After the singer’s cancer death in 2016,David Bowie’s fashion designer daughter Alexandria Zahra Jones has says making art helped her battle mental health issues.

We’re all sick of hearing about them by now, but air fryers are still enjoying “a moment”. They can also really help reduce the time and energy it takes to make a dish, so we’ve teamed up with the culinary geniuses at Sorted and used this piece of magical kit to cook up three dishes that use it in three different ways. From deeply savoury cheesy sausage-stuffed peppers with vibrant spinach pesto, to hearty and comforting potato and sausage hash with a smoky tomato sauce, these recipes not only showcase the versatility and convenience of air fryers, they’re also pretty damn delicious. Not to forget the crispy chicken thighs and tomatoes with lemon, caper and almond couscous, which demonstrates the art of achieving both crispiness and succulence without the oil. Go forth and revolutionise. Cheesy sausage-stuffed peppers with spinach pesto We use red peppers in this recipe, but if you can’t find them, use any colour of bell pepper to your liking. Serves: 2 Ingredients: 3 red bell peppers 4 tbsp olive oil 250g microwave brown rice 120g cream cheese 1 tbsp tomato purée/tomato paste 4 pork sausages 100g cheddar 200g fresh spinach 30g almond flakes 1 clove garlic 15g fresh parsley 1 lemon Method: 1. Preheat the air fryer: preheat the air fryer to 200C. 2. Prep the peppers: cut 3 bell peppers in half lengthways and scoop out all the seeds from their centres. Rub the peppers with 4 tbsp of olive oil on the board and season with salt. 3. Assemble the filling: crumble 250g of cooked brown rice into a large mixing bowl. Add 120g of cream cheese and 1 tbsp of tomato paste, then coarsely grate in 25g of the cheddar - we will use the rest later. Squeeze in the meat from the casings of 4 sausages. 4. Mix it up: season with salt and pepper, then fold everything together, ensuring the sausage meat breaks up and is well dispersed through the mix. 5. Fill the peppers: divide the mix between the oiled pepper cups - there is no need to press and compact the mixture into the peppers. 6. Fry: pop the pepper halves in the draw of the air fryer, filling side up, and cook for 17-20 minutes until golden in places and piping hot throughout. When cut into, the sausage shouldn’t be pink. Get on with the rest of the dish in the next steps while you wait. 7. Get the spinach ready: add 200g of spinach to another mixing bowl and cover with cling film. 8. Cook the spinach: microwave on full power for 3-4 minutes, until darkened and wilted. 9. Assemble the pesto: once the spinach is ready, add 30g of almond flakes, 1 peeled garlic clove and 15g of parsley to the bowl. Coarsely grate in the remaining 75g of cheddar, then finely grate in the zest from 1 lemon, and squeeze in its juice. 10. Blend it up: blitz everything together with a hand blender, until smooth. Season to taste with salt and pepper. If you are still waiting for the peppers, now would be a great time to crack on with a bit of washing up. 11. Serve: divide the pesto between plates and spread it out to form discs. Top with 3 pepper halves per portion and tuck in. Potato and sausage hash with smoky tomato sauce This recipe can be vegetarian-ised by using veggie sausages instead! Serves: 2 Ingredients: 600g loose white potatoes 1 red onion 4 pork sausages 4 tbsp olive oil 4 cloves garlic 1 tbsp smoked paprika 400g tinned chopped tomatoes 15g fresh parsley 45g cream cheese Method: 1. Preheat: preheat the air fryer to 200C. 2. Prep the potatoes and onions: Cut 600g of potatoes into bite-sized chunks, then halve, peel and roughly slice 1 red onion. Add the veg to a large mixing bowl. 3. Add the sausage: squeeze the meat from the casings of 4 sausages into the bowl, creating little meatballs as you pinch them off. 4. Oil and toss: toss everything with 2 tbsp of the oil and a generous pinch of salt. Remember to wash your hands after handling raw meat. 5. Fry: tip the oiled potatoes, onions, and sausage balls in the draw of the air fryer and cook for 20-25 minutes, until golden in places and the potatoes are soft throughout. Give everything a toss halfway through cooking to ensure an even colouring. Get on with the rest of the dish in the next steps while you wait. 6. Prep the garlic: peel and mince 4 cloves of garlic. Add them to a medium saucepan along with the remaining 2 tbsp of olive oil. 7. Fry: place the pan over a medium heat and slowly fry for 2-3 minutes, until the garlic starts to colour. 8. Add the paprika: add 1 tbsp of smoked paprika and fry for a further 20-30 seconds, until very fragrant. 9. Add the tomatoes: add 1 400g tin of chopped tomatoes to the pan along with a generous pinch of salt. 10. Simmer down: simmer for 6-8 minutes, until reduced by S. Get on with the rest of the dish in the next steps while you wait. 11. Chop the parsley: finely chop 15g of parsley, then crack on with a bit of washing up while you wait for the sauce. 12. Blend: once the tomatoes have reduced by S, add 45g of cream cheese and blitz until smooth with a hand blender. 13. Serve: divide the sauce between plates and top with the fried potato, onion, and sausage. Scatter over the chopped parsley and serve. Air fryer crispy chicken thighs and tomatoes with lemon, caper and almond couscous If you aren’t into capers, you can leave them out or replace them with green olives. Serves: 2 Ingredients: 4 chicken thighs, bone-in, skin-on 200g cherry tomatoes 3 tbsp olive oil 150g couscous 2 tbsp capers 20g almond flakes 1 lemon Method: 1. Preheat: preheat the air fryer to 200C. Fill the kettle with water and put it on to boil - this will be for the couscous later. 2. Oil and season: add 4 chicken thighs to a large mixing bowl along with 200g of tomatoes. Toss with 2 tbsp of the olive oil and a generous pinch of salt, ensure everything is fully coated. 3. Get ready to cook: add the tomatoes and chicken to the tray of the air fryer. Ensure the chicken thighs are positioned on top of the tomatoes, skin-side up. 4. Cook: cook for 20-25 minutes, until the chicken’s skin is crispy and the tomatoes are soft and jammy. Get on with the rest of the dish in the next steps while you wait. 5. Assemble the couscous: add 100g of couscous, 2 tbsp of capers, 15g of the almond flakes, the remaining 1 tbsp of oil and a generous pinch of salt to another large mixing bowl. 6. Add the water: add enough boiling water from the kettle to just cover the grains, then give everything a quick stir. 7. Cook the couscous: set aside to cook the couscous for 6-8 minutes, until the grains are soft and have absorbed all the water. Crack on with a bit of washing up while you wait. 8. Finish the couscous: once the couscous is ready, finely grate over the zest from 1 lemon and squeeze in its juice. Fluff the grains with a fork and fold everything together. 9. Serve: divide the couscous between plates and top with the tomatoes and chicken. Scatter over the remaining 5g of almond flakes and serve. Find out more about Sorted and their nifty meal-planning app Sidekick at sortedfood.com/sidekick. Read More The dish that defines me: Evelin Eros’s rum cake ‘It started with a radish’: Chef Simon Rogan reflects on restaurant L’Enclume at 20 The true story – and murky history – of Portuguese piri piri oil ‘My depression stopped me doing what I loved most in life – cooking’ What Bake Off’s Jurgen Krauss really thinks of his shock elimination How to pull off a traditional German babka chocolate braid

By Kailyn Rhone Pediatricians and parents are calling for the U.S. to treat new high-caffeine energy drinks like

