On the odd occasion that recipes crop up on this site, I’m usually posting for someone else’s convenience: It saves them from me having to cook for them. A writer has to eat more than their words, so I do cook for myself, but I’d rather be known as the writer who can cook, than the chef who can write. While readers follow my recipes, I like to think they read my stories too. So tonight I have an open kitchen, so that prospective diners can look around before trying the food…
Ruggero Deodato’s Cannibal Holocaust
AUGUST UNDERGROUND’S DINER
If the proprietors of this new place in Islington were looking to make it almost impossible to find, then make diners regret the effort when they did arrive and found a shuttered steel door, they have succeeded magnificently. But this was just a prelude to the rest of a pleasingly disturbing night at London’s first horror-themed diner, in a converted old warehouse on the edge of Holloway.
The weirdness begins as soon as my partner and I walk in on a gloomy Friday evening, not to anything resembling a restaurant, but an old lighting shop, frozen somewhere in the 1980s, and a large sign: ‘No children’. The business had clearly been one of selling lights, lamps and an array of artists’ materials. The shop – or showroom – occupies a large studio on the ground floor, where the previous tenants had apparently manufactured their own designs as well.
A plastic pink elephant, big enough for a child to sit on, holds a human skull in its trunk, and the skull’s eyes glow green. There’s a naked androgynous shop window mannequin, decapitated, and the head replaced with a shoulder-width light unit, with red, amber and green bulbs. It’s like a humanoid hammerhead cyborg traffic light. On the far side of the studio, a metal sign bears the previous occupant’s name: SHADES. But the first letter is obscured by a neon pink, flashing arrow, pointing down some stairs to what is now HADES.
Downstairs, the basement restaurant is starkly and sparingly lit with bare red bulbs, like those still in front of singed lace curtains in some of old Soho’s upstairs windows. And again, ‘No children’.
The place is like a horror and cult film museum, with rare old posters framed on the walls. I note Night and Fog, Man Bites Dog, Gummo, August Underground’s Mordum, Michael Haneke’s Funny Games and Gaspar Noé’s Irreversible. I somehow think the night will be.
There are display cabinets, some free-standing on the floors, and others on the wall. In the larger displays are costumes, including Pinhead’s leathers and Freddie Kruger’s jersey, hat and glove. There’s a stuffed alien in a cabinet, and a face-hugger pickled in a jar on the wall. There’s a stuffed St Bernard (presumably Cujo), and (my favourite) an E.D.209 enforcement droid outside the toilets. I could go on (about the Bates Motel guest book, Damian Thorp’s tricycle and lots of other paraphernalia), but I’m here to review the food.
A few other diners are dotted around: a young couple, having a horrifically romantic evening, and a group of business types, clearly working on someone’s bonus or expenses. There’s a dog under the young couple’s table, a beagle I think. Dogs are okay here, but children aren’t.
We’re seated in a booth, and I discuss my next project with my guest. After this restaurant article, I’m embarking on a slightly new path, that of horror fiction. How a food critic came to write horror may be the subject of future stories, by me or by others. But with this opportunity providing the perfect link, it’s perhaps relevant to fill in some details.
I’m here with my agent, which is entirely in parallel with the journey I’m about to make. It was he, after all, who advised me to stick with factual writing, and specifically food, when I foolishly tried to convince him I could be a horror writer. With the benefit of hindsight, he was right to keep me away, and indeed my restaurant reviews have picked up what I like to think of as a cult following (and I do have spellcheck on).
The problem with a cult (it’s still on), is that once it gets too big, it ceases to be. So it seemed logical to maintain that status by going underground, where only the determined and curious follow. Therefore, it is completely logical for me to now be sitting in an underground horror-themed restaurant with the agent who has held me back, as I move from one life to the next.
One of the businessmen clicks his fingers and shouts “Garçon!”, which I’m not sure is the correct etiquette here.
The menu is like a coffee table book. There’s the menu itself, with ‘Jemma’s’ at the top. Then before the dishes, an obituary for Jemma Redmond, an Irish biotechnology pioneer and innovator, who first used human stem cells in 3D printer ‘ink’, then developed the technology to make it affordable and portable. The upshot: Replacement human organs, on-demand where needed. Jemma Redmond died 16.08.16, aged 38.
