Illustration: Jackson Rees
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Will Self takes afternoon tea at the Savoy

It’s an all-you-can-eat buffet and soup kitchen combined.

I’ve written before in these pages about the terms of my grandparents’ gustatory existence: born in the late 1880s, they stuck fast to their ­agglutinative Victorian roots by putting away three square meals every day, and a couple of hefty snacks hardly less angular. Even as a child I thought they must be involved in some strange act of religious mortification (my grandfather was a lay preacher and president of the Modern Churchmen’s Union) in so flagellating their own insides.

Breakfast was tolerably full and English, with eggs, bacon, grilled tomatoes, several rounds of toast, and sausages so thoroughly baked we named them “Granny’s Wooden Sausages”. Elevenses was bearable, because it consisted at most of a Bakewell tart, and possibly a Welsh rarebit. Lunch was solid – but by then we’d usually been out for a windswept walk on the seafront (they lived in Brighton) and so could just about choke the meat down, if not all of the three veg, and the roly-poly jam pudding. Making so much as a feint towards the cheeseboard was well beyond me until I reached my teens. However, even at that age, by the time tea hove into dyspeptic view the game was usually up.

My grandparents’ cook, the redoubtable Doris, would lay the table for exactly 4.30: white lace tablecloth; floral-patterned Royal Doulton crockery; silver teapot and hot water jug; cow creamer, honey pot, etc. There would be a plate of cucumber sandwiches, one of ham or tongue, and one of fish paste. There would be scones, or triangles of buttered white bread. The pièce de la résistance was an ornate cake stand, atop which sat the brown and menacing presence known as “Doris’s Chocolate Cake”, a ­comestible of such legendary heft and density that my father maintained, were anyone to choke down a slice without adequately masticating, that its sharp corners could be seen poking through the taut walls of their belly.

Anyway, you can imagine that with such childhood experience I have never found myself lying in some foreign field and wondering whether the church clock stands at ten to three – let alone if there’s still sodding honey for tea. But an American friend was in town and wanted the whole English-afternoon-tea experience, so I arranged to meet her at the Savoy. True, you can summon a repast styled “afternoon tea” in many less elevated establishments, but it usually consists of a desiccated macaroon and a stewed solecism of Twinings English Breakfast. If you want the real and authentic afternoon tea, such as would have gladdened Doris’s heart, it has to be the Savoy.

Mind you, I can never enter in under the art deco portico of the great hotel without thinking of Georges Bataille’s emetic-erotic classic Le bleu du ciel, which opens with the dissolute protagonist, Henri Troppmann, holed up in the Savoy with his still more rackety lover: a dipsomaniacal English aristocrat whose sobriquet, Dirty, is amply justified – the reader realises – when she calmly pisses herself in front of the chambermaid. I felt pretty dirty myself, striding across the foyer in my scuzzy blue jeans and descending to the famed Thames Foyer, the fons et origo of that great British institution, the thé dansant. Waiting for the maître d’ to find my name in the reservations ledger, I reflected that my adipose grandparents could have done with a lot more corybantic ­activity and rather less of Doris’s chocolate cake – and then my friend arrived, and beneath the wan, vernal light that fell from the restored glass cupola, we began seriously pigging.

A selection of finger sandwiches, including Wiltshire bone ham on coriander bread and coronation chicken on olive bread; freshly baked scones with home-made lemon curd and clotted cream; pastries, including a particularly toothsome éclair filled with vanilla pastry cream and slathered with lavender icing – and the whole schmozzle washed down with lashings of flowering osmanthus tea. Mmm-mm. You may wonder, gentle and socialistic reader, what possible justification I can provide for pigging out so egregiously in such a fat-cat environment. The answer is simple: afternoon tea at the Savoy is billed at a flat rate, £50. Steep for a stopgap smackerel, but not quite so appallingly plutocratic if you treat it as an all-you-can-eat buffet.

So we kept on – calling for more finger sandwiches (smoked salmon with lemon-infused crème fraîche and watercress this time), more pastries and yet more blooming osmanthus. The trolley was stopping at our table so frequently that other tea-timers were beginning to look askance; I’d drunk so much diuretic I was in danger of doing a Dirty, while my companion was surreptitiously unzipping her skirt to allow for further expansion. Then they brought the cake. I suppose in homage to Doris I should have had the Three Chocolates, but I couldn’t risk it, so instead carefully took the slice cut for me by the waiter and enfolded it in a napkin together with some spare finger sandwiches and a rather dishevelled scone.

