I own a Global kitchen knife because of Anthony Bourdain. Kitchen Confidential, originally published in 2000, was one of those rare books that became a sensation, stirring up interest among a wide range of readers, most of them charged up by the sense they were receiving a glimpse of something wonderfully secretive about the restaurant industry. At the time, Bourdain was the head chef at New York’s Brasserie Les Halles, but he was also an accomplished enough writer that he had a couple food-themed crime novels under his belt. Kitchen Confidential was his coming out as a nonfiction writer, providing a memoirish examination of the hardscrabble romanticism of a life in professional kitchens interspersed with some gut-level philosophizing over what was and wasn’t legit in the booming foodie and celebrity chef cultures. His disdain over the mush that emanates from a garlic press caused me to drive that tool out of our household kitchen, and his discussion of kitchen knives, insisting the gauntlets toted in black cloth bags by many chefs were entirely unnecessary when one good, sharp blade of Japanese steel would do for the vast majority of tasks, was enough to make us seek out one of offering of his suggested brand. That Global knife still resides in our kitchen, getting use most every night.
The success of Kitchen Confidential changed everything for Bourdain, most notably precipitating a television career that’s nabbed him a load of Emmy nominations and two of the actual trophies, not to mention leading to his current status as a near-savior of CNN. It also led to him (or essentially him) being played by Bradley Cooper. Bourdain also became a favorite interview subject, which often involved others trying to provoke him into reviving his withering commentary on other famous culinary figures, particularly those drawing some sort of paycheck from Food Network, a favorite early target. He played along for awhile before eventually starting to demure, partially out of a recognition that he was unmistakably joining their celebrity ranks, but also as an extension of the pointed thoughtfulness that informed his writing in the first place. Now that he was no longer the anonymous loudmouth in the back tossing out invective, he had a clear instinct to be properly informed in his assessments, thus he had an episode of one of his shows in which he sat with former target Emeril Lagasse, ate his food, and tried to understand the man who he once reduced to a clown spouting catch phrases. Not only did Bourdain acknowledge the skill of the fare put before him, he grew fascinated and impressed enough with this former adversary to write him a scene of high dignity in HBO’s Treme.
It’s that level of intellectual integrity that keeps me coming back to Bourdain’s words, whether on the page or for his shows, for which he’s usually the sole credited writer. There’s consistently great material in the collection The Nasty Bits, much of it openly wrestling with the misgivings Bourdain has about his elevated stature or the conflicted feelings he has when a place, a person, or a plate of food challenges his firmly-held preconceptions. He’s an opinionated person who allows himself to be convinced otherwise, at least if the about face is earned. (Granted, by his own accounting he’ll just cave sometimes, as when he claimed he softened his stance on Rachael Ray because she sent him a fruit basket.) Sometimes that can lead him down an unfortunate avenue, as with his unapologetic championing of The Taste, the cooking competition show he co-produced and co-hosted which was as shammy and contrived as any food television program not involved manufactured drama over the baking and decoration of cakes. Overall, though, the quality of openness to different viewpoints and experiences makes his writing and commentary smarter and better. And seriously, that Global knife is fantastic.
—Doris Kearns Goodwin