-- Alex Gopnik, From The New Yorker
Wednesday, June 15, 2016
Dessert circa 2011
It was as if the dessert chefs had given up on dessert, too, and produced something else in its place. At even a moderately upscale establishment, you would invariably get what I had come to think of as the Portman Plaza plate, since it so closely resembled the model that a developer would have proposed for the center of a crime-wracked mid-sized city in the seventies: three upright cylinders—small towers of something wrapped in something—with the tops sliced at an angle; a crumbly landscape of some kind; and a reflecting pool running around the edge. The plate would be advertised as, let’s say, a chocolate-peanut-butter mousse cake with walnut-balsamic crumble and a sesame sorbet with Concord-grape foam. But the effect was always the same: not enough of a cakey cylindrical thing, too much of a crumbly thing, far too much of a gelatinous thing, and an irrelevance of an off-key runny thing. Without surrendering sugar, dessert had surrendered all its familiar forms—the cake, the soufflé, the pudding—as the avant-garde novel had surrendered narrative, character, and moral. Losing our faith in art is, in a secular culture, what losing our faith in God was to a religious one; God only knows what losing our faith in desserts must be.
Posted by Ari at 6:51 PM