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In 2020, Hannah Selinger, an accomplished writer and former sommelier, penned a review for Eater focusing on Dave Chang’s memoir, Eat a Peach. In her review, Selinger reminisced about her brief tenure as the beverage director at the nascent Momofuku in 2008, where she encountered the passionate but tumultuous personality of Chang. Despite the reflections of guilt and regret within his memoir, Selinger felt that Chang did not adequately address the “trauma left in his wake.”
“While writing that piece, I uncovered a wealth of unresolved feelings associated with my experiences,” Selinger shared. She progressed from working as a server in her Massachusetts hometown to reaching the pinnacle of New York City’s fine dining scene at Jean-Georges. These varied encounters, especially at Momofuku, laid the groundwork for her latest memoir, Cellar Rat, released today by Little Brown.
Selinger strategically utilizes industry memoirs like Service Included to present a vivid snapshot of the early 2000s New York restaurant landscape, seen through the eyes of a service worker. Not all her anecdotes are flattering; for instance, she recounts being dismissed from a restaurant for substituting a cheaper gin for a pricier one while overseeing the beverage program. Throughout her career, Selinger also faced various challenges including misogyny in the industry, alleged manipulative behavior from chef Christina Tosi, and a troubling experience involving pastry chef Johnny Iuzzini, who has been accused of sexual harassment. Her memoir delves into these encounters.
Cellar Rat documents Selinger’s journey over a decade in the restaurant world—from her initial passion for dining, despite growing up in New England and having no formal seafood knowledge until she worked for Bobby Flay, to her eventual disenchantment that led her to leave the industry. The book combines insightful critiques with the gossipy allure characteristic of restaurant memoirs. Ultimately, Selinger grapples with the question of accountability regarding her difficult experiences: Were they a result of her decisions, or were they symptomatic of systemic issues within the industry? Despite her complex feelings, she expresses contentment over having departed, stating, “I’m uncertain if I would have lasted in the industry even if I had attempted to stay.”
Selinger spoke with Eater about her insights into the restaurant industry and how her experiences in upscale dining continue to shape her approach to dining today.
You write about restaurant work as requiring that you “make yourself incredibly small.” How has leaving the industry and becoming a writer influenced your ability to take up space within it?
Now I see that people value my opinions in ways they may not have before, which feels refreshing. However, there is still opposition to that shift. In restaurants, your voice often gets stifled because you are part of a complex system whose primary focus is hospitality—something I deeply value. Within that framework, as one among many, my thoughts often went unheard. Now I can reflect on everything I would have liked to say had I been given the chance.
In retrospect, I can recognize all the things I wished I had expressed during my time in restaurants.
In your review of Chang’s memoir, you discuss how Chang portrays his anger, suggesting that his memoir attempts to repackage his self-righteous anger as a kind of forgiveness. Your book carries a different type of anger. How did this emotion play a role in your writing?
The anger I feel is largely internal; I wish I could say that I have fully let go of it, but many issues still plague my mind. Society often discourages women from expressing anger, both internally and externally, labeling us with pejoratives such as petty or bitter when we voice legitimate concerns about our treatment. I believe such indignation stems from the structural injustices inherent in any field, with restaurants being the one I’m most familiar with.
The anger documented in Cellar Rat stems from witnessing and experiencing challenging situations and grappling with blame—although my experiences did not include assault, they did include harmful interactions. People who endure distress often question their own roles in these situations: Was it my fault? Did I make the wrong choices? Such questions provoke anger directed towards oneself, which contrasts sharply with the outward anger exhibited by Chang towards his staff. My feelings of unresolved emotions illuminated the need to explore these themes within a book.
In the wake of the transformative events of 2020 and the revelations surrounding industry toxicity highlighted in shows like The Bear, how do you view the significance of restaurant memoirs today?
I remain hopeful that the narratives I share won’t just be consumed for shock value, but that they will inspire action and progress. I aspire for readers to recognize the systemic issues that still pervade the industry and encourage changes to address them. It feels similar to my position from five years ago—I want my stories to prompt reflection and reform. Whether society is better prepared for this conversation now than in the past is up to others to determine, but I am optimistic that ongoing discussions can lead to meaningful change.
You have previously described this memoir as a storyline about “being hated.” Can you elaborate on what you mean by that?
It’s important to me to emphasize that my experiences not only reflect my personal journey but also resonate with broader themes faced by others. When I mention feeling hated, it’s indicative of a systemic disdain, particularly towards women with strong opinions. I have always struggled to remain silent, yet the restaurant environment often stifled open communication. Misogyny was a current running deeply through the industry, affecting my ability to voice concerns.
My tendency to speak out positioned me as an outsider in an industry that often lacked tolerance for dissent. Misogyny was prevalent and it marginalized not only myself but many voices.
How have your changing perspectives on fine dining affected how you engage with restaurants currently?
My visits to fine dining establishments have diminished significantly for several reasons. Practically, I now dine primarily with young children, who influence my choices. Also, I’ve grown disillusioned by the fine dining experience itself. Where I once eagerly traveled to Spain for a reservation at El Bulli and indulged in extended meals, I now find that kind of experience less appealing. It feels as if the veil has been lifted; the allure has faded.
I still cherish the ambiance of dining out and the joy of a well-prepared meal, but I no longer feel comfortable in the opulent environments characterized by exorbitantly priced dishes and excessive formality. That chapter of my life, rich in culinary wonder, has likely reached its conclusion.
This interview has been edited and condensed for length and clarity.
Additional photo illustration credits: Hannah Selinger portrait by Meghan Ireland
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