Our cosy little two-bedroom flat high up in a tower has an open kitchen, like most others in Delhi/NCR. Whatever goes on in there is visible to everyone else, including the guests.
To the visiting relatives from our respective native towns this is blasphemy.
“Oh! You have an open kitchen! I seriously can’t stand those,” says a visiting lady.
She is one of those relatives on my ‘nice’ list and if this statement had come from anyone but her, I’d have taken it as an insult. This being her though, I laugh amiably.
She continues. “Everyone gets to see the clutter inside the kitchen! It’s so awkward and uncomfortable.” I laugh a bit more, for I am genuinely amused. I’d have contradicted her, but I can’t do it out of the respect I have for her. I know what she means though.
Sajjad looks at me with a meaningful glance. He rarely ever contradicts relatives but every so often he will give me this fleeting glance to let me know he and I are on the same side.
I know he loves open kitchens as much as I do—even more, to be honest. Even better, he will often talk dreamily of us having a home with an island kitchen—you know, the kind with high stools arranged round an ‘island’ countertop right in the centre of the room. He’s had this dream for a long time now, and he will always come up to me holding a magazine or a newspaper supplement in his hand, pointing to an advertisement of a gorgeous designer home with an island kitchen that is to die for. The sheer enthusiasm with which he shows me these glossy pictures, the confidence with which he promises me that one day we’ll have such a kitchen is absolutely endearing. It makes me laugh. But he also knows it’s not a certain kind of home that makes me happy. It’s the people I’m sharing it with.
On the subject of kitchens, though, I’d take an open one any day. I’d take the oneness of the open kitchen that merges it with the rest of the house, bringing it within the fold of family space, as opposed to a restricted, sweaty space where women alone are segregated.
The kitchen in my flat opens into the lobby, with the dining table visible directly from the cooking space. This dining table is more of a watering hole for the family—a place to sit and chat or read or write. So when Sajjad sits there reading the newspaper, or doing nothing but waiting for food to be served, we can chit chat across the kitchen and the lobby and hold entire conversations as the food is cooked. Sometimes he might come and start cooking alongside me. Or when he’s cooking and I’m at the dining table reading a book or writing one of my articles, we still feel like we’re in the same room, close to each other, and cooking becomes a family activity. My son is the one who utilises the open kitchen to its fullest—dragging his little chair close to the counter and standing on it to investigate the recipe every time something is being cooked. He is a regular little chef in the making, and roots ardently for his dad every time he sees the big man cooking.
An open kitchen makes the culinary space gender-neutral and inclusive somehow, welcoming the entire family with its open arms. The closed kitchens I’ve seen all my life, both at my mother’s house and at my in-laws’ place seem somehow designed to keep the kitchen a private, sacrosanct area. My impressions of them alternate between two extremes: sometimes an exclusive club meant for dominance by a few, at other times a ghetto meant for an underprivileged minority.
I’d rather not be in either of those.
As for the mess on display that our relative complained of, I am reminded of a statement by Adil Ahmad, founder of The Palace Collection and one of India’s best interior designers, whom I interviewed last year. His office was a riot of colours and objects as I walked into it, and this is how he described it: “Contrived Clutter.” A meticulous kind of mayhem.
He told me he was put off by homes that looked like showrooms when you entered them—homes that had no personality of their own. What he liked instead, were spaces that were “well lived”, spaces that said you had been on a journey. And journeys, as we all know, aren’t just made by road, rail or air. The kitchen is the living example of culinary maps charted out and journeys undertaken every day.
So if you have guests over today, for instance, and the kitchen is full of sights and smells that speak of the journey you undertook to create that magic loaded onto the dining table, what’s wrong if they get a glimpse of it?
I suppose it is again connected with the differences in perception between this generation and the previous one. For them, it was very important that the messes and the chaos be pushed behind a curtain, and only a perfect façade put on display. For people like me, life is beautiful regardless of the clutter, for that is an equal part of who we are.
Messes are to be celebrated. They speak of a full life—a chaotic one, perhaps, but a real life. One that is filled with sounds of laughter and shrieks of glee— as opposed to the silence of a morgue. Celebrations, reunions are punctuated with noise and revelry. Loneliness is silent.
What’s a little mess on display compared to all of that shared joy?