A Thousand Feasts is a collection of stories and insights from the Observer’s food writer. Here, he reflects on simple joys that can arrive anywhere, from a beach half a world away to his own kitchen
here is so much to feast on. The sight of a wave of snowdrops under the gnarled branches of an oak tree; the crisp pages of a new diary; a battered wicker basket of dumplings fresh from the steamer. I feast on the pleasure of packing for a trip away from home; tucking into an impromptu picnic of bread and cheese; the scent of a bunch of home-grown sweet peas and the satisfaction of a neat pile of fresh ironing.
To eat in someone else’s garden is a luxury beyond measure. The hum of friendly chatter, the raucous laughter, confidences shared in low tones. There is also the opportunity to drink up the delights of another gardener’s work. There are pots of deep claret and rust dahlias, pink cosmos in Victorian terracotta pots and pelargoniums grown straggly with age. Madonna lilies grow tall through branching stands of fennel and swaying sprays ofI am jealous of my hosts’ potted hostas.
I remain still, moving my hands occasionally to send ripples through the cosseting water. It is so quiet I can hear the movement of thejacket being folded and placed in one of the rows of wicker baskets that stand in for lockers, and know I am to be joined. As my fellow bather gives a nod of acknowledgement and steps silently into the water, I remind myself that they are a kindred spirit rather than an invader.
They are valuable only for their usefulness; reliable and solid, each with a clear purpose. A deep-bowled elm spoon; a brass spatula speckled by heat with which I turn a courgette fritter or pork steak with such ease; the simple Japanese steel tongs from which I never wish to be parted; a slotted slice made of walnut wood whose edge has darkened from years of scraping at caramelised meat juices. These are the kitchen pieces I work with more than any others, the most basic tools of my trade.
Potters tell me they are not fond of making plates. Plates are prone to warp and twist in the kiln and take up the space that could be more profitably used for cups or bowls. The contours of a twisted bowl are much admired, a plate that isn’t flat less so. A couple of my plates were salvaged from a sunken shipment of Chinese porcelain. They are the colour of the sea and still sport red wax seals on their undersides. I would love the maker to know their work wasn’t lost for ever.
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