“I am not crazy; my reality is just different from yours.”
28 February 2025 ~ Rabbit Hole Gastro-Bar Kaliningrad
There is a gastro-bar on Mira Avenue Kaliningrad which lies at subterranean level. At the bottom of the steps that lead down to its entrance is a sign. The sign says enigmatically: “Fall into the Hole, Get Lost in Time”. The name of this gastro-bar is unlike any I have ever encountered. How many Rabbit Holes have you frequented? Through the windows of the front door, I can see the bar itself, the thing with beer taps on it. Without a second ado, like a ferret down a rabbit hole, and what could be more appropriate, I cross the portal to the other side.
Like Alice who passed before me (Who the !*!* is Alice?), who, it has been suggested, had an addiction of her own, I find myself in Wonderland. But first a passing word, or more, on what we mean by ‘cozy’.
Rabbit Hole Gastro-Bar Kaliningrad
When people use the term ‘cozy’ they usually employ it in a complementary or even compensatory way, intimating that whilst the place they are describing may be small, it is warm, comfortable and inviting.
Before becoming a city slicker, I lived my life among country folk, whose view of the average rabbit hole was anything but romantic, and I tended to concur with them. But this strictly urbanised concept persuaded me to revise my opinion.
From the moment I entered its rarified world, I felt the urge to compare it to the British pub of yore, with its typical two-room segregation: one for the serious drinker, traditionally known as the public bar, and the other for more discerning types, which went by the name of the lounge. But the two-room similarity ends at this point of the parallel, since whilst one side of the gastro-bar has a discrete and inglenook feel and the other, being slightly larger, though not tremendously so, an aspirant sense of restaurant, neither one nor the other can be said to be less cozy.
It is the larger room of the two, however, where Wonderland is best perfected. Not exactly the gossamer Wonderland as conceived in the maze-like labyrinth of Lewis Carroll’s inventively playful, playfully odd, often obtuse and fantasy-making mind, but rather the rich star-spangled extravaganza bristling with special-effects, which, we are told at the time of writing, is the highest grossing film of director Tim Burton’s career. The framed anthropomorphist images displayed on Rabbit Hole’s walls are not the exquisite renditions of Tenniel or of Attwell, they are loud, near-modern grotesque, decidedly Burtonesque, and the looped Alice in Wonderland film shown silently on the wall-mounted screen needs no introduction: it is Mr Burton’s Hollywood blockbuster.
One of the most compelling draws of this pantheon to Burton ~ no, not a monogrammed pair of Alice’s ~ is its enticing assortment of Wonderland hats. Casually tossed in a wicker basket just below the TV screen, these simulated props, which identify with Alice’s fictional characters, enable those who are smitten by the happy-snappy smartphone age to plonk them on their bonces, take photos of each other and feed them proudly to their ‘Like-clicking’ friends, who are presumably waiting, phones in hands with nothing but bated breath, for the next instalment of lives that surprise. ‘If the hat fits, it fits’, and the management of Rabbit Hole have latched onto this modern compulsion, for it certainly fits their marketing ploy.
Wearing an Alice hat or not, there is something important you need to know about dining out at Rabbit Hole, which is that before the evening is out you will be rubbing Deep Heat into your neck. I think we can safely say that the last thing Mr Burton would likely want to hear is that his multi-billion-dollar film has been upstaged by a ceiling, but there you have it, and there it is.
Rabbit Hole’s ceiling is a work of art, an engaging, colourful illustration that wouldn’t look amiss in an early 20th century children’s story book. It is in itself a fitting tribute to the golden age of authentic Alice.
Its canvas is awash with iconic Wonderland objects, which float around in a densely turbulent space as though, caught up in the Wizard of Oz tornado, they have been flung at random and as a whole into ever-lasting affection, which, as all we avid readers know, is the library of our impressionable years to which we owe a lifelong membership.
‘Crikey!’ you might think, as you crane your neck in admiration, ‘they’ve even crimped’ the ceiling, but in this respect you’d be lavishing praise where praise is not readily due, for whilst the effect lends the images an appropriate dreamlike character, as every student of Königsberg’s history knows, or if he doesn’t should, the series of narrow arches that give the ceilings of basements and those in old industrial buildings in this part of the world their characteristic ripple, as aesthetically pleasing as they are, are principal to the fulfilment of an essential structural purpose. Having made this distinction, however, artistic concept and construction complement each other, as though their eventual coexistence had been ordained by Carroll himself. Carroll’s tale has innumerable twists, but Rabbit Hole’s ceiling has a few of its own.
