappy Mistress flounders in the good life with no fucking idea what's going on. There's the deceptively glamorous, clay-footed Head Chef, the talented sous chef Fabian whose clear-eyed knowledge of the leaky bucket he's pouring his talent into is tormenting him, and the hapless proprietors of gourmet emporia – including the butcher Ray, who realises too late that he lacks the economic leverage to tangle with the rich.
Meanwhile, the descriptions of Zac's increasingly deranged 'farm-to-table' methods are lavish to the point of absurdity, but yet dispassionate and utilitarian. 'The Cook' really is as pointed a critique of foodist consumerism as 'American Psycho's painstaking fetishism of designer clothing and merchandise was a critique of 1980s yuppie preoccupations.
The only thing that bothered me was the lack of explanation of how Zac's plans come undone in the end. I really thought the ultimate critique of foodism – and capitalism – would be to show Zac landing on his feet, Tom Ripley-style, and all his dreams coming true.