This irreverent collection of 25 delicious recipes, each accompanied by an original, full-color work of surreal art, is the ultimate in hip kitchen entertainment. Written by Hollywood music manager Bob Blumer, The Surreal Gourmet is a cookbook with a sense of humor. All of the intensely flavored dishes can be prepared in less than 30 minutes, and each includes a wine selection and music to cook by.
A biography of six writers on food and wine whose lives and careers intersected in mid-twentieth-century France During les trente glorieuses—a thirty-year boom period in France between the end of World War II and the 1974 oil crisis—Paris was not only the world’s most delicious, stylish, and exciting tourist destination; it was also the world capital of gastronomic genius and innovation. The Gourmands’ Way explores the lives and writings of six Americans who chronicled the food and wine of “the glorious thirty,” paying particular attention to their individual struggles as writers, to their life circumstances, and, ultimately, to their particular genius at sharing awareness of French food with mainstream American readers. In doing so, this group biography also tells the story of an era when America adored all things French. The group is comprised of the war correspondent A. J. Liebling; Alice B. Toklas, Gertrude Stein’s life partner, who reinvented herself at seventy as a cookbook author; M.F.K. Fisher, a sensualist and fabulist storyteller; Julia Child, a television celebrity and cookbook author; Alexis Lichine, an ambitious wine merchant; and Richard Olney, a reclusive artist who reluctantly evolved into a brilliant writer on French food and wine. Together, these writer-adventurers initiated an American cultural dialogue on food that has continued to this day. Justin Spring’s The Gourmands’ Way is the first book ever to look at them as a group and to specifically chronicle their Paris experiences.
What do we mean when we call any group a cult? Definingthat term is a slippery proposition – the word cult is provocative and arguably pejorative. Does it necessarily refer to a religious group? A group with a charismatic leader? Or something darker and more sinister? Because beliefs and practices surrounding food often inspire religious and political fervor, as well as function to unite people into insular groups, it is inevitable that "food cults" would emerge. Studying the extreme beliefs and practices of such food cults allows us to see the ways in which food serves as a nexus for religious beliefs, sexuality, death anxiety, preoccupation with the body, asceticism, and hedonism, to name a few. In contrast to religious and political cults, food cults have the added dimension of mediating cultural trends in nutrition and diet through their membership. Should we then consider raw foodists, many of whom believe that cooked food is poison, a type of food cult? What about paleo diet adherents or those who follow a restricted calorie diet for longevity? Food Cults explores these questions by looking at domestic and international, contemporary and historic food communities characterized by extreme nutritional beliefs or viewed as "fringe" movements by mainstream culture. While there are a variety of accounts of such food communities across disciplines, this collection pulls together these works and explains why we gravitate toward such groups and the social and psychological functions they serve. This volume describes how contemporary and historic food communities come together and foment fanaticism, judgment, charisma, dogma, passion, longevity, condemnation and exaltation.
"Tales from the Three Ninth Kingdom" is semibiographical memoirs, written in format of imaginative fairytale, where characters are fictional and unanimous, suitable for gregarious and illustrious times immemorial. In process, she pieced together entertaining tales, epicurean quotations, proverbs and anecdotes, enriching them with the fantasy, only fairytale permit. It is a diary of consummation of culinary delights on all levels: from the doomed world of Romanoff and even more mysterious and strange times before; uncertain dimension of which served exactly the concept of this book It is a small forest of colorful stories, tailored with the twist on established genre of food memoirs: The first part of the book is nostalgic flash back to the postwar childhood, exploring a difficult and colorful survival, where reality was bearable only, when one applies a good doze of fantasy. The second part is a colorful world, occupied by eccentric and decadent characters, whose eponymous life still used as a source for hilarious entertainment. The third part is memorabilia of forgotten recipes, originated in palaces, urban mansions, hunting lodges, ancient monasteries and summer estates, unraveling culinary traditions and history of food, which always followed the rhythm of the changing Four Seasons. This book is contribution to the multicultural canvas of America, where among hundreds ethnic infusions, the Russian cuisine have been noticeably implanted.
Before Julia Child’s warbling voice and towering figure burst into America’s homes, a gourmet food movement was already sweeping the nation. Setting the Table for Julia Child considers how the tastes and techniques cultivated at dining clubs and in the pages of Gourmet magazine helped prepare many affluent Americans for Child’s lessons in French cooking. David Strauss argues that Americans’ appetite for haute cuisine had been growing ever since the repeal of Prohibition. Dazzled by visions of the good life presented in luxury lifestyle magazines and by the practices of the upper class, who adopted European taste and fashion, upper-middle-class Americans increasingly populated the gourmet movement. In the process, they came to appreciate the cuisine created by France's greatest chef, Auguste Escoffier. Strauss’s impressive archival research illuminates themes—gender, class, consumerism, and national identity—that influenced the course of gourmet dining in America. He also points out how the work of painters and fine printers—reproduced here—called attention to the aesthetic of dining, a vision that heightened one’s anticipation of a gratifying experience. In the midst of this burgeoning gourmet food movement Child found her niche. The movement may have introduced affluent Americans to the pleasure of French cuisine years before Julia Child, but it was Julia’s lessons that expanded the audience for gourmet dining and turned lovers of French cuisine into cooks.
Food Television and Otherness in the Age of Globalization examines the growing popularity of food and travel television and its implications for how we understand the relationship between food, place, and identity. Attending to programs such as Bizarre Foods, Bizarre Foods America, The Pioneer Woman, Diners, Drive-Ins, and Dives, Man vs. Food, and No Reservations, Casey Ryan Kelly critically examines the emerging rhetoric of culinary television, attending to how American audiences are invited to understand the cultural and economic significance of global foodways. This book shows how food television exoticizes foreign cultures, erases global poverty, and contributes to myths of American exceptionalism. It takes television seriously as a site for the reproduction of cultural and economic mythology where representations of food and consumption become the commonsense of cultural difference and economic success.
This book analyzes the coloniality of the concept of taste that gastronomy constructed and normalized as modern. It shows how gastronomy’s engagement with rationalist and aesthetic thought, and with colonial and capitalist structures, led to the desensualization, bureaucratization and racialization of its conceptualization of taste. The Coloniality of Modern Taste provides an understanding of gastronomy that moves away from the usual celebratory approach. Through a discussion of nineteenth-century gastronomic publications, this book illustrates how the gastronomic notion of taste was shaped by a number of specifically modern constraints. It compares the gastronomic approach to taste to conceptualizations of taste that emerged in other geographical and philosophical contexts to illustrate that the gastronomic approach stands out as particularly bereft of affect. The book argues that the understanding of taste constructed by gastronomic texts continues to burden the affective experience of taste, while encouraging patterns of food consumption that rely on an exploitative and unsustainable global food system. This book will appeal to students and scholars interested in cultural studies, decoloniality, affect theory, sensory studies, gastronomy and food studies.