After the menu is a history of the kitchen, presented as a retro-futuristic brochure for ‘Kitchens by Jigsaw’, with photographs of industrial food processing and preparation machinery, like room-size interlocking clockwork engines made from brushed steel. There are mechanical drawings of the industrial cutters, grinders, mincers and cooking appliances, like Cenobite puzzle cubes splayed open into diagrams by Maurits Cornelis Escher.
The book finishes off with a few short stories by writers who already enjoy cult status in horror. They’re like Lovecraft, Kafka, King and Poe, but sick and twisted Teletubbies, writing tributes to the YouTube trollbot films of old, made from spliced children’s shows. Seeing Lady Penelope gang-raped by Thunderbirds, Zebedee nailed to the ground, and Dylan decapitated, will turn anyone from food critic to twisted fiction writer, trying to excuse what they’ve seen. And at the bottom of every page, the message is repeated: ‘No children’. This seems almost a mission statement.
The menu itself is horrified, with things like ‘Steak by Leatherface*’, ‘Suicide Club Fugu*’, ‘Triffid salad*’, and the simply-named ‘Naked Lunch*’. There’s a nod to the trollbots, with ‘Peppa Pig, hand-prepared by Kruger’s’, and there’s ‘Specials’, more akin to challenges, in the size and heat of dishes.
A ‘Crispy aromatic hind quarter of suckling’ at 64 ounces, can be had for free, if it’s eaten in under an hour. I’m more intrigued by what kind of animal could still be suckling when a part of it is that size. It comes with ‘optional extra ghost sauce’, implying that a dollop of burning ectoplasm has already begun to eat into the flesh (you get fries with that).
Another is ‘Dante’s wings’, described as ‘Nine wings of increasing fire, before you wish that more heat might rescue you from the hell pain of death.’ (That comes with fries, too). If I’m to remain outside Alighieri’s Divine Comedy and ‘survive’, the book of the dead says I will go free.
*Vegetarian options can all be printed.
As this is on me, I pay. I settle up when we order, so as to be done with the formalities. There’ll be no quarrels over splitting the bill, and the tip from my anticipated earnings is sufficient to cover any kind of evening we decide to enjoy.
I’ve seen a few staff walking around, like cosplay characters at Jack Rabbit Slims. But where Tarantino’s joint was staffed by 1950s and 60s film stars, August’s has horror icons.
Michael Myers and Jason Voorhees serve tables, while Pennywise and Leatherface work behind the bar. Freddie Kruger taps his fingers on the counter, speaking to Pinhead (presumably both have more than one set of clothes). And they really get into character here too. If it wasn’t for the (understandable) adults-only entry, I could imagine those two gleefully popping birthday balloons at children’s tables.
Samara Morgan approaches the business types and reminds one that “Garçon means boy.” The server is a young Japanese girl, so perhaps she’s Sadako Yamamura. After she leaves, one of the men says something and the others laugh, attracting Pinhead’s gaze. I wonder what a headbutt must feel like.
We’re served by Candyman (or one of them), and I wonder what it might be like to come here on one’s birthday, would these characters sing ‘Happy birthday’? Perhaps, but only before killing the patron who’d asked for such a thing, so that they may not speak of it again.
The Candyman character isn’t all bad (really, if you read the story): The Candyman of legend emerges from a mirror. He has a hooked hand, he’s covered with bees, and he has revenge on his mind.
The Candyman was once a slave, called Daniel Robitaille, who was an accomplished painter. The plantation owner asked Daniel to paint a portrait of his daughter, and she and Daniel fell in love. Her father, the racist, had Daniel hunted down by a mob and run out of town. They chased him until he collapsed, exhausted, then cut off his hand with a rusty saw, smothered him in honey and threw him into a beehive, chanting “Candyman, Candyman…” Before he died, Daniel vowed to return and exact his revenge upon them.
Conversely, many classic fairy tales, enjoyed by children for centuries, have their origins in ancient folk tales, myths and legends. Little Red Riding Hood is a particularly gruesome one, based on a 16th century French fable. Back then, rape wasn’t a crime. In fact, there wasn’t even a word for it. The story is a warning to young girls, of all that stalks the night. The wolf is a representative predator and the woods a metaphor for the world beyond childhood. The girl collects flowers before going to her granny’s house, where the wolf entices her into bed, dressed as her granny. The wolf eating the girl is a metaphor for rape (and the granny before, the man this wolf represents being a particularly perverted individual). The huntsman cutting them free can be seen as a metaphor for childbirth or abortion. It’s no wonder the stories are dressed up, but those ancient horrors served to protect. Like ‘No children’ here.