A few hundred yards along the Strand from the Savoy, a “selection” of London’s homeless gathers each evening to receive soup and sandwiches from the Sally Army. I beat the evangelists to the punch with my Savoy doggie bag, which seemed to hit the spot – although an ex-soldier on crutches said the Three Chocolates cake was “a little on the heavy side”.

Doris would have approved.

Will Self is an author and journalist. His books include Umbrella, Shark, The Book of Dave and The Butt. He writes the Madness of Crowds and Real Meals columns for the New Statesman.

This article first appeared in the 26 June 2015 issue of the New Statesman, Bush v Clinton 2

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Broken and The Trial: From Sean Bean playing a priest to real life lawyers

A surprisingly involving depiction of a clergyman provides the saintly contrast to the sinner being judged by a real jury.

I was all set to scoff at Broken, Jimmy McGovern’s new series for BBC1 (30 May, 9pm). A drama about a Catholic priest and his impoverished parish in a “major northern city”, it sounded so hilariously McGovern-by-numbers (“Eh, lad, give us the collection bowl – the leccy wants paying”) that on paper it could pass for a spoof. Even funnier, Sean Bean, late of Game of Thrones, was to play the clergyman in question.

Naturally, I adore Bean, who comes from the major northern city that is Sheffield, as I do, and who is so terribly . . . virile (though when I interviewed him in a car park behind King’s Cross Station a few years ago, and a security guard in a high-vis jacket approached us furiously shouting the odds, he ran and hid in his trailer, leaving yours truly to face the music). But let’s face it: he’s not exactly versatile, is he? The idea of him in a cassock, or even just a mud-coloured cardigan, made me laugh out loud.

Settling down to watch the series, however, I soon realised that no scoffing would be taking place. For one thing, Broken is hugely involving, its Dickensian plot (no spoilers here) as plausible as it is macabre. For another, in the present circumstances, its script seems to be rather daring. Not only is Father Michael Kerrigan shown – cover my eyes with the collected works of Richard Dawkins! – to be a good and conscientious priest, but his faith is depicted as a fine and useful thing. If he brings his besieged parishioners solace, he is sure to be carrying vouchers for the food bank as well.

The flashbacks from which he suffers – in which his mammy can be heard calling him a “dirty, filthy beast” and a spiteful old priest is seen applying a cane to his hand – are undoubtedly clichéd. But they are also a device. Forty years on, he is happy to nurse his dying mother, and his love for God is undimmed: two facts that are not, of course, unrelated. How weirdly bold for a television series to set its face against the consensus that denigrates all things Christian as it never would any other faith.

I don’t for a minute buy Anna Friel as Christina, the gobby, broke single mother Kerrigan is determined to help. Even when covered in bruises – a bust-up at the betting shop – Friel manages to look glossy, and she never, ever quits acting (with a capital A), which is a drag. But Bean is such a revelation, I was able to ignore the voice in my head which kept insisting that a Catholic priest as young as he is – in this realm, “young” is a couple of years shy of 60 – would surely be Polish or African (I’m not a Catholic but I am married to one, for which reason I occasionally go to Mass).

He plays Kerrigan, whose overwhelming desire to be kind sometimes makes him cack-handed, with great gentleness, but also with an uninflected ordinariness that is completely convincing. Part of the problem (my problem, at least) with Communion is the lack of rhetorical passion in most priests’ voices, something he captures perfectly. One other thing: Line of Duty fans need to know that Adrian Dunbar – aka Ted Hastings – can also be seen here wearing a dog collar, and that he looks almost as good in it as he does in police uniform.

On Channel 4 The Trial: A Murder in the Family was an experiment in the shape of a murder trial in which the defendant – a university lecturer accused of strangling his estranged wife – and all the witnesses were actors but the lawyers and “jury” were real. Over five consecutive nights (21-25 May, 9pm), I found it pretty tiresome listening to jury members tell the camera what they made of this or that bit of evidence.

Get on with it, I thought, longing again for the return of Peter Moffat’s Silk. But I adored the lawyers, particularly the lead ­defence barrister, John Ryder, QC. What an actor. Sentences left his mouth fully formed, as smooth as they were savage, his charm only just veiling his mighty ruthlessness. Drooling at this performance – which was not, in one sense, a performance at all – I found myself thinking that if more priests came over like barristers, our dying churches might be standing room only.

Rachel Cooke trained as a reporter on The Sunday Times. She is now a writer at The Observer. In the 2006 British Press Awards, she was named Interviewer of the Year.

This article first appeared in the 25 May 2017 issue of the New Statesman, Why Islamic State targets Britain

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