Helen Rosner in the New Yorker yesterday:
Bourdain’s fame wasn’t the distant, lacquered type of an actor or a musician, bundled and sold with a life-style newsletter. Bourdain felt like your brother, your rad uncle, your impossibly cool dad—your realest, smartest friend, who wandered outside after beers at the local one night and ended up in front of some TV cameras and decided to stay there. As a writer himself, he was always looking out for other writers, always saying yes, always available for interviews and comments. You had to fight through a wall of skeptical P.R. to get to someone like Guy Fieri, but Bourdain was right there, for everyone, in equal measure. He remembered names. He took every question seriously. He was twenty minutes early to every appointment, to the minute. Every newspaper, every magazine, every Web site that asked got its Bourdain quotes—and good ones, too! Not pre-scripted pablum but potent missiles of cultural commentary—bombastic wisdom, grand pronouncements, eviscerations of celebrities, flagrantly named names.
(I have to say, why would anyone want to get Guy Fieri? The boredom is profound.)
As Bourdain’s career grew, the truths he was positioned to tell grew, too. He was never able to shake off his association with the now pedestrian revelations of “Kitchen Confidential”—the cook’s antipathy toward brunch, the daily special as a dumping ground for leftover ingredients, the questionable integrity of Monday’s fish. But his Food Network show, “A Cook’s Tour,” his Travel Channel show, “No Reservations,” and his CNN show, “Parts Unknown” (which remains in production; at the time of his death, Bourdain was filming in France for the show’s twelfth season), allowed him to acknowledge that the point of his journeys—and of sharing them with his massive, ever-growing audience—was not a gastronomic fluency but a broader cultural one. In what is likely the most famous episode of “Parts Unknown,” Bourdain sat on low plastic stools at an unadorned noodle shop in Hanoi, Vietnam, eating bún chả with Barack Obama—at the time a sitting President. The meeting, which Patrick Radden Keefe chronicled in a Profile for the magazine, was momentous for both men—both had grown up in the shadow of the Vietnam War, and that conflict, its long shadow, and its human costs suffused the hour-long episode. Bourdain ended the episode on a brutal note, with an infamous quote from William Westmoreland, the commander of U.S. forces in Vietnam, a reminder of America’s racist dehumanization of the culture we at home had just spent an hour celebrating.
That’s why Parts Unknown was interesting, certainly – there was cooking and eating but there was also exploration of various kinds. And there was appreciation…I think the reason I got to like Bourdain as a person (as opposed to a shadow on tv) was because of the respect and gratitude he expressed toward the people doing the cooking, who were often ancient peasant women.
A year and a half ago, just after the Presidential election, I interviewed Bourdain for a profile in Eater, where I was an editor at the time. We sat for a few hours at a yakitori restaurant in midtown, eating chicken hearts and drinking beer. The Rome episode of “Parts Unknown” had just aired, and, as we settled into our conversation, I jokingly mentioned his obvious crush on the Italian actor and filmmaker Asia Argento, who had been featured in the episode. At the mention of her name, Bourdain’s large, tanned hand swept over the microphone of the recorder. “What do you mean, my crush on Asia?” he said, and I laughed, telling him his puppy-dog eyes were in every frame—not to mention his Twitter posts about the episode, which fairly breathed with infatuation. He took his phone out and scrolled through his recent tweets, asking me to point out specific evidence. “We’re trying to keep it under wraps,” he said.
Toward the end of that conversation—which had jumped around from the global rise of the far right to the responsibilities of celebrity to the frustrating futility of protest—I asked him, point blank, if he considered himself a feminist. His answer was long and circuitous, what I’d come to think of as classic Bourdain: more of a story than a statement, eminently quotable, never quite landing on the reveal. He talked about his sympathy for the plight of women and gay men, his formative years as a student at Vassar, his forceful resentment of the “bro food” movement with which he remained entwined, and his unwavering support for reproductive rights. “I don’t know if that makes me a feminist,” he said. “It makes me a New Yorker. Doesn’t it?”
In October of that year, Ronan Farrow published a story in The New Yorker detailing multiple women’s allegations of sexual harassment and assault by Harvey Weinstein. Asia Argento was a central figure in that story, detailing the effect that Weinstein’s predation had on her creative and personal life. Bourdain, whose public identity had been built for decades on a focussed, auteurish individualism, seemed to find in his relationship with Argento a transformative creative and political partnership. She consulted on “Parts Unknown” and stepped in to direct a recent episode set in Hong Kong. In turn, Bourdain’s sterling credentials as a man’s man and a taker of no guff served as a bolster of the #MeToo movement at large. His unwavering support of Argento—as well as his ardent rejection of so much as a quantum of sympathy for famous chefs accused of transgression—brought him a new sort of celebrity as an activist, a revered elder statesman, an overt and uncompromising figure of moral authority.
The last time I saw Bourdain was a few months ago, at a party in New York, for one of the books released by his imprint at the publishing house Ecco—of his many projects, his late-career role as a media rainmaker was one he assumed with an almost boyish delight. At the bar, where I’d just picked up my drink, he came up and clapped me on the shoulder. “Remember when you asked me if I was a feminist, and I was afraid to say yes?” he said, in that growling, companionable voice. “Write this down: I’m a fuckin’ feminist.”
I wish we could drag him back.
