I ran across a great essay titled “In Praise of Fast Food” that poked a few holes in one of the driving tenets of the slow food movement – the belief that taking ripe, organic, locally grown ingredients and preparing them in traditional ethnic and cultural fashion is a more natural, time-honored process. Here’s a sample:
My culinary style, like so many people’s, was created by those who scorned industrialized food; culinary Luddites, we could call them, after the 19th-century English workers who abhorred the machines that were destroying their way of life. I learned to cook from the books of Elizabeth David, who urged us to sweep our cupboards “clean for ever of the cluttering debris of commercial sauce bottles and all synthetic aids to flavoring.”
I rush to the newsstand to pick up Saveur with its promise to teach me to “savor a world of authentic cuisine.”
Culinary Luddism has come to involve more than just taste, however; it has also presented itself as a moral and political crusade—and it is here that I begin to back off. The reason is not far to seek: because I am a historian.
As a historian I cannot accept the account of the past implied by this movement: the sunny, rural days of yore contrasted with the gray industrial present. It gains credence not from scholarship but from evocative dichotomies: fresh and natural versus processed and preserved; local versus global; slow versus fast; artisanal and traditional versus urban and industrial; healthful versus contaminated. History shows, I believe, that the Luddites have things back to front.
Over the weekend, the wife and I watched the HBO documentary,
Most people who discover Bob Dylan’s music these days run across a song of his (or a cover of a song of his) in a film or on Pandora. If their interest is piqued, they’ll likely buy one of his greatest hits albums on a whim. The first 