If you haven’t come to Rabbit Hole to gawp in amazement up at the ceiling, the only explanation can be that perhaps you are here for the food.
Rabbit Hole Gastro-Bar Kaliningrad
I see a lot of positive comments regarding the quality of Rabbit Hole’s food posted on the internet but have failed to find anything much written about the quantity. A word in your ear, if I may. On the evening that we dined there, one amongst our group was rather disappointed that the prawn salad she had ordered only contained as many prawns ~ two to be precise ~ to justify its name and warrant its plurality. And I was not exactly impressed when the baked potato for which I had paid the British equivalent of three whole pounds was lost in the landscape of a bowl whose suspiciously disingenuous proportions could have taken a single olive and optically turned it into a melon. Taste in all things was in place and thus it goes was quality, but the whereabouts of quantity was anybody’s guess, perhaps it was off taking tea with Carroll’s March Hare and Mad Hatter.
I have no idea what brand of beer they serve in Alice’s wonderland, do you? But down in Kaliningrad’s Rabbit hole, I was perfectly happy to reprise my friendship with the ever-amenable Maisel’s Weisse, which, as every student of good beer knows, perhaps those very same students who are so up to scratch on Konigsberg’s history, is a special Bavarian wheat beer.
I would have been quite content sitting and sipping at my Maisel’s Weisse whilst gazing at the ceiling ~ pass the crick-in-the-neck cream, please ~ had it not been for my discovery of that something exciting going on at a nearby table of ladies. They had just received a wooden platter from the waiter in a bowler hat containing umpteen shots of different vodkas. You may recall, and if you don’t here is the link that will jog your memory, that I knew all about these special platters and the different vodkas they conveyed, having been bought one at the Dreadnought.
Did Rabbit Hole have a vodka or two tinctured with different flavours? Most certainly they did not! They had a vodka or 54, replied the indignant waiter, and before we could disarm him, he had whipped his phone out of his pocket as smartly would have Hickok had he possessed a mobile phone instead of his trusty side-iron, and tippy tapping away on his phone, not Hickok but the waiter, he began to recite a list of vodkas as long as Alice’s arm when whatever the potion it was she drank inflated her general stature. The only way we could switch him off ~ and here’s a mark of salesmanship ~ was to interrupt his roll call by ordering up a batch of those vodkas upon whose fragrant personalities he was so zealously expatiating.
The least adventurous of our party, and, if the truth be known, cursed by the same affliction as Wonderland’s White Rabbit, I stuck to my staple flavoured vodka, horseradish, a choice I presumed would be safe by precedent, but which, as it transpired, was nothing of the sort. The grimace on my face could, I suppose, have been mistaken for the grin on the face of the Cheshire Cat, but whatever it was that he was on, this was not my fix. I am not sure what became of the radish, but I felt the kick that came with the horse.
The next safe bet was cherry flavour, but this concoction as nice as it was being rather more sweet than I cared for, made me think that it may have been more prudent had I approached it via the stepping stones of turnip, carrot, swede and cucumber, but that my friends is what tasting is, a bit of a tightrope to getting it right, but a talking point when getting it wrong.
By the end of this Rabbit Hole evening, the unpredictable marriage of Maisel’s Weisse with exotic vodkas brought me to the realisation why when Alice drank her magic infusions one minute she felt too small for the room and much too tall the next. But the sorcery hadn’t ended here. Before returning to the ground above me, I was aghast to see in my reflection that some of the vodkas had gone to my head and one ~ it must have been carrot ~ had definitely gone to my ears … Rabbit, Rabbit, Rabbit …
18 February 2025 ~ Ponart Brewery in the Strange Case of Creation
>> Creation — the famous exhibition from Annenkirche and the art group Grain is now in Kaliningrad! This is a biblical view of the creation of the world through the prism of modern Christian art. The exhibition is located within the walls of the atmospheric old Brewery Ponart, where the past and the present, faith and creativity, deep meaning and stunning visual design are harmoniously combined. At the exhibition, you will learn all the most important things about the days of creation. You will be able to touch God, get closer to the heavenly bodies and decide for yourself whether to bite or not to bite the forbidden fruit. Large-scale installations and aesthetic locations help to penetrate the theme and provide the opportunity for many beautiful keepsake photographs. << Translated from the exhibitor’s website
Sailing past the world and saying goodbye to the dinosaur, we entered a short, narrow section of corridor, the walls of which were decorated with multiple lights, each having flower petal shades in hues of natural green and yellow. This room appeared to represent Day 3 of God’s world creation: the introduction of the natural environment, the phenomenon we call ‘nature’.