This cake was a standard on our Sunday coffee table and has a lot of nostalgia for me. It is quick to make, moist and flavourful, and the marble pattern was always fascinating to me as a child,” says former contestant on The Great British Bake Off, Jurgen Krauss. Marble cake Serves: 12-24, depending on tin size. The amounts given are for a loaf tin (950g) or a Bundt tin. For a bigger Bundt tin, double the amounts and bake for 15 minutes longer. Ingredients: For the batter: 125g unsalted butter or margarine, room temperature 2 tsp vanilla extract 2 eggs, separated 180g caster sugar 250g plain flour 8g baking powder 125ml whole milk For the chocolate batter: 10g cocoa powder 15g caster sugar 25ml double cream ¼ tsp ground cloves Method: 1. Preheat the oven to 170C fan/gas mark 5. 2. Put the butter in a bowl and, using a hand mixer or a stand mixer fitted with the balloon whisk, beat the butter until it is light and pale. Add the vanilla extract and egg yolks, alternating with the sugar bit by bit, and whisk for another 15 minutes until the butter and sugar mix is very frothy and white. 3. Sift the flour and baking powder together in a bowl. Alternate adding the flour and milk bit by bit to the batter while whisking on a low speed. 4. In a separate bowl, whisk the egg whites to soft peaks. Fold the egg whites into the butter and flour mixture. 5. For the chocolate batter, take one third of the plain batter and put it into a separate bowl. Fold in the ingredients for the chocolate batter. Put the two batters in a greased 950g Bundt tin or a loaf tin, starting with the vanilla batter, then add a layer of chocolate batter and finish with vanilla batter. Use a fork to create the marble effect by pulling it through the layers of batter with a swirling motion. Bake for about one hour; the cake should start separating from the tin and a skewer inserted into the cake should come out clean. Cover with foil if the top of the cake starts getting too dark. 6. Leave the cake to cool in the tin for at least 20 minutes before attempting to take it out of the tin. 7. This cake keeps very well for up to a week in an airtight container and for the first three days its flavour actually improves. ‘German Baking: Cakes, Tarts, Traybakes And Breads From The Black Forest And Beyond’ by Jurgen Krauss (published by Kyle Books on 31 August, £26). Read More The dish that defines me: Evelin Eros’s rum cake ‘It started with a radish’: Chef Simon Rogan reflects on restaurant L’Enclume at 20 The true story – and murky history – of Portuguese piri piri oil ‘My depression stopped me doing what I loved most in life – cooking’ What Bake Off’s Jurgen Krauss really thinks of his shock elimination How to pull off a traditional German babka chocolate braid

What looks more stunning than the randomly swirling bands of dark chocolate in this loaf of white sweet bread? This style of braiding is known in many countries, and is used with different fillings as well,” says former contestant on The Great British Bake Off, Jurgen Krauss. “Always an eye-catcher, it used to be a special treat on our Saturday afternoon coffee table. The rich spices and citrus zest in combination with chocolate make this truly a great braid for any special occasion.” Babka chocolate braid Serves: 15 Ingredients: For the dough: 190g bread flour 140g white spelt flour or plain flour, plus extra for dusting 6g instant yeast 1 pinch salt 40g caster sugar 180ml whole milk 1 medium egg 40g unsalted butter, softened Zest of 1 lemon Zest of 1 orange ½ tsp ground cardamom For the filling: 100g dark chocolate (54% or 70% cocoa solids, to taste) 60g unsalted butter 60g soft light brown sugar 2 tsp ground cinnamon ½ tsp ground cloves 30g cocoa powder Unsalted butter, melted, or apricot jam for glazing Method: 1. For the dough, put all the ingredients in a bowl and, using your hands or a stand mixer fitted with the dough hook, mix the ingredients until evenly distributed. Then knead the dough for several minutes until it has a smooth and silky texture. Cover with a tea towel or a plastic bag and leave to prove at room temperature for about one hour. Check with the poke test that the dough is ready. 2. Meanwhile, prepare the filling. Put the chocolate, butter and sugar into a pan and melt over low heat. Once liquid, take the pan off the heat and add the cinnamon, cloves and cocoa powder. It’s OK if the filling looks grainy. 3. Line a 950g loaf tin with baking paper. 4. On a lightly floured surface, roll out the dough to a rectangle measuring about 50 x 30cm. Spread the chocolate filling over the dough rectangle, leaving 2cms of the far short edge uncovered. Roll up the dough rectangle, starting at the near short edge. Seal the seam by pinching it. 5. Place the roll on a work surface with the seam facing down and, with a sharp knife, cut the roll lengthwise into halves. Twist the halves together to form a rope. You can do this starting at one end and twist this half of the roll, and then do the same for the other half; this way you don’t have to manipulate the whole length at once. 6. Place your hands palm down on the ends and, with a scooping movement, bring the ends to meet underneath the middle of yourrope. Transfer this into the lined tin, and cover with a tea towel or a plastic bag. Leave to prove for 30 minutes to one hour until the Babka is well risen and the dough starts to feel fragile; a gentle touch with a finger will leave a dent that only slowly recovers. 7. Preheat the oven to 170C fan/gas mark 5. 8. Bake the babka for 30-40 minutes. 9. Melt the butter for glazing or heat the apricot jam with a teaspoon of water. Brush the babka with melted butter or jam as soon as it is out of the oven. Leave to cool for about 15 minutes, then carefully remove from the tin and baking paper. 10. Let the babka cool completely before eating. Stored in an airtight container it will last for three days. ‘German Baking: Cakes, Tarts, Traybakes And Breads From The Black Forest And Beyond’ by Jurgen Krauss (published by Kyle Books on 31 August, £26). Read More The dish that defines me: Evelin Eros’s rum cake ‘It started with a radish’: Chef Simon Rogan reflects on restaurant L’Enclume at 20 The true story – and murky history – of Portuguese piri piri oil ‘My depression stopped me doing what I loved most in life – cooking’ What Bake Off’s Jurgen Krauss really thinks of his shock elimination Quick, moist and flavourful: Jurgen Krauss’s marble cake

Pretzels, or brezel or brezen in German, are the most iconic German food. Ornaments of pretzels adorn every bakery, and images of them can be found on medieval church windows in Freiburg, where I come from,” says former contestant on The Great British Bake Off, Jurgen Krauss. “Often, a pretzel works better as a soother for an upset baby than a dummy. They are a part of my upbringing and heritage. And still, there is no better snack after a long shopping spree through my hometown of Freiburg than a brezel from the bakery at the tram stop. “Disclaimer about lye: I am giving two options for the finish. One is using lye, which involves a very dangerous chemical, solid sodium hydroxide. The other option uses baking soda, which is bicarbonate of soda, and is not dangerous at all. The results are different in colour and taste, but without a direct comparison, the bicarbonate of soda pretzel can stand its ground. If you intend to use lye, I’d recommend baking a few batches of pretzels with bicarbonate of soda, but treat it as if it was lye, to practise the handling and have everything in the right place before starting.” Soft pretzel Makes: 8-10 Ingredients: For the starter: 100g bread flour 2g salt 1⁄8 tsp instant yeast 65ml water For the dough: 400g bread flour 9g salt 20g honey 5g instant yeast 25g unsalted butter, room temperature 180ml water Coarse salt crystals, for sprinkling For the lye or bicarb dipping solution: 2L water 8g salt 80g bicarbonate of soda or 80g sodium hydroxide pellets Method: 1. Prepare the starter the day before baking. Combine all the ingredients in a bowl and mix with your hand or a spatula until all the flour is incorporated. Cover with clingfilm and leave to stand at room temperature for about two hours. Then put the starter in the fridge overnight until you need it – it will be good to use for up to three days. 2. About one hour before making the main dough, take the starter out of the fridge. 