Show Hide image Cultural Capital 5 February 2015 Will Self: Why I hate ramekins I may be late to the party, but I am tough on ramekin – and on the causes of ramekin. Print HTML Ramekin disaster. Illustration: Jackson Rees Ensorcelled as I was by my old friend Amanda Coe’s elegant dissection of the dead meat of English bourgeois mores, I nonetheless reared back from her novel Getting Colder when I read this passage: Little England, he’d probably call them, as he did most things enjoyed by other people. Holidays, parties and TV were all Little England. Also caravans, pets, gardens, paying to see gardens and many kinds of food, particularly food doled out in pots or saucers into individual portions. The word “portion” . . . was itself very Little England, according to Patrick. A portion in a ramekin, served by anyone prepared to use the word “ramekin”, would probably make his head blow off. The Patrick in question is a cantankerous playwright whose sole hit, Bloody Empire, became a cause célèbre when it was hijacked by those protesting against the Falklands war. Yet, separated as we are by age, literary form and (at least putatively) reality, I feel that he is my soulmate. It was this intense sympathy that had me rearing back – that, and our mutual detestation of both the signifier “ramekin” and what it signifies. But there was a fourth factor impelling my rear; for me, both “ramekin” and the small individual-portion pot it denotes were utter novelties as of early 2015, yet the scene in Amanda’s novel in which Patrick’s detestation is manifested takes place circa 1982. A fanatic for period detail, I couldn’t believe I’d been living in a world in which “ramekin” had been au courant that long. To me, it smacked of the nouvelle British cuisine of the very late Eighties and early Nineties, so strongly that I carried on rearing back until the wall stopped me. That and certain other germane facts: Amanda, a Bafta Award-winning screenwriter (for her television adaptation of Room at the Top), was not the sort to get her period detail wrong. I went downstairs to my wife’s study and, because she was the person who’d brought the damn ramekins into the house, I charged her: “How long have people been saying ‘ramekin’?” To which the reply came: “Oh, for ever, I s’pose – but certainly since the Eighties.” I took this correction in good part, although, like Patrick (in the event of hearing the word uttered), I still felt my head was about to blow off. I went back upstairs and consulted the OED, wherein I discovered that the earliest textual use of ramequin – en français, naturally – was 1706, but that the term was thought to derive either from the Flemish rameken (toasted bread) or possibly the Middle Dutch ramken, a diminutive form of, um, cream. Well, whatever the etymology of this abomination, I loathe it and all the little cheesy, creamy, crummy eatables that sail in it. The ramekins began appearing in the house a few months ago, arriving as containers for some supermarket titbit or other. I paid them no mind, stacking them in the cupboard with the normally sized bowls and trusting that in due course they’d go away. Without even knowing what they were called, I connected them with other ephemeral culinary fripperies such as the amuse-bouche served in a shot glass, or the superfluous finger bowl with a single rose petal floating in it. You might have thought that I, a committed anti-gastronome who longs for a time when he can live on Marmite-infused air, would see the virtue in these diminutions on the themes of crockery (and Welsh rarebit), but I’m afraid that when it comes to foodie-ism, increasingly I eschew harm-minimisation in favour of zero tolerance. I’m tough on ramekins – and I’m tough on the causes of ramekins. It’s like this: Jo Malone, the founder of a world-girdling chain of smelly-water emporia, was the guest on Desert Island Discs a couple of weeks ago. The anodyne Kirsty Young, whose interviewing style is about as robust as a newborn baby’s, put this question to her: “Isn’t it the case that the packaging for your products is just as important as the products themselves?” To which Ms Malone vigorously assented: “You want your customers to feel proud to be seen with one of your bags on their arm.” Setting to one side the matter of just how empty-headed and vacuous you would need to be to feel pride at carrying a paper bag with “Jo Malone” written on it, what I think this exchange tells us is that in our culture the victory of style over substance is now complete, and we have, without a backward glance, exchanged the one, the indivisible, and the eternal, for the many, the fissiparous and the provisional. “Things fall apart; the centre cannot hold . . .” Mere ramekins have been unleashed upon the world, and we are compelled to live out our days rattling our sporks against their irritating little grooves in a widening gyre. Where will it all end? I’ll tell you: with mindless creatures sitting gibbering in the wreckage of a civilisation. Then one of them will reach out, pull a roughly circular piece of roof tiling from the wreckage, smear rancid fat on it and lick it off – and so the whole ramekin-go-round will begin again. Pass the sickbag, Patrick. › Moazzam Begg: it's the FBI, the CIA and MI5 who should be questioned 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. From only £1 a week Subscribe This article first appeared in the 30 January 2015 issue of the New Statesman, The Class Ceiling More Related articles How will future videogame makers design a grand strategy game about the 21st century? How can comics be better at race? Can we call Palio a documentary if it doesn’t address animal cruelty?