The impact of the following room would have been awesome without comparison to the cramped and confined space of the last, but no such prelude was necessary.
We were now standing in an area of the old brewery, which once would have comprised three or four storeys but, gutted from floor to rafters, had been recast as a towering shaft, gnarled, scarred and ragged. The entire confinement was bathed in a low red glow, causing me to bookmark Edgar Allan Poe’s Masque of the Red Death, which was a rather unfortunate negative parallel, because the huge illuminated moon suspended from the ceiling suggested that in the narrative structure by which the rooms were sequenced, we must have arrived at Day 4, the creation of the universe. Don’t quote me on this, however, as my proficiency in maths is far below the standard of the divinity’s.
A low, not humming sound, but musical chord, which wavered slightly, but not enough in noticeable degree to be called melodic, vibrated sonorously through the vertical vastness of this lofty chamber, adding audibility to its already visual awesomeness. Stunned by the giant moon, I also found myself becoming inadvertently absorbed by the many scars with which the faces of the wall were pocked and disfigured, the many uneven ledges and protuberances, the legion of empty joist holes, which reminded me of eye sockets in the face of an ancient skull.
Scaling three of the four walls was a metal staircase, linked by two horizontal platforms at higher and lower levels. This was a staircase which, if you had not turned adult, you would want to climb immediately. Up I went!
The difference in elevation of the two landings provided an agreeable variety of photo opportunities, which, have smartphone will snap, we, of course, took full advantage of.
At the summit of the steps, we passed into a small piece of truncated passageway, emerging thereafter into a great rectangular room, the installations and arrangement of which in relation to one another reminded me of the surrealist work of Terry Gilliam, Monty Python’s collage animator.
Lighting ~ green, blue, orange-red ~ bird flocks strung in mid air, paintings of beasts on the walls, a row of trampoline-seat swings and, in the centre of this row, but at the further end of the room, an enormous pointing white hand (if this had been the UK, it would have been liberal black), thrusts out of the heavens (in this case from the ceiling) through clumps of something that I am rather fond of. I was thinking ‘cauliflower’; the artistic creators most probably clouds.
“Michaelangelo!” Olga announced, annoying me. I had wanted to say it first
The next venue, the room immediately above the one containing the giant hand, was, arguably, more surreal than the last. Two rows of the same sized but differently stylised mannequin heads centred atop rectangular plinths travelled along the centre of the chamber, whose every wall had attached to them paintings of a symbolic nature depicting either variations on the theme of divine creation, Michaelangelo’s version, or unsympathetic renditions of the progenitors of original sin, the hapless Adam and Eve.
Lighting continued to generate atmosphere as it had in the rooms before, and once again could be heard that low, impenetrable but penetrating, measured background hum, which, speaking for myself, had nothing of hallelujah in it but a lot of numbing depth. It gave me grim satisfaction to note that it, and all I had experienced whilst on this voyage of wonder, accorded with my sullied view that of all God’s myriad creations, with the exception of man himself, the world is the most imperfect. Indeed, I have to say and must say, that you would need to be less receptive than deaf, dumb and blind, or a child upon a rocking horse or swing, not to arrive at the end of this incredibly evocative ghost-train ride with more of awe and wonder and less of self-possession than you had upon starting out.
True to form, there is nothing in this biblical treatise on the creation of the world that does not deserve to be called amazing but at one and the same time peripherally unsettling, and nowhere was this more apparent than in each and every one of the artistic interpretations of the spark of life and the fall of man.
The grotesque ethereal landscapes portrayed symbolically in these works of art made the scores of red rosy apples suspended on threads of different lengths, some so long that the apples attached to them descended through circular pits in the floor, wherefrom they could be witnessed hovering above a rectangular trough scattered with scarlet bricks, divine enough to test the wrath of God. This then is the thematic ethos of the exhibition’s penultimate room, where it is hats off to Creation’s creators who, by ingenuity or by accident, have made the legendary curse of original sin never seem more tempting!
I will never now be able to look again in innocence at a store-bought rosy apple or pluck one off a tree without that the act of doing so emphatically returns me to this desirous scene at Ponart Brewery, as well as to the mythological premise that almost every instinctual human act is sin wrapped up in guilt or guilt wrapped up in sin.
It occurs to me that there is someone out there who is abrogating responsibility for filling this flawed world of ours with a dynastic glut of apple pluckers. Tell me, who can think of Granny Smith when the orchard in full bloom is full to bursting with attractive distractions like Honeycrisp and Golden Delicious? It’s easy to blame it on Adam and Eve, they are not here to defend themselves.
Ponart Brewery in the Strange Case of Creation
The truth of the matter is that the biblical story of creation, that masterpiece of tragedy of which we are a part, means different things to different people. Go and see it for yourself, and ask yourself at the end of the journey, is the biblical view of our world a slice of apple pie, or does it give you the pip? One thing is for certain, Creation is an exhibition, which starts and keeps you thinking. https://zernoart.ru/creation_kaliningrad
A step-by-step guide to the six days it took to create the world
10 February 2025 ~ Ponart Brewery Creation of the World Exhibition
Holiness, theological doctrines and a biblical view of the world, these are some of the many spiritual components of our mortal existence with which, I imagine, I am rarely associated. I can think of hardly anybody among those few who think they know me, and that includes myself, who would even half believe that I would take an active interest in the genesis creation narrative. And yet, there I was ~ where, I shall tell you in good time ~ not merely taking an interest in, but following in the footsteps of, the Divine Creator’s plan.
This genesis paradigm has been used to explain why we go to, or in England used to go to, church on Sundays and why on that same day, before the evil ones changed the licensing laws, the pubs worked fewer hours, so that we, the people who used the pubs, would stay at home and rest in order to work greater hours in the restless week to come. Is nothing sacred to exploitation? The answer to that is no.
I had not been asked such searching biblical questions since I was a nipper, and, as far as I can recall, had never been asked them whilst standing in front of a giant globe of the world, lit up and suspended within a hushed and semi-darkened room, bathed in a red-filtered light, with a Lutheran priest standing before me dressed in a pair of jeans surrounded by a semi-circle of orange-painted rocking horses.
In telling you that the cavernous, scarred, hollowed out, red-brick room in which myself, my wife, the priest, the globe and the dinosaur were congregated was one piece in the mammoth jigsaw of Königsberg’s Pomart Brewery, a rambling late-19th century pile undergoing restoration and emerging from its ruined condition as a multifarious public space, those who think they know me, and this includes myself, will pick up on the one word ‘brewery’ and whisper slyly under their breath, ‘Hmm, so that’s why he was there!” But both of us could not be more wrong. Though it shames me to admit it, I was not strictly or exclusively at Pomart’s for the beer.
Not that I have not been aware of the Pomart Brewery’s existence; could I of all people be guilty of this oversight? I have known it as a historic landmark fallen into dereliction and, in more recent months, as an ambitious restoration project, complete with functioning brewery. The fact, therefore, that I have not had time to explore it in either its faded former or current glory testifies to the many things that there are to see and do in and around Kaliningrad. But here we were, or rather there we were, at last, attending an exhibition called Creation, a deceptively simple title for something of such conceptual and spatial magnitude.
Ponart Brewery Creation of the World Exhibition
The art group ‘Grain’, Creation’s creators, originates from ‘Annenkirche’ (in Russian: Анненкирхе), or the easier to relate to St Anne’s Lutheran Church in the Russian city of St Petersburg.
The group describes their exhibition as a “biblical view of the creation of the world through the prism of modern art … where the past and the present, faith and creativity, deep meaning and stunning visual design are harmoniously combined.
“At the exhibition, you will learn all the most important things about the days of the creation,” Creation’s creators promise. “You will be able to touch God, get closer to the heavenly bodies and decide for yourself whether or not to bite the forbidden fruit.”
Tempted? I wouldn’t recommend it. Although among the exhibition’s stimulating props and large-scale installations, you will find no shortage of apples, like everything else in this tour de force the apples are only as real as symbolic licence permits them to be. The creators of Creation invite you to leave this material world and sink your teeth into something that you may have bitten into before, but which lies beyond the secular yonder to which you have grown accustomed.
Ponart’s Brewery was not created as a venue for Creation, it was created for the creation of Pilsner lager (there’s no accounting for taste), but as an exact fit for Creation’s needs, it is difficult to imagine anywhere else coming reasonably close. Ponart swallows everything whole ~ you, me, apples and all, even the giant globe of the world and the looming sphere of the moon. To the exhibition’s props, the gargantuan scarred-brick labyrinth constitutes a compatible universe, an expanse in which each exhibit finds its own unique space, providing the parabolic journey, along whose line the exhibits lead you, with a transport of celestial commentary and a glimpse into your own beliefs, which, latent within your spiritual landscape, are as revealing in their intimacy as they are in cosmic proportion.
Each exhibit seems to signpost biblical images in your childhood past, which, as you are gradually reacquainted, shuffle to and fro against an ever-changing, dream-like scenery, part comprised of book illustrations, part the work of your own young hand. You can almost feel the wax of the crayons brushing against your fingers and feel the smile on your face at the Rembrandt you have created.
Creation is the kind of exhibition, the startling kind, where you can live the Earth’s first six days of life at a pace that suits your ruminations, and when you feel you have reached the seventh, you can take a well-earnt rest, for example, in one of Ponart’s relaxing bars or atmospheric restaurants.
Creation has never been so creative and Ponart’s never so tempting.
A socio-cultural perspective on Russia’s cake habit contrasted and compared with and illuminated by one or two supplementary notes about having your cake and eating it in Great Britain
Revised 4 February 2025 | First published 26 March 2023 ~ Russia’s Love of Cakes Differs from the UK’s
Cakes. I don’t imagine for one moment that when somebody in the West mentions Russia, cakes are the first thing that spring to mind. Equally, I’m willing to wager that the UK media has written precious little lately, or written little at all, about the magnificent variety of cakes in Russia and the widespread availability of them in spite of those silly old sanctions.
They certainly would never divulge that the super-abundance of cakes in Russia is part of a western plot organised and funded by the Sorryarse Open Cake Society to swamp the Federation with cakes, similar to the way in which it is suffocating the western world with boat loads of useless migrants. I am not so sure about cake, but the spotted dick that they are creating is fast filling up with gritty currants.
Whoa now! Hang on a minute! Blin, yolkee polkee and blaha mooha! How dare you lump our delicious Russian cakes in the same inflatable dinghy with a gaggle of grinning third-world freeloaders destined for 5-star hotels at the expense of the British taxpayer!
Sorry, I stand corrected and in the same breath exposed. It is true that I am no Don Juan when it comes to loving cakes. However, as one of the last of the few true Englishmen, I concede to enjoying a nice slice of cake whenever the mood so takes me and, when the opportunity avails itself, regard it to be the perfect accompaniment to the English custom of afternoon tea.
All well and good, but neither affrontery apologised for nor my confessed willingness to embrace the odd iced cake rather than the swarthy migrant amounts to diddly-squat when it comes to explaining the cultural differences that set cake worship apart in Russia from similar proclivities in the UK.
Cakes are cancel proof
Cancel-proof, like most things pertaining to Russian culture, as the West is finding out and finding out the hard way, Russia’s love of cakes is in a sacrosanct league of its own. For example, it is not often, if indeed at all, that you will see men in the UK roaming around the streets with a big sticky cake in their hands. There is every possibility that you will see them holding another man’s hand, or, if you are really unlucky ~ or lucky if you are a professional photographer assigned to defining British culture ~ some other part of their brethren’s anatomy, but never a cake in hand. In the UK there seems to be an hypocritical subtext, an unspoken reservation at work, which, ironically, seems to imply that even in these enlightened times cakes and men together in public is tantamount to poofterism. Alack a day, but there you have it.
Russia’s love of cakes differs from the UK’s
Having thus established that men carting cakes around in public is not the done thing in Britland (but then what is and, more to the point, who is?), we arrive at a striking contrast. I’ve lost count of the number of times when entertaining at home (dispel all images of magic tricks, juggling, charades and karaoke) that on opening the gate to greet our Russian guests, at least one man will be standing there with a large stodgy cake in his grasp. As for dining out, I have yet to go to a restaurant with my Russian friends where rounding off a meal without a sumptuous sweet, most of which resemble cakes drenched in cream and syrup, would turn an everyday event into something of a precedent. Perchance it ever occurs, it would breach the unexpected like a hypersonic missile bursting through the dream of eternal hegemony. Cakes don’t come in on a wing and a prayer in Russia; they are part of the national psyche, in which whim and caprice can play no part.
The company Cakes R Rus is yet to be incorporated. The reason for this oversight is not immediately clear when cakes in Russia attract such popularity, but the greater mystery by far must be why in Russia are cakes so popular? It is a matter for conjecture, is it not, that often what presents itself at best as a half-baked explanation turns out in the long run to be remarkably overdone. Not so when it comes to cakes. Cakes are interwoven into every Fair Isled fabric of daily, popular and expressive life. Judge this on the merit that there are almost as many traditional sayings, remarks and literary allusions to cakes, and on matters pertaining to cakes, as there are cakes themselves. We will come to that in a moment.
Speaking from experience, all shops in Kaliningrad, that is to say all food shops, except the fishmongers, the butchers and the caviar sellers (add your own to contradict me), however small the shop may be, are guaranteed to stock one, two, even sometimes three, fairly chunky, big, round cakes, whilst supermarkets routinely offer flotilla to armada volumes of seductively sumptuous cake varieties, rich, lavish, opulent and sufficient in taste, size and price to float everyone’s cake-craving boat.
For the love of cakes
In addition to these generic outlets, Kaliningrad is no stranger to the small independent boaterie, sorry I meant to say bakery. There are any number of such bakeries (I won’t tell you just how many, for if I did that would be telling.), but the most noticeable because most prolific chain is undoubtedly Königsbäcker. Why not Kalininbacker? What a silly question.
Now we have both stopped crying, I will try to explain how the Russian perception of cakes differs to the perceived role that cakes play in modern British society and why; and in the course of doing so, you may suspect that you have stumbled upon a hint that enables you to answer the question, why in Russia are cakes so popular?
Exactly how the Russian cake mentality diverges from its English counterpart is not as subtle as you might first think. So, for all you cake lovers out there, let me try to explain. Here goes!
First and foremost, bugger The Great British Bake Off, an awful television prog which is opium for the masses. Like coronavirus, which also kept people at home glued to their televisions, The Great British F!*off most likely foreshadows something more dreadful to come, such as The Great British Bake Off in the Nude and I’m A Cake Get me Out of Here, currently previewing on the Secretly Ashamed Channel.
The Great British Bake Off, which I always find time to switch off, lost all credibility for me when one of the female contestants was allegedly discovered substituting Viagra for self-raising flour. When the cake flopped, she was most disappointed. Aren’t we all when our cakes don’t rise. But her story had a happy ending, three to be precise, for when the show was over, after tea and cake with three of the show’s male competitors, she left the studio a satisfied woman. So satisfied, in fact, that she continues to pay her TV licence even to this day!
Anyway, Great Bake Offs or preferably no Great Bake Offs, my experience has it that the celebritising of cakes has very little impact on consumer purchasing habits. UKers may gasp in unison when confronted on the goggle box by Big Cake El Supremo, but it’s a different story altogether when buying down Asda or Iceland. Small synthetic packet cakes are the type that Brits on average go for, something cheap and abundant, over-stuffed with sugar and small enough to fit inside one’s pocket. (Hey you, watch out! There’s a store detective about! “And what of it! They can’t do nothin’. It would be a violation of our subhuman rights. Ha! Ha! Ho! Ho! He! He!”)
Pat-a-cake, pat-a-cake baker’s man bake me a cake as fast as you can (The cherished belief that all bakers are highly motivated individuals lends itself to scrutiny)
It occurs to me (which is the get out clause to ‘it occurs to nobody else and why would it?’), that cakes in Russia are rather more special-occasion items than tear open a packet of Kipling’s as quickly as you like and let that be an end to it!
Kipling’s individual pies are probably not as bad as so-called experts on synthetics would like us to believe, although when shady and disreputable store owners infringe the sell-by date, and this happens with greater frequency than it should in the UK, especially in shops run by migrants, the pastry tends to be dry and falls in embarrassing flaky bits down the front of your jumper. In winter, when it may, or conversely may not, be snowing, such socially unacceptable things may pass by virtually unnoticed, but once the Christmas jumper emerges in all its dubious glory into the glaring spotlight of spring, the shards of pastry in which you are covered can begin to look like dandruff. Mr Kipling may very well make exceedingly crumbly cakes, but to stop yourself from being conned and from looking more like a bit of a prick in your unfortunate Christmas jumper, particularly when it is splattered with pastry, choose your cake stores carefully and always check the sell-by-dates, especially if you have no option ~ and options in the UK are getting fewer by the boat load ~ than to buy from P. Akis Convenience Shores, a disproportionate number of which are concentrated in Dover. I wonder why that is?
Inspired by my last comment, I am tempted to ask, do you remember the 1970s’ individual fruit pie phenomenon, characterised first by square pies wrapped in grease-proof paper and later round pies presented on a tin-foil base? Tasty, ay! But, alas, like most things in life, they tended to shrink as time went by. Any road, can apple pies truly be classed as cakes? I suppose they can if you drop the word ‘pie’ and substitute it for ‘cake’, and am I stalling because I have bitten off more than I can chew in my self-appointed role as Anglo-Russian cakeologist?
Russia’s love of cakes is holistic
As I have already said (I hope you’ve been paying attention!), cakes in Russia are rather more a special-occasion commodity than tear open a packet of Kipling’s as quickly as you like and get them down you in one mouthful before the pastry crumbles. Kipling’s individual apple … (ah, we’ve already covered that …).
Moving on: I am not suggesting that they, Russian cakes, are strictly reserved for special occasions such as births, weddings and funerals, but they often come bearing people, such as to get-togethers at home, to private parties, social gatherings and events of a similar nature. They also occupy pride of place among boxes of chocolates and flowers as a way of saying thank you to someone who has rendered a kindness to another mortal soul or has performed some function in their official capacity above and beyond the call of duty.
In these contexts, the cake’s presentation shares equal importance with noshability, which possibly explains why Russian cakes, with their white-iced coverings, frothy cream crowns, candy sequins and fruit-festooned exteriors, make our traditional English jam and cream sponges look like poor relations; same bourgeoise boat perhaps but not at all on the upper-deck with their ostentatious Russian counterparts. Sigh, how ironically times can change and ostentatiously do, and with them cakes as well!
But let’s not leave it here! Whilst we, the English cannot compete with glitz, there is still a lot to be said for our good old-fashioned sponge cake, something that wants to make you sing not ‘There will always be an England’, because it’s much too late for that, but ‘There will always be a sponge cake’. There is something solid, enduring, traditional, something reassuringly staid and respectfully no-nonsense about plain, old English sponge cakes; something wonderfully neo-imperial, boldly neo-colonial, something so 1940s in the sense of stiff-upper lip that frankly I am astonished that these thoroughly English cakes have not been singled out for special ethnic-cleansing treatment by ‘take a knee’ cancel-culturists, or cast like so many heritage statuesover walls and into ponds with the blessing of the left-wing British judiciary. Tell me, is it premature of me to feel even a little bit mildly complacent about the safety and sovereignty of the patriotic British cake? I’ll take a Tommy Robinson, please, he makes an exceedingly difficult rock cake for the soft under-dentures of the British establishment.
A socio-cultural perspective on cakes
The socio-cultural and historic significance of cakes may strike you as more than a mouthful, but history is replete with examples where the icing on the cake is the role of the cake itself. Spectacles such as birds flying out of giant cakes have been going on since the time of ancient Rome (not now, of course, due to animal rights laws) and scantily clad frosted women have been leaping out of oversized cakes since the 19th century (not so much today, however, because of the feminist movement). I am perfectly aware of the existence of the Cambridge Stool Chart, but tell me, is the feminist ‘movement’ in some way linked to this chart?
And you thought they were just coming in by dinghies!!
Literary cake tropes have fared much better than their visual counterparts. Boris Johnson (You remember him, don’t you?), who had a cake named after him and in Kyiv no less ~ where else?, borrowed and modified the well-known phrase, ‘Have our cake and eat it’ in his bid to convince democracy of the benefits of Brexit. What he forgot to tell us, however, was that behind the political scenes the British and French governments had cooked up a migrant shuttle service ~ one-way ticket only ~ thus ensuring that after Brexit the cake would be ‘had’ alright, had and eaten by others, nibbled away like vermin at cheese, leaving nothing but crumbs for the British.
Slightly more famous than Boris Johnson but not, as far as I am aware, cake enriched by name, is Mary Antionette. She is credited with uttering the oft quoted and immortal phrase, ‘Let them eat cake!’, and although in all probability she said nothing of the sort, her disregard for, or indifference to, the plight of her country’s poor (typical of the French) is nowhere near as offensive as the Conservative party’s debasing betrayal of Britain’s Brexit electorate.
Boris ‘The Fruit Cake’ Johnson, sometimes referred to as ‘that Big Cream Puff’, is not the only man in showbusiness to have had an honorary cake named after him. Other cake-named celebs include no less than Elvis Presley, as well as such Russian personalities as ballet dancer Anna Pavlova and the first human to leave our world by rocket, Mr Yuri Gagarin, both of whom the West zealously tried to cancel just because their cakes were better than Boris’s, an all-show but nothing-of-substance confection cynically whipped up in Kyiv in order to keep the ackers flowing. Boris’s cake was made according to Biden’s recipe (that’s Biden as in empty chef’s hat not as in Master Baker). My question is, therefore, that with all this cake naming going on, isn’t it about time that somebody in Russia baked a cake and named it ‘Kobzon’ in memoriam of my favourite crooner? Come on chaps! How about it!
Whist I wait for this honour to be bestowed, we will hold our collective breath in anticipation of Jimmy Saville, Gary Glitter, Adolf Hitler, oh and don’t forget our Tony ~ Tony ‘Iraq’ Blair ~ having cakes named after their illustrious personages. And what about a ‘Boat People’ cake to celebrate the end of Western civilisation.
And what is so wrong about that? A good many famous people and not so famous events and places have had the honour of cakes named after them. The most obvious being Mrs Sponge, who lent her name to the sponge cake. No kiddin’! No, its a historical fact! Her first name was Victoria. She lived the better part of her life at 65 Coronation Crescent. (Source: Alfred ‘Dicky’ Bird). Crossword Clue: 7 across ‘Queen’; 5 down ‘custard’.
Another famous namesake cake is Battenberg, relating to Prince Cake, and in the towns and locale category, that is to say where places not people have given their names to cakes, we have the English Eccles cake, which obviously gets its name from Scunthorpe, and a cake we all love to bypass, colloquially known as Sad Cake, named as legend has it after the UK town of Wellingborough. It’s a ‘going there thing’: so don’t!
The metropolis has its own cake, historically known as the White Iced Empire but renamed in recent years, if not entirely rewritten, and consequently referred to by those who would rather it remained as it was as Double Chocolate Black Forest Ghetto. Also known as Chocolate Woke or, by those who have not had their brainwashed heads thrust right up their arses (This is the BBC!) as the Liberal Upside Down cake. It is often confused with the Fruit-Bottom cake which, though far from all it is cracked up to be, sells like proverbial hot cracks during Londonistan’s Gay Pride month. If you have the extreme good fortune to be in the UK capital during that poof-pastry period, do make sure to skip lickety-split down to London’s Soho, the geographical and moral-less centre of LGBT fame, and treat yourself whilst you are there to a slice of the famous Navy Cake from Hello Sailor’s bun shop or a ‘once tried never forgotten’ Golden Rivet Muffin from the café El Bandido’s.
All of this, I am pleased to say, is a very long way away from Kaliningrad and its culture, and everybody who lives in Kaliningrad is also pleased to say, may it, with the Good Lord’s help, long remain that way.
Meanwhile, whilst you sit there wondering which of the world’s biggest cakes ought to be named after you, if there is anything in this treatise on Russian/British cakes which you think I haven’t covered, if you really feel that you must, then jot down the one or two points you believe I might have missed and consign your trunk full of comments to ‘Care of the Cake in MacArthur Park’ . It’s only right and proper since ‘It took so long to bake it …’
Please note: At the time of writing, Starmer hasn’t had a cake named after him yet, but according to one political commentator, a man who narrowly escaped debasing himself by appearing on the Great Bake Off, who understandably wishes to remain anonymous, when that great cake day eventually dawns Starmer’s cake is bound to be called something resembling CurranT, with the capital ‘T’ standing for ‘Taxes’ and some of the letters in between omitted. That one’s got me really foxed?
Vintage sponge cake: I found this image at <a href=”https://freevintageillustrations.com/vintage-sponge-cake-illustration/?utm_source=freevintageillustrations&utm_medium=referral&utm_campaign=downloadbox”>Free Vintage Illustrations</a> / https://freevintageillustrations.com/vintage-sponge-cake-illustration/
Nursery Rhyme Baker’s Man: I found this image at <a href=”https://freevintageillustrations.com/pat-a-cake-nursery-rhyme-illustration/?utm_source=freevintageillustrations&utm_medium=referral&utm_campaign=downloadbox”>Free Vintage Illustrations</a> / https://freevintageillustrations.com/pat-a-cake-nursery-rhyme-illustration/