3. To make the main dough, combine all the ingredients except the salt crystals and the starter in a bowl and mix with your hand or a spatula. The resulting dough will be very stiff. Knead the dough on a work surface for about 10 minutes. Don’t use any additional flour, you won’t need it anyway. The resulting dough should be smooth and a bit elastic. Put the dough into a bowl, cover and prove at room temperature for about two hours. Fold the dough once after one hour. 4. Meanwhile, prepare the dipping solution. Use a big stainless-steel pan and stainless-steel spoons for dipping. Cover your normal work surfaces in case the lye spills. When dipping, keep the baking sheets very close to the lye pan and the oven. Always wear protective gloves and goggles when working with sodium hydroxide and lye. Never ever touch sodium hydroxide pellets with your skin. 5. If using bicarbonate of soda, bring the water to boil. Switch off the heat, add the salt and stir. Then add the bicarbonate of soda – there will be a bit of frothing and splashing, so be careful. Leave to cool. 6. If using sodium hydroxide, put the water in the pan and then add the sodium hydroxide pellets. Sodium hydroxide creates a lot of heat when it dissolves. 7. Once the dough has proved, divide it into pieces weighing 85 grams each. Roll each piece of dough into a cylinder. Once all the pieces have been rolled, start again with the first piece, to roll it into a long strand with thin ends and a belly in the middle. Aim for a length of 60 centimetres. Make sure you don’t tear your strands – if there is too much resistance in the dough, move on to the next strand. You will need several cycles to reach the length required. 8. Now shape the pretzels – the bakers use a slinging method, but there is a simpler, slower way to do this. Make sure the ends of the little arms are well attached to the middle bit. 9. Place the pretzels onto lined baking trays, cover and leave to prove at room temperature for about 45 minutes. Uncover the pretzels and put them in the fridge for 30 minutes, so that a skin can form. Preheat the oven to 230C fan/gas mark 9. 10. Take the pretzels out of the fridge. Dip each pretzel in lye or sodium carbonate solution for about five seconds. Transfer the pretzel back onto the lined baking sheet. One sheet will hold four to five pretzels. Once the sheet is full, slash the thickest part of the pretzels with a sharp serrated knife and sprinkle with salt crystals. Transfer to the oven immediately and bake for 12–15 minutes. Leave to cool on a wire rack. Repeat with the remaining pretzels. 11. Because of the salt, these pretzels are best eaten fresh. ‘German Baking: Cakes, Tarts, Traybakes And Breads From The Black Forest And Beyond’ by Jurgen Krauss (published by Kyle Books on 31 August, £26). Read More The dish that defines me: Evelin Eros’s rum cake ‘It started with a radish’: Chef Simon Rogan reflects on restaurant L’Enclume at 20 The true story – and murky history – of Portuguese piri piri oil ‘My depression stopped me doing what I loved most in life – cooking’ What Bake Off’s Jurgen Krauss really thinks of his shock elimination How to pull off a traditional German babka chocolate braid

Jurgen Krauss’s elimination from the 2021 Great British Bake Off caused such a scandal, Ofcom received 115 viewer complaints. The lovable German baker was seen as a top competitor, winning three star baker prizes before being booted off in the semi-finals. Nearly two years on, Brighton-based Krauss, 58, has no hard feelings – but he did see the uproar coming. “I had a feeling there would be complaints – a feeling that people would take it very seriously,” he says. But he still has only good things to say about the show, noting the “overwhelmingly positive reaction was quite amazing”, and crediting the experience with boosting his baking skills massively. He speaks particularly fondly about the period before the competition started, when the contestants were in a bubble and testing their recipes. “We had nine weeks to prepare one signature and one showstopper each week and submit the recipe – that was really a huge time for growth,” he says. He calls this a period of “non-stop new ideas, non-stop new processes”, adding with a wry laugh: “Most of the things I’d done in the tent I’d never done before, and some of them I’ve never done since, [and] I’m not sure I’ll ever do them again. It was tough – it was amazing.” Many of the bakes Krauss made on the show were inspired by his childhood in the Black Forest, Germany. This formed the start of his new cookbook, aptly called German Baking: Cakes, Tarts, Traybakes And Breads From The Black Forest And Beyond. “During Bake Off, the briefs of all these signature bakes often included references to childhood that really reconnected me to my culinary home, to the Black Forest and the cooking of my parents, the things I liked to eat as a child or teenager, or while I was studying.” Some of Krauss’ favourite food memories growing up are from the period before Christmas. “My brother and I, we were always in the kitchen with my mother, we were always part of cooking and baking Christmas – the time before Christmas was always amazing,” he remembers. “It was fun, getting hands sticky in dough and tasting it all, and using ingredients like kirsch [brandy made from cherries]. I didn’t think much of it, being able to make cakes like cheesecakes or Linzer torter [a spiced tart that would kick off the Christmas period in Krauss’ household]. “But then much later, after the move to England [in 2003], I really took a deep dive into making bread. After 10 years or so, I really was craving German bread.” From apple marzipan tarts to the classic Black Forest gateau, Krauss’ book is an ode to his childhood and where he grew up. “Black Forest is an interesting region, because it has influences from France and Austria,” Krauss explains. “It had a varied history. It was Austrian for almost 200 years – you get dark breads, but rye isn’t such a dominant grain as it is in other German areas. That’s the Austrian influence – you get a lot more wheat and you get things like pancakes and dumplings, more than in other German areas, which is clearly inspired by the Austrian kitchen. “You have also a huge influence from France and Alsace in terms of day-to-day cooking, so it’s a bit of a conglomerate.” Despite its name, Krauss suggests the Black Forest gateau was actually invented in Dortmund – a city around five hours’ drive away from his home. “But it has become iconic because on the borders of the Black Forest in the Rhine Valley there are huge orchards and cherries grow very well there. Making kirsch has a long tradition, making fruit brandies has a long tradition in the Black Forest because of that.” Other recipes in the book include the Flammkuchen, or what Krauss describes as “kind of a Black Forest pizza”. “It’s an unleavened bread, so you could say it’s a matzah with sour cream on it, and you can put lardons on it, onions, or you can make it sweet with cinnamon sugar and apple slices. It’s really so easy – you can have it ready in 20 minutes, from start to finish. You just need to have an oven that goes really hot.” While the book is all about traditional German baking, Krauss has added the occasional modern twist. He says animal products are prominent in German cooking, “And they don’t run very strongly through my bakes in the book, because I wanted to make it appealing to a very wide audience. So I didn’t use lard, where a traditional Black Forest baker would probably use lard or lardons – things like that. I definitely scaled back on that. You would make dumplings or doughnuts in lard, you would fry them in lard – this sort of thing has lost its appeal over the last few years I think.” While he’s still known to many as “Jurgen from Bake Off”, Krauss says he’s come a long way since the show. “I feel much more in command of things,” he muses. “It feels a lot easier for me to change things. I got to a stage in bread baking where I can go fancy and know the outcome will be OK. I never had that with sweet things before Bake Off. “But now I can see how to change ingredients and how recipes work in general – so that’s a huge change.” ‘German Baking: Cakes, Tarts, Traybakes And Breads From The Black Forest And Beyond’ by Jurgen Krauss (published by Kyle Books on 31 August, £26). Read More How to save money in the kitchen according to top chefs The chef who hated food as a child Discovering Sierra Leonean flavours in South London The dish that defines me: Evelin Eros’s rum cake ‘It started with a radish’: Chef Simon Rogan reflects on restaurant L’Enclume at 20 The true story – and murky history – of Portuguese piri piri oil

Police in Japan have implemented an unusual strategy in order to prevent drunk driving: encouraging people to consume alcohol and then letting them loose on a driving course.

Defining Dishes is an IndyEats column that explores the significance of food at key moments in our lives. From recipes that have been passed down for generations, to flavours that hold a special place in our hearts, food shapes every part of our lives in ways we might not have ever imagined. As a teenager growing up in Hungary, the summer school holidays were usually spent at home because my parents were still working. They would leave us a list of house chores we needed to do before they left for work in the morning, and it included cooking our own meals, so I learned at an early age that I really enjoy cooking. I love cooking traditional Hungarian food, but I was also keen to experiment with other recipes and there was one day when I was looking for something to cook for that evening, just anything. My friends and I would go to the local library regularly, and on this day, I went and found an old cookbook in the food section. It looked about a hundred years old, it was falling apart, some pages were missing and others were stuck together. But I browsed through it and found a cake recipe involving plums soaked in rum that I thought sounded delicious. The recipe was incomplete because of the state of the book, but I wrote it down in my notebook anyway because it sounded good and I really wanted to try it. I resolved to make it for our dessert that evening. I went to the supermarket and went to search for all the ingredients for the cake. What I wasn’t expecting at the time was how expensive they would be – thinking back now, it makes sense that rum, plums and vanilla would not come cheap, but I was young and didn’t really know the price of things like that. It turned out to be quite an expensive shop, particularly for a 16-year-old using her own pocket money, but I didn’t mind too much as I was convinced it would be great! I got home and started getting ready to cook. It was around this time that I realised just how incomplete the recipe was. It confused me – for example, it seemed to call for just milk and eggs in the batter, there was no flour. But I pressed on and told myself that the recipe writers surely knew what they were doing. I mixed everything in a bowl and it was very, very liquidy, almost like water, which worried me. I poured the batter into a pan and into the oven it went. Now, the recipe said it would only take 20 minutes to cook. But as much as I wanted to trust the recipe, this part made me doubtful because of how liquid the batter was. So I waited and waited, but it remained stubbornly liquid. I wasn’t even sure if it would be edible. After an hour and a half of waiting, I used the toothpick method to see if it was cooked. I inserted the toothpick into the middle of the cake and when I removed it, it was sticky but no batter was left on it, so it looked like it might be OK to take it out. By this time, I had used so much electricity and energy that I was anxious to get it out of the oven. I took it out and left it on the kitchen counter to cool down. I told myself: “Maybe it will be solid by the time I come back.” It did smell amazing because of the vanilla and rum and plums, almost like Christmas cake that filled the house. But to be honest, I had a bad feeling about it. It looked horrendous, the most disgusting-looking cake I had ever seen. At least it looked solid, so I thought OK, that seems fine-ish. After a while, I figured it had cooled down enough so I tried to get it out of the tin. I had used a cake tin that you push up from the bottom to release the cake. While I was pushing the bottom, I don’t know what happened, but the cake slipped and the whole thing just fell onto its face on the floor. I remember standing there for a moment and thinking, I just spent a bloody fortune on this cake and it’s fallen in the dirt on the floor. I rushed to my room in tears, I just couldn’t deal with it. I was so sad. My 18-year-old brother had been in his room the whole time and heard me slamming my door. He must have wondered what happened because I heard him come out of his room and go downstairs to the kitchen. I stayed in my room for a little while feeling sorry for myself, before pulling myself together and heading back out to go and clean up the mess I made. I went down the stairs and I kid you not, saw the funniest scene before my eyes. My brother was on his knees in the kitchen, literally eating the cake from off the floor. I said: “What the hell are you doing?” He told me it smelled and tasted amazing, he couldn’t resist. It reminded me of the Friends episode “The One with All The Cheesecakes”, because there is a scene where Rachel and Chandler are eating cheesecake off the floor in their hallway. It was hilarious that it was happening to me in real life. I didn’t join my brother on the floor, but I did try a little bit of the cake once we picked it up from the floor. It was really tasty even though it wasn’t quite done, but it wasn’t the total failure I thought it was going to be. He offered to get me more eggs so I could try and recreate it again. The next time I made it, I made some adjustments and it turned out bloody amazing. Now, after a lot of experimenting and tweaking the original recipe, I’ve kind of mastered it. It is still expensive to make, so I decided I would only make it for celebrations and for Christmas. I even entered my recipe in an online competition. One of the prizes was a Jamie Oliver cookbook and my dad absolutely adored him. I enlisted his help to submit my entry because I didn’t have a laptop at the time, and it turned out to be a fun thing for us to do together. Some time later, I