What looks like a consciously altruistic effort to encapsulate one woman's entire life into lessons for the benefit of womankind may be just that: after divulging every gruesome detail of her spiral into anorexia and subsequent self-discoveries in this memoir, Knapp died of lung cancer last June at age 42. Similar in tone to her previous Drinking: A Love Story, this work is candid and persuasive enough to reach many women with analogous problems. But it's more than one woman's tragic story; multitudinous interviews with women with eating disorders, excerpts from classic feminist texts and sociological statistics lend credence and categorize the book under cultural studies as much as self-help. Knapp hypothesizes that the feminists who came after the revolutionary 1960s, herself included, were stifled rather than empowered by the overwhelming choices before them. They gained ''the freedom to hunger and to satisfy hunger in all its varied forms.'' Unfortunately, writes Knapp, size-obsessed fashion magazines and other social messages contradict a woman's right to desire, contributing to the rise in eating disorders and other illnesses. Knapp observes an aspect of the backlash against the feminist movement: when ''women were demanding the right to take up more space in the world,'' they were being told by a still patriarchal society ''to grow physically smaller.'' Though Knapp admits it's ''easier to worry about the body than the soul,'' she hopes creating a dialogue about anorexia will enable all women to nourish both.

A “necessary and brilliant” (NPR) exploration of our cultural fascination with true crime told through four “enthralling” (The New York Times Book Review) narratives of obsession. In Savage Appetites, Rachel Monroe links four criminal roles—Detective, Victim, Defender, and Killer—to four true stories about women driven by obsession. From a frustrated and brilliant heiress crafting crime-scene dollhouses to a young woman who became part of a Manson victim’s family, from a landscape architect in love with a convicted murderer to a Columbine fangirl who planned her own mass shooting, these women are alternately mesmerizing, horrifying, and sympathetic. A revealing study of women’s complicated relationship with true crime and the fear and desire it can inspire, together these stories provide a window into why many women are drawn to crime narratives—even as they also recoil from them. Monroe uses these four cases to trace the history of American crime through the growth of forensic science, the evolving role of victims, the Satanic Panic, the rise of online detectives, and the long shadow of the Columbine shooting. Combining personal narrative, reportage, and a sociological examination of violence and media in the 20th and 21st centuries, Savage Appetites is a “corrective to the genre it interrogates” (The New Statesman), scrupulously exploring empathy, justