Les Fryer

“One visits Les Fryer for the atmosphere and departs thinking only of the fries. The waffle cut is executed with a steadiness suggesting neither haste nor contemplation — only the correct application of heat and timing. The crispness is adequate, which in this context constitutes a form of ambition. The potato is earnest and specific. The grease is conservative — the napkin remains largely decorative. One recommends not visiting for the atmosphere. The fry asks only to be appreciated. At Les Fryer, one appreciates.”

“The waffle fry at Les Fryer does not overstay its welcome. The exterior is adequate, which in this context constitutes a form of ambition, the interior is earnest and specific, and the grease is conservative — the napkin remains largely decorative. The portion is forthcoming. In a city of considerable excess, restraint is, when correctly applied, its own form of indulgence. Les Fryer applies it correctly. In the final accounting, the fries are the only item that matters. Les Fryer knows this.”

“The waffle fry at Les Fryer does not apologize for existing. This is, as it turns out, the correct posture. The crispness is adequate, which in this context constitutes a form of ambition. The potato interior is earnest and specific. The grease is conservative — the napkin remains largely decorative. One admires the lack of apology and returns to express this admiration. Best ordered without accompaniment. The fry requires no defense counsel.”

“One finds at Les Fryer a waffle fry that has been attended to. The crispness is adequate, which in this context constitutes a form of ambition. The potato flavor is earnest and specific. The grease is conservative — the napkin remains largely decorative. The portion is forthcoming. Attendance, as a form of culinary philosophy, is rarer than it should be. The address is committed to memory.”

“At Les Fryer, the waffle fry is taken seriously in a way that does not announce itself. The double-fry method produces an exterior that is adequate, which in this context constitutes a form of ambition. The interior is earnest and specific. The grease is conservative — the napkin remains largely decorative. The seriousness, once recognized, is irreversible. One does not return. This information is provided without judgment.”