checked my email and found out I won the competition! Both Dad and I were stunned because I was worried my recipe was too complicated and nobody would want to make it. When we received the book prize, Dad was definitely more pleased than I was. It was a great thing for both of us to do. I genuinely believe that making this cake taught me the power of not giving up. That lesson has followed me throughout my life ever since. I am now an archaeologist living in Glasgow, but it hasn’t been an easy journey. I have had to persist with things even if they don’t go according to plan and keep motivating myself to get here. I think this random cake I picked out of an old book in a library has helped shape my attitude towards life. I’m also really glad my brother ate it off the floor because if he hadn’t, I would never have learned those lessons and maybe, I would be in a very different place today. Evelin Eros is a Hungarian archaeologist living in Glasgow. She makes her rum cake every Christmas and for other special occasions. Read More The dish that defines me: Mallini Kannan’s baked honey-soy salmon The dish that defines me: Frank Yeung’s prawn wontons The dish that defines me: Alex Outhwaite’s Vietnamese bun cha ‘It started with a radish’: Chef Simon Rogan reflects on restaurant L’Enclume at 20 The true story – and murky history – of Portuguese piri piri oil ‘My depression stopped me doing what I loved most in life – cooking’

As I sit in the dark of Screen 2 at Oxford’s Curzon cinema, a woman a few seats away from me does something I’ve not seen before: she orders pizza. Specifically, she orders £64.85 worth of pizzas and chips for her and her family. A few minutes later – after the film has started, in fact – the food is brought to her, as though she was sitting in any regular restaurant and not in a cinema. Eating at the pictures is becoming ever more sophisticated, with ushers bringing you food as fancy as sushi without you having to move a muscle. Is it getting a bit silly? It’s no secret that cinemas have endured a range of crises over the past few years, partly thanks to the rise of streaming and then the pandemic and even more streaming. Cinemas across the country have shut down and forecasters predict that screens won’t be as full as they were pre-Covid until 2025. Some of the cinemas that survived, like AMC, are saddled with billions of pounds worth of debt. Just showing people films may not cut it in this difficult new era. As they fight to survive, cinemas are having to up their game. They have to offer “experiences”. Christina Flourentzou, operations manager at Curzon, says they learned that customers wanted more food and drink with their film thanks to their feedback service, Feed It Back. This happened before Covid struck, she points out, but post-pandemic the company rolled their restaurants out on a bigger scale. “What we’re trying to do is elevate the guest experience,” she says. “For us it’s about giving the guest the best possible experience; so anything that they want, we can give them, essentially.” At my local Curzon this includes padron peppers, mushroom and truffle croquettes, and vegan hot dogs. What Curzon has discovered, according to Flourentzou, is that when at-seat food and drink service is offered, the spend per customer goes up – often by as much as £2 per person. There is a different mindset when ordering at your seat compared with ordering at the till: “You take your coat off, your hands are free, you look at a menu, suddenly someone comes to you and says, ‘What would you like?’ Your mentality changes.” On any new site Curzon will now endeavour to install tables at seats, in order to allow for this in-screen service. Eating entire meals in your cinema seat is becoming more and more popular but it isn’t a brand-new phenomenon. Studio Movie Grill, born in Texas but with sites in states including California, Florida and Georgia, has been offering at-seat food and drink since 2000. Tearlach Hutcheson, the company’s vice president for film, calls this kind of operation a “cinema eatery”. He agrees that it isn’t just the pandemic that has caused a shift in customer priorities; it’s been happening over the past 20 years as home entertainment systems have become increasingly more sophisticated and cinemas have had to compete. “I think that people are looking for a different experience when they go to the theatres,” he says. “We have to provide a more luxurious catering experience to the guest.” I think the immersion is only going to get more and more. I think that everyone is going to adapt because this is what people want. I don’t think the cinema is enough now ... I don’t think it’s ever going to go back to popcorn and drinks Amy Fernando, creator of Taste Film At Studio Movie Grill, food revenue is more than twice that of ticket sales, and its CEO says that business is better for the company than before the pandemic. In cinemas, profit margins have always been higher on food than on tickets – though these margins are far smaller for cooked food than for popcorn and Coke. The kitchen staff at Studio Movie Grill are often dishing out six meals per minute. A recent innovation was a kitchen printer that printed orders faster than ever before. Servers are allowed to bring food and drink to guests at any point (unlike Curzon, where, Flourentzou says, it should strictly happen during the adverts and trailers) but the bulk of orders are placed within the first 30 minutes of arrival. Studio Movie Grill could represent the future of the cinema-going experience: it might soon be completely normal to bundle the film-and-a-meal experience into one. What Hutcheson is confident about is that cinemas will become more of a “destination spot” in order to entice people to leave the comfort of their homes. Flourentzou doesn’t think I’m right to call it “panic” but it does seem like cinemas are urgently fighting to stay alive. One person who knows all about using food and cinema to create an experience is Amy Fernando, creator of Taste Film, an enterprise that shows films to customers while serving them food featured in those films. Watching Goodfellas in 2016, Fernando was inspired by the infamous shaving garlic scene to marry the two things she cared most about. Seven years later, she has swapped teaching for running the business full-time. “I think the beauty of coming to the cinema, or doing an experience like this, is sharing it with like-minded people,” she says. “Post-Covid there is something special in getting dressed up, going out, and sharing the experience with other people.” When I go to watch Taste Film’s version of Mrs Doubtfire, I agree. I didn’t think of the film as one featuring all that much food but at appropriate moments we are served a savoury birthday muffin; chilli salt and pepper chicken wings; a meringue martini; tiger prawn skewers with chips and salad; a pina colada; and a chilli and chocolate mousse. As Fernando says, the frisson of fun is largely to do with two communal experiences: everyone not just watching the film at the same time but eating the same food at the same time. This won’t be replicable in regular cinemas (a Taste Film ticket is £75, for example) but the company is going from strength to strength, partnering with the big streamers, and its growth is indicative of people’s updated expectations around film. “Guests want more,” says Fernando, “and younger people want more.” Ultimately, of course, it will be the quality of films that govern whether or not cinemas stay afloat. This summer has seen an unusual boom in quality and business, with Barbie and Oppenheimer proving