One of the men from the other table nearly bumps into the E.D.209 as he walks in an arc to the toilet, and the remainder carry on talking quietly. The young couple seem oblivious to the horrors around them, as they’re lost in their own story of dark love. If I were to guess, I’d say they’re art school graduates, or possibly musicians. The dog seems content, with a steady supply of food handed down to it.
I order a steak from Leatherface’s list of prime cuts, a rare rump (you get fries with that). My companion orders from the printed menu, and I wonder if he’s a vegetarian. Our working relationship has been distant, so we’ve never dined before. Truth be known, I’d never have taken him out for a meal unless it was to celebrate us parting company.
The tension only became tangible recently, when in fact it’s been simmering away for some months now, as I’ve been finding myself, and trying to redefine myself, but I’ve felt restricted, bound and gagged by an employer who dictates and dismisses rather than listen. Perhaps I shouldn’t be using a restaurant review to slag the guy off, but he’s paid me for this and I want to use it as a crossover, an artistic gift to demonstrate to someone who’s set in their ways, that people can change. He says writers should stick with one discipline, where I grow restless when compartmentalised. I want to express myself more, and write more useful things.
He says a food critic is useful, as are all factual writers, because they inform people. My point has become one of having many points to make, and fiction will better allow me to do that, like all those classic fairy stories. For starters, I can tell of the wonders in this place, while making it very clear why they have a ‘No children’ policy. I believe more than he does that more people can be spoken to through fiction, because while one demographic might see a wonderful story, another may see the unwritten parallels and warnings. The man’s a total arse, but in a way, I’m doing him a favour. Let’s face it, I’d never get paid for another review after this one. But a shocking venue deserves a similar review.
I’m bored of writing for the same people, the kind of people who can afford to come to a place like this, but it was from within those that some of my cult following (still on) emerged, and it was their encouragement which gave me the push I needed. So readers, you know who you are, I salute you and I will see you in other places soon. As for the rest, try this place (but don’t bring the kids).
The businessmen are still one short, as they continue their muted banter. The young couple are still young and in love, and the dog asleep.
There’s nothing shocking about my steak when it arrives, perfectly cooked and seeping blood (you get fries with it, to mop up). But it’s curious and surprising in its taste and texture.
Although I just called my agent an arse, there is one word I will never use, in a review or elsewhere. It’s that word beginning with ‘M’, so beloved of some foodies, but if I even see the word on a menu, I’ll leave a place immediately and vow to never return. I’ve seen some savage cinema but that word is a monstrosity on its own and in any context.
This steak is juicy, sweet, marbled with fat and perfectly seasoned. A quick glance at the menu again and I learn that the meat is produced on the premises daily. The burgeoning horror writer in me imagines the kitchen by Jigsaw extending into an on-site abattoir, with this old warehouse site easily able to accommodate one. I’m slightly disappointed when the businessman returns from the toilet. The young couple are still very much into the atmosphere, and one another.
We choose desserts from the ‘Peter Davidson trolley’, all of which are from ‘The Universe at the end of Upper Street’. My ‘Ectoplasmic jelly’ is a green snot-like goo, which I can’t help think kids would love for its sheer grossness. But although it looks like a freshly caught Slimer ghost, it tastes of toasted marshmallow. My companion has something resembling a splayed vagina, which he says smells of fresh body odour (it does) but tastes like scented cream (lavender). It tastes to me like something I couldn’t mention, even in horror fiction. It’s that fucking M-word.
We finish with cocktails from a list of horrors, which aren’t the drinks themselves but the theatre which surrounds their delivery. Our bloody Marys summon the Candyman with our drinks, then Pinhead offers olives, from his head.
The businessmen are getting raucous and the young couple amorous, so we decide to leave, bidding the place farewell.
Back outside, it’s long since dark and a few of the other buildings around the old warehouse are lit up, a couple of accident repair and MOT units, and a children’s adventure play centre.
Now we go our separate ways. He’s off to pander more to the privileged, while I remain a cult and still poor, writing more fiction. Some will be horrible tales, but with a moral message.
As for August Underground’s Diner, for the kind of people who can afford to come here, I’d say bring the kids and leave them in the play centre. For those who can’t afford it, try one of the food challenges and eat for free.
© Steve Laker, 2018
This story is taken from The Unfinished Literary Agency, available now.