Overview

Dinner for One is the place where (oh go on, call it 'the table at which'; you know you want to) recipes, paintings, photographs, tales, ingredients, kitchen encounters (confidential or otherwise ... vale, Tony), meals, memories of culinary experiences, recountings of memorable noms (remembrances of lost thyme), gather. ] Not so much as a mélange: there is no mixing here (we're not making a fecking salad). But where our tales, photographs, paintings, recipes, are in-conversation with each other. And where each time we eat, we are eating not just in but as communion; a coming-together (right now ... ) that transcends the profane (over me ... ) Come dine with us! (om nom nom nom)

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Reviews

The simplest way I can understand the practical meaning of intelligence is through one's capacity - or lack thereof, to be frank - to highlight the potential links that exist between all visible and invisible things. In some strange way, it feels that art ... needle-moving art, the kind that actually brushes against your life ... is intelligence put at the service of beauty. Well, reader, this book here, cloaked as it may be in its own colloquial casual/isms, is, as far as I can tell, a damn intelligent work of art. One that recognises, at times almost paradoxically, that beauty and meaning aren't found only in objects, but also in the glue and arrangement that binds them together. As a chef, I must say it often felt like witnessing cooking happen in real time: recipes muddled, photographed mid-process - real cooking of thought, symbol, and meaning, into a proper stew that sees no difference between eating and learning, nourishment and knowledge. Ivan Brehm, writer, artist, and Chef-Owner of Nouri and Appetite As a chef, I read Dinner for One the way I create a dish - slowly, curiously, never quite sure where it might lead. Jeremy and Sara don't chase perfection; they let things burn a little, taste again, and keep going. Like a late-night meal cooked just for yourself, it reminds you that food is still about care, not show. Liaw Wei Loon, Chef-patron of Jungle I love the gesture in which recipes, which are, in a sense, already written in verse become playful poems; and poems, in turn, become recipes for sparkling encounters with tasting and eating, with reading and thinking. And, can I just say: I fell in love with your totalitarian broccoli head on the spot! It is hard to keep the coffee in the mug or the broccoli on the plate when such hilarious figures show up for dinner! And Sara Chong's paintings - with their empathic brushstrokes and her painterly wisdom - serve as a most-illuminating reminder of what paintings can do that no other media can. How well her palpable, 'fleshy' brushstrokes fit together with the flesh of the text! What a great accomplishment to have opened up a space - for thinking, for reading, for tasting - in which desserts and matters of truth, soups and questions of love, start communicating - and have so many beautiful things to say to one another. It is absolutely strange, and it is absolutely delightful, and it makes for a most wonderful adventure. Anders Kølle, writer, art historian, and lecturer of Communication Arts at Khon Kaen University Hunger 60g Love 100g Literature 30g Wit a splash Intellect 2 tablespoons Eye for detail 40g Humor sprinkle as much as you like Kwok Yijun, full-time pastry chef, part-time reader Decoupling the seemingly instructive and precise nature of cookbook writing, Dinner for One infuses philosophical musings, splashes of literary prose, snarky wittiness, and conscious visual illustrations. Jeremy and Sara's multidisciplinary approach proffers a new way of (re)imagining the idea of cooking, be it for one, or even more. Nadene Lim, chef, thinker, optimist

Author Information

Jeremy Fernando reads, writes, and makes things.He works in the intersections of literature, philosophy, and art; and his, more than thirty, books include Reading Blindly, Living with Art, Writing Death, in fidelity, Tómate un paseo por el lado oscuro del camino, resisting art, Writing Skin, A Ghost Never Dies, The feather of Ma'at, I wish we were lovers, and Jeremy Fernando by Jeremy Fernando. His writing has also been featured in magazines and journals such as Arte al Límite, Berfrois, CTheory, Cenobio, Electra Magazine, Entropy, Full Bleed, Poiesis, Philosophy World Democracy, Queen Mob's Teahouse, Qui Parle, RIC Journal, Testo e Senso, TimeOut, and Voice & Verse Poetry Magazine, amongst others; and has been translated into the Brazilian-Portuguese, French, German, Italian, Japanese, Korean, Serbian, Spanish, and Turkish. Exploring other media has led him to film, music, performance-readings, and the visual arts; and his work has been exhibited in Seoul, Vienna, Hong Kong, Lisbon, and Singapore. He has been invited to read at the Akademie der Künste in Berlin in September 2016; and to deliver a series of performance-readings at the 2018, 2020, and 2022 editions of the Bienal de la Imagen en Movimiento in Buenos Aires, the latter at which he also curated a filmic omnibus entitled reading dreaming malaya. He is the general editor of Delere Press; curates the thematic magazine One Imperative; is the Jean Baudrillard Fellow at The European Graduate School; co-creator of the private dining experience, People Table Tales; and the writer-in-residence at Appetite, the sensorial laboratory exploring the cross-roads of food, music, and art. Sara Chong (c.1986) is a realist-figurative painter from Singapore, now based in Melbourne. Her work has been exhibited in group-shows in Florence, London, and Singapore, and owned by several private collectors. She is also a commissioned portrait painter. Sara was trained predominantly at the Florence Academy of Art in Florence, Italy, from which she graduated in 2015, with an award for the Best Painting of the Year, and Best Figure Painting of the Advanced Painting Programme. Before immersing herself in classical training, she had a background in illustration, and puppet animation after the Czech masters.Empathy for the Monster / Beast is the main narrative feature of Sara's work, be it in painting, animation or illustration. Her inspirations are coloured by the affectionate monsters of Odilon Redon, set in the acidic, ominous blue, of the skies of Giorgio de Chirico, and expressed in the hands of Rodin. She paints characters and situations that reflect on the idea of the awkward Beast in the land of beauty. She is ever curious about the concept of the Monster / Beast in myth and daily life, especially where the Beast, most often a cultural or social construct, has its own story and its own rejected version of humanity.

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