critical darlings as well as excellent earners. But where the cinemas can’t control how good the films are, they can control the various offerings they provide around them. “I think the immersion is only going to get more and more,” says Fernando. “I think that everyone is going to adapt because this is what people want. I don’t think the cinema is enough now.” Hutcheson and Flourentzou agree. Hand in hand with this development, Hutcheson says, will be a resurgence in “purer cinematic experiences” – people wanting to experience cinema with as sophisticated a picture and sound experience as possible. He believes that it won’t be long before cinema eateries – at the moment confined to more modest theatres – will also enter the IMAX space. Look at the signs and it certainly seems as though it will be difficult to put the genie back in the bottle – which means cinemagoers may need to brace themselves for an exciting new range of smells. Fernando is probably right when she says: “I don’t think it’s ever going to go back to popcorn and drinks.” Read More Too gay, too weird, too pregnant: The most controversial Barbie dolls in history Doing things alone isn’t ‘self-love’ – we don’t need to make everything empowering Sizzling kitchen drama The Bear is spicing up the dating game for chefs ‘It started with a radish’: Chef Simon Rogan reflects on restaurant L’Enclume at 20 The true story – and murky history – of Portuguese piri piri oil 30-minute summer recipes for all the family to enjoy

In Cartmel, a picture-postcard Cumbrian village on the cusp of the Lake District, chefs in their whites are scurrying across the cobbled streets like an army of well-dressed worker ants. Some are heaving wheelbarrows stacked with mounds of freshly picked vegetables, still earthy from the farm; others are dashing from one building to another, precariously balancing enormous stacks of clean pans. They all have one thing in common: they work for Simon Rogan. If they’re the workers, he’s the queen. This well-rehearsed choreography is a typical sight every morning in Cartmel, where the Michelin-starred chef – one of only eight to own a three-starred restaurant in the UK – set up shop 20 years ago. After a decade of working at various levels in restaurants around the country (including a placement under Marco Pierre White and two years at the three-star Lucas Carton in Paris), Rogan was keen to open his own restaurant. Priced out of Hampshire and Sussex, he looked further afield and found a rundown 800-year-old former smithy in Cartmel available to rent. “I didn’t come here for anything as glamorous as the area or the scenery or the people,” he tells me, having just taken me on a tour of said area to meet said people. “It was just for this building. I was desperate for my own restaurant. I felt like I had never really achieved the things that I’d wanted to working for other people. I wanted to make my own mistakes and be in control of our own destiny. I know it sounds cheesy, but it’s true.” He made an offer on his way back from his first visit to the area, and L’Enclume was born. “Once you realise where you are, you think: s***, this is beautiful,” he adds, laughing. Over the next two decades, the ambitious chef transformed the Cumbrian village into a culinary destination unlike anywhere else in the UK. It’s now home to not only L’Enclume – awarded the environmental green star in 2021 and the coveted third star in last year’s Michelin Guide – but also the one-starred neighbourhood eatery Rogan & Co, and Aulis, L’Enclume’s six-seater chef’s table behind the main restaurant. He also put his name to Henrock, a more informal and relaxed offering just a half hour’s drive away at Linthwaite House, overlooking Lake Windermere. The engine behind this mini empire, and the reason I’m here, is Our Farm, a 12-acre plot in Cartmel that supplies the majority of the restaurants’ ingredients. A sustainable, closed-loop growing operation had always been “at the back of his mind”, Rogan says. He was inspired by his father, a fruit and vegetable salesman who would bring home a box of the day’s best produce, teaching him the importance of using every part of the ingredient. When they arrived in Cartmel to get started, though, “the standard of produce”, Rogan says “was absolutely rubbish. The reason we got into farming was my frustration at the ability to buy a perfect radish, which is the easiest thing in the world to grow.” They rented a small plot close to the restaurant, and filled in the gaps with local suppliers. But, back in 2002, it was too expensive to buy organic. “Things were triple the price they are now,” Rogan tells me, taking a sip of his beetroot juice at the Aulis counter. “So we bought little bits and pieces here and there alongside the normal suppliers. Then we had the opportunity to take over the farm. That’s when we thought: ‘Right, let’s start growing radishes.’” What started as a little garden has become something bigger than he could ever have anticipated. A restaurant growing its own produce is not a groundbreaking concept, but a kitchen garden this is not. You won’t find pristine beds and trimmed rose bushes and arty ornaments. But you will find a patchwork of muddy fields growing hardy vegetables, the topsoil painstakingly “fluffed” by hand; a regiment of polytunnels housing the more finicky plants, delicate micro herbs and other culinary experiments (I try something that tastes like pickled onion Monster Munch); and enormous hand-rotated compost bins that process all the food waste from the restaurants into mulch for the farm. All this is surrounded by hedgerows that have been carefully curated to attract birds and other wildlife to act as natural pesticides. None of this would be possible without head farmer John Rowland. Regenerative agriculture might be his trade, but birds are his true passion. During a tour of the farm, he lists off the species he’s seen circling overhead, drawn by the blackthorn, hawthorn, rowan and birch trees he’s been planting on the borders. “We cater for the birds more than the people,” he tells me, in a Welsh accent so bucolic I wonder whether he’s been shipped in specifically for the tour. “Everything on the farm has a use, and not only in a culinary way. The seeds and the berries attract the birds onto the farm. The birds are my pest control, so the more I can attract to the farm, the more pest control I have, and that is fantastic for birdlife. In Britain, we’ve lost 84 per cent of our bird species, but this area is really rich because of these techniques.” While he might prefer looking upwards, it’s what’s beneath our feet that Rowland is really focused on. “The life is in the soil,” he says, grabbing a great fistful of the stuff. “You have hundreds of types of fungus right here. We don’t want to disturb that biome in the ground so rather than rotavating the soil [breaking up the earth with a machine ready for planting] and destroying the millions of organisms that live in it, we build a six-inch layer of compost on top and aerate it with a fork. Once you’ve done that, each year you just top it off with an inch, and that’s regenerative farming,” he says matter-of-factly, clapping the dirt from his hands. Well, that’s the gist anyway, and while it’s perhaps a little more complicated than that, Rowland struggles to understand why more people aren’t farming in this way. “We’re the most nature-depleted country in the world. We’ve lost our wildflower meadows, we’ve lost our insect population, we’ve lost our wild songbird population. They’ve taken the hedgerows away to make the fields bigger. All the natural food in our countryside is being lost to intensive farming.” Regenerative techniques like those Rowland is putting into practice on Our Farm would go some way to reclaiming it, he says, but “it’s a shame that they don’t realise that”. He pauses for a moment, then corrects himself: “Well, it’s not that they don’t realise it. They know. It’s just that they want intensive farming because it makes them money and it’s wrong because we are killing everything.” How this translates to the table at L’Enclume is manifold. Every dish on the menu begins life on the farm, where Rowland will flag what’s in season and at its best, or suggest something new he’s been experimenting with. Or it might start as an ingredient foraged from the countryside or sourced from a local supplier. The idea is then tweaked in the development kitchen at Aulis, before it finally makes its way to the pass at L’Enclume. This results in a transient snapshot of Cumbrian cuisine that changes every time you dine, and a menu quite unlike anything else I’ve come across. When I visit in February, Boltardy beetroot – a variety chosen for its resistance to erratic weather – shines in a bitesize tart with smoked pike-perch fished locally, and perilla, a Southeast Asian herb cultivated on the farm that adds notes of mint and licorice. Elsewhere, there’s lovage and rose hip and lemon thyme, all foraged; there’s Cornish cod and Mylor prawns and potted shrimp and Maldon oysters; sweetcorn and champagne rhubarb from the farm that were fermented after they were harvested last summer so they could be used year-round; and an enormous selection of British cheeses, including Tunworth, which is frozen and crumbled in a palate-perplexing, salty-sweet dessert. It happens to be my favourite dish. Managing a farm-to-fork operation this complex, not to mention the empire, is no mean feat. “I could pretty confidently be a tax exile given how little I am in the UK at the moment,” he jokes. When we chatted in February, the team was preparing to revive their pre-Covid plan for a five-week residency in Sydney, which concluded this month. The punchline, of course, is the delay meant Aussies were given a taste of not a two-star L’Enclume, but all four stars. Given Australia is yet to receive a Michelin Guide and is not particularly well known for its agricultural sustainability, it was an interesting move, but one there is clearly appetite for. Despite the $420-a-head price tag, it was sold out, serving more than 4,000 diners. While the food at L’Enclume, at home and abroad, is clearly special, it’s the people that set it apart from other restaurants in this league. Their hospitality, affability and, perhaps most noticeably, northern accents, are not typically what you find at this price bracket (£250 a head for the tasting menu, plus £100-£290 for a pairing). Stuffiness is neither present nor tolerated. Many of the staff have been with Rogan since the beginning, switched between the restaurants, or left for pastures new only to return. “We get a lot of people coming back – only the ones we want, anyway,” he says slyly. There’s certainly been a few famous quarrels. The “Rogan alumni” is a term thrown around a lot during my visit, and includes Mark Birchall, who was executive chef at L’Enclume during its two-star era before setting up a curiously similar “restaurant with rooms”, Moor Hall, in Lancashire, which also boasts two stars and a further green. Then there’s Dan Cox, who cut his teeth at Rogan’s now-closed Fera in Claridges as well as L’Enclume, and helped him set up Our Farm in the early days. He’s now down in Cornwall, running the farm-to-table Crocadon. But, generally, people are drawn back to L’Enclume for the variety it has to offer. “Look around the country,” says Rogan, “and [other restaurants] haven’t got any staff because they can’t offer as many career progression opportunities for people. I suppose that makes them lucky. “It’s about not spreading yourself too thin. We’re only able to do these things because these guys are really, really hungry.” Acknowledging that hunger, he established the Simon Rogan Academy in 2021 to “nurture aspiring chefs”. It includes paid work across the Cartmel restaurants, and culminates in a week-long placement at his restaurant Roganic in Hong Kong. In the beginning, “we thought that maybe if we had just a third of them left at the end of the quarter, it’d be brilliant,” Rogan tells me. “But almost all of them stayed on! And now they all want jobs” – he comically rolls his eyes – “but really it’s great.” As I drift between the farm and the Cartmel restaurants, everyone hard at work but always smiling, it strikes me that L’Enclume isn’t just a restaurant; it’s a story. And its influence is immense. “Sustainability”, “farm-to-table” and “regenerative agriculture” were mere whisperings 20 years ago. Now they’re affixed to almost every new menu, and you could say they were born here. The people I’ve met could well be the next batch of Rogan alumni, attracting Michelin’s attention with their own restaurants in years to come. If it takes 20 years to craft a legacy like this, then I’ll make sure I come back in 2043. For more information about L’Enclume, visit www.lenclume.co.uk and for more information about Simon Rogan and his other restaurants visit www.simonrogan.co.uk Read More Why I won’t be doing Veganuary this year – or ever again Marina O’Loughlin is wrong – there’s joy in solo dining Michel Roux Jr announces closure of renowned restaurant Le Gavroche to have ‘better work/life balance’ The true story – and murky history – of Portuguese piri piri oil 30-minute summer recipes for all the family to enjoy What to cook this week: Tomato tart, sweetcorn pasta and other summery suppers

The next time you eat something with your hands, take a moment to notice how it feels on your fingertips before taking a bite. If it’s a burger, are the buns smooth or covered in a smattering of sesame seeds? When you put pressure on them with your fingers, does the bread squish down or is it more of a crumby affair? Then, when you finally take a bite, notice how satisfying it is to sink your teeth through its layers; soft bun giving way to crunchy lettuce or onion, to oozy cheese to, finally, juicy patty. Now think about how different it would be if you had used a knife and fork. Eating with one’s hands is an immensely pleasurable experience. While in the West, the act is usually confined to foods encased in bread or pastry, Indian, African and some other Asian cultures are more adept at using their fingers for dishes that might seem too “messy” or “sticky” on this side of the world. One of my favourite dishes is banana leaf rice, which at its core comprises of rice, vegetables and curry. I mix each element of the dish and use a pinching motion with all five fingers to construct the perfect bite, before sweeping it up in a quick motion and delivering the food to my mouth. I find that it forces me to really consider each bite, from what flavours and textures I want it to contain, to how large a portion I can manage. Up until a few months ago, I never really thought about how often I eat with my hands. Like many people, I associated it closely with Indian meals and always thought that Western culture was too obsessed with polite society to really dig their fingers in. This is still true, to an extent – many South Asians who grew up eating with their hands report being looked at with horror when they attempted to do the same in public here. But, after witnessing my very white British husband happily dig into banana leaf rice when we began dating, and having conversations with