I’ve often written about the strange sense I occasionally get that when I’m doing something simple like using a builder’s trowel, building a wooden frame or most particularly when I’m gardening or cooking; I feel that I’m channelling something or someone. I absolutely don’t mean this in any supernatural sense – this isn’t about ‘ghosts’, but it is about the sheer complexity of our inner lives. I’m aware that when I ask the simple question “Why cook anyway?” there’s a way of answering it directly –
- I cook because I really like eating good food’ but we’re too hard up to eat in restaurants.
- I cook because I like to determine the meals I eat and the ingredients in them because it’s better for me (us) and the world if we do.
- I cook because nothing draws people closer than eating together and cooking is a way of showing love for them.
- I cook because we have the allotment and we grow most of our own vegetables.
But none of those simple answers account for the uncanny sense of channeling that sometimes comes with kneading dough, or taking something out of the oven. On the allotment it might come with the smell of the earth or the sound of a robin. I remember it clearly one day in winter when I was laying a hedge with Chubby Ball. 
Sometimes when I cook it feels like a meditation, a wordless reflection whose content could never be expressed except in the act of cooking, and sometimes I even feel as if I’m reaching out towards a memory – especially a memory of my mother.
It would be easy to think of the Potwell Inn as a simple idea – a “two up two down” kind of conceptual building that houses a “happy place”. But what if I pushed at the boundaries a bit and revealed that the Potwell Inn is actually a very old, very large building with many rooms and such a long history that some parts have become derelict and some rooms have not been opened in decades?
Yesterday I was reading Christopher Bollas’ book “The Shadow of the Object”, and I came across this passage.
…. I have termed the early mother a ‘transformational object’ and the adult’s search for transformation constitutes in some respects a memory of this early relationship. There are other memories of this period of our life, such as aesthetic experience when a person feels uncannily embraced by an object.
When I read those words I was seized by the memory of an exhibition of Louise Bourgeois’ late work that we saw in Somerset that absolutely floored me because one of the glass display cabinets contained some objects deeply familiar from my childhood. I’m not adding a photo here because they all seem to be copyrighted but if you Google “Bourgeois the empty house” you’ll find them all.
My mother was a dressmaker and the only objects I have from her life are associated with her craft. What’s most powerful is the way in which these three objects, a pincushion with needles and pins, a thimble, and a rolling device for marking through a paper pattern into fabric bear within themselves an imprint of her whole being. They aren’t just tools, they embed her – prickly, spiky and absorbed in her work. The sound of the sewing machine was the sound of my childhood.
Stumbling on the Bourgeois sculpture was a shock, It was heavy with what Bollas calls “the unthought known”. And to get back to the original question “why cook anyway?” is it any surprise that cooking, gardening and sewing are all activities filled with the unthought knowns of my earliest infant years? When I’m bearing experiences that pre-date any form of language and are inflected into actions, I am ‘uncannily embraced’.
When we first discovered that we were expecting our first child I went into a very strange state, having no vocabulary to express what I was feeling. So I cooked. I cooked meatballs in tomato sauce, I’ll never forget it, and I poured all my feelings of confusion into that one dish. As I brought it to the table, Madame who by this time had become quite concerned that I wouldn’t come out of the tiny galley-like kitchen to talk about it was giving me one of her looks. The whole dish – it was pyrex – slipped from my fingers and smashed into a thousand pieces on the floor – meatballs, sauce and glass. Looking back forty years we can laugh at the absurdity of it all, but it was cooking as I’ve never done it before or since.


I will never make any kind of claim for understanding sourdough because I don’t; and neither would I write any kind of definitive guide to it for two reasons”
as if we were out at sea. What with the accompanying rain, this series of south westerly gales is bringing the sea to us I suppose, so there was no chance of getting up on the allotment to finish making the raised beds that would make it possible to get up on the alloment in the rain. There’s a horrible circularity about that statement!


vour but almost no heat at all, and the jalapenos too even milder than we expected. The only one that gave us any heat was the Apache, but we missed the habaneros when it came to making chilli sauce this autumn. I was never that keen on chillies but as time’s gone on my taste for using them in the kitchen has increased, and we both seem to be adapting to the hotter flavours.
Well, it was so unbelievably quiet at the Potwell inn today that after a lunchtime that was about as much fun as a funeral director’s waiting room I went up to the allotment in the kind of gloom that only November can offer. Being a fully paid up member of the age of the electric light bulb and the wireless set I find it just a bit difficult to understand why most of my customers spent the day glued to their computers in search of a bargain on the interweb, or whatever it’s called. For me there’s nothing to beat a couple of hours of declining afternoon light, digging a trench and setting the third side to a group of four raised beds. I was even reasonably warm with my old tracksuit bottoms under my overalls. These four beds are for next year’s potatoes, but the side I was completing today also borders the grape vine as I work towards replacing all the posts and wires.
Isn’t that the prettiest railway station you ever saw? I took it on a trip to Lisbon in 2009, and it popped into my mind yesterday when madame was going through an old sketchbook in which she’d handwritten the recipe for feijoada from our friend Denis some time in the mid-1970’s. Here’s the first trick of the memory, because I’d always assumed it was his own take on the Brazilian Sunday lunch, but written alongside the recipe in pencil was the name Ursula Bourne, and the name of the dish was not feijoada at all but “feijao frade com chourico”.
Then, as funds permitted and the food culture changed, I was once able to try it in a real Brazilian restaurant in Bristol where my son was working as a chef. It was OK but absurdly expensive and sanitized from the description Denis had planted in my mind. Over the years I’d been cooking and learning about other cuisines and my collection of cookery books was growing and so I’d made a resolution to try to eat as many of these disppearing recipes as I could whenever I came across them; which was why when we arrived for a week in Lisbon we set about hunting a couple of them down. There were two in particular – one I called ‘stone soup’ which Denis had talked about but never cooked. Its real name is Acorda Alentejana and it couldn’t be simpler – or harder to find. We trailed around the cafes and restaurants until eventually we found a cheerful waiter who spoke good English and knew what I was after. Except he point blank refused to sell it to me – “it’s horrible and you won’t like it” he said. But I pressed on and promised that however disgusting it was I wouldn’t blame him or complain and that I’d pay in advance if that was what was needed. He went and talked to the chef and eventually he brought it to the table shaking his head and, not for the last time that week, he hung around waiting to see what I’d make of it.
