And then he died and the flood of tributes followed.
This long, brilliant piece by David Simon (The Wire, Treme, Homicide) reports the loss of a dear friend. Simon's compelling writing reminds me that my lawyerly mastery of the declaratory sentence is, well, not memorable. So READ THIS.
David Simon | Tony
I was still on the sofa at four in the afternoon, still half-dressed, when I decided that my life could not be complete if I did not somehow become friends with Anthony Bourdain. My son, then a young teenager, also in his underwear, was as inert and transfixed as I was. We were both locked into the ninth or tenth consecutive hour of a Labor Day weekend marathon of Bourdain’s cultural-journey-through-food breakthrough show, “No Reservations.”
I remember the exact moment, the exact image:
The long, lanky, exquisitely sad-faced visage of a road-worn Bourdain sitting on broken pavement in a South American alley – Buenos Aires or maybe Montevideo, there is no way to be sure when twenty episodes are consumed at once — his back to a stone wall, arms crossed above his knees, watching children play at rag-tag soccer with a deflated ball. And with the older men, he is sharing Siete y Tres, the backstreet concoction of cheap red wine and Coca-Cola. And all this imagery with his narration — his exquisite writing so weighted with love for other worlds and their peoples – just washing over another delicate moment.
“This guy is so fucking real,” I remember telling my son.
“This guy,” Ethan replied, correcting me, “might be the absolute coolest person on the entire planet.”
Still prostrate before the Travel Channel two hours later, I was located by my more culturally literate wife who informed me not only that my discovery of Tony Bourdain’s greatness was belated – the man was already a phenomenon in the world of cuisine — but also that we had met and enjoyed part of an evening with him at a crime-writing convention in England some years before. Freshly boosted by the success of Kitchen Confidential, Bourdain had been trying his hand at crime fiction – a master storyteller still sampling forms before simply inventing the documentarian oeuvre for which he was perfection itself.
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