friends about the topic, I’ve come to realise that eating with our hands is a much more universal act than I thought. For example, burgers, pizzas, hot dogs and chips are all eaten by hand – unless you’re eating one of those beastly burgers that tower too high and need to be deconstructed. Then there’s things like fried chicken or shellfish, which are simply easier to pick up, pull apart and pry open using your fingers. Foods like Mexican burritos and tacos or Japanese sushi are commonly picked up by hand and devoured. Some people enjoy eating salads by hand, finding it easier to use pieces of lettuce filled with dressing and other ingredients like edible spoons. A surprising proponent of this was Sylvia Plath, who wrote in the third chapter of her 1963 novel The Bell Jar that she observed a poet eating a salad “with his fingers, leaf by leaf”, making it “seem to be the only natural and sensible thing to do”. The more I think about it, the more I realise that my hands are my favourite utensil. No one is delicately picking up crisps with chopsticks or forking a French fry. All manner of flat breads – from parathas and naans to injeras – beg to be torn apart by hands and used to mop up dhal and curry. I would never think of eating a sandwich with a fork and knife, any more than I would for a Taiwanese bao. It just seems wrong. On this side of the world, cutlery has reigned supreme until very recently. Primitive humans have been carving knife and spoon-like implements for centuries, while the fork is a surprisingly modern invention. According to the Smithsonian Magazine, a Byzantine princess debuted a golden fork at her wedding feast in Venice 1006, which disgusted locals who ate using their fingers and knives. One Venetian apparently condemned such a tool and said: “God in his wisdom has provided man with natural forks – his fingers. Therefore it is an insult to him to substitute artificial metal forks for them when eating.” There’s perhaps also an aspect of self-consciousness being thrown out the window when we eat with our hands. It banishes the concept of formality and Anglocentric ‘table manners’ Surekha Ragavan Despite the initial rejection, forks became a mainstay across Europe after 1533 when Catherine De Medici, wife of Henry II, hauled a collection of silver forks from Italy to France in 1533. Three hundred years later, the full set of silverware as we know it had integrated itself into everyday life in Europe. Manners-obsessed Victorians then made up all sorts of etiquette rules, from how to hold a fork, to the myriad of different-sized cutleries with very specific purposes – like fish knives and dessert spoons. These became class markers, separating the upper echelons of society with their dinky utensils from the lower classes, who worked too much to care about which spoon went where. But one thing could be agreed upon – eating with one’s hands was considered impolite and vulgar in almost all culinary situations. That is, until about a decade ago when DeBrett’s, the British authority on etiquette and behaviour, declared in their 2012 guide that “table manners are no longer about adhering to a rigid, and outdated, code of conduct”. The experts named foods like pizza and calzone as “acceptable” foods to be eaten using your hands. It also advised such adventurous eaters to create “as little mess as possible”, sit up straight and ensure you “never put your elbows on the table”, proving that some old habits die hard. Bristol-based restaurateur Rashintha Rodrigo, one of the five founders of Sri Lankan restaurant group The Coconut Tree, says he eats almost anything with his hands – even a roast dinner. “I start with a fork and knife but always find myself picking pieces of chicken or potato off my plate with my fingers towards the end of the meal,” he laughs. He also grew up eating rice and curry with his hands in Sri Lanka, and felt self-conscious about doing the same when he moved to Britain. But these days, he finds it liberating. “It’s become more accepted in the past five or six years and more people are curious about it,” Rodrigo says. Surekha Ragavan, founder of Periuk, a digital archive of heritage Malaysian recipes, also finds freedom in the act. “There’s perhaps also an aspect of self-consciousness being thrown out the window when we eat with our hands. It banishes the concept of formality and Anglocentric ‘table manners’,” she says, reminding me of another observation by Plath in The Bell Jar. The author’s liberation is slightly different, though, as she wrote: “I’d discovered, after a lot of extreme apprehension about what spoons to use, that if you do something incorrect at a table with a certain arrogance… nobody will think you are bad-mannered or poorly brought up. They will think you are original and very witty.” Those who advocate eating with hands often also say it makes the food taste better, but no one seems to be able to pinpoint why. Jose Pizzaro, the acclaimed Spanish owner and founder of the Pizarro group of restaurants, describes it as “the best way to eat”. “It’s a visceral pleasure that’s really hard to beat,” he says. “It creates a sort of magical connection between you and the food. If you’ve never eaten a big, fat, juicy prawn covered with garlic and lemon with your hands, and then go through the ritual of pulling off the legs and the shell and then sucking the brains out – you haven’t lived!” But why is the tactile sensation of touching food so delightful? Some opine that touching your food is beneficial because you can gauge food temperature better with your fingers, and so run a lower risk of burning your tongue. Others claim that your fingers have “healthy bacteria” on them that get transferred into your digestive system when you eat with your hands, but these are difficult to quantify. However, Charles Spence, professor of experimental psychology at the University of Oxford, believes the pleasure lies in our perception of food, as opposed to any other physical benefits. In his review of how the experience of eating changes when people eat with their hands instead of cutlery, Spence found that having more direct, tactile contact with food appears to “enhance the experience” of eating and drinking. “There’s a lot of sensory input that happens even before we put the food in our mouth,” he says. “Just by using our sensitive finger pads, we almost anticipate how tasty something is going to be before it reaches our tongue.” There’s practicality in using our hands to eat, too. We can determine how ripe a fruit is by squeezing it gently, or figure out if something is going to be soft or crunchy before biting into it. Of course, there are some dishes that are simply not hand-friendly. Noodles, pasta and soups obviously require cutlery to eat, but there’s nothing to stop us from taking more joy in the foods we can eat with our hands. If you’ve never tried handling anything beyond a sandwich or a pasty, I fully encourage you to try something new. Take a leaf out of Plath’s book with your next salad, perhaps, or take the plunge into some rice and curry. It will require practice to develop the skill of eating without dropping rice absolutely everywhere, but I promise you, it’s worth it. Read More Adorable, cuddly… evil? How the Furby took over the world ‘You think it’s going to be a money making machine’: How modern life killed the hobby The dish that defines me: Mallini Kannan’s baked honey-soy salmon 30-minute summer recipes for all the family to enjoy What to cook this week: Tomato tart, sweetcorn pasta and other summery suppers The dish that defines me: Mallini Kannan’s baked honey-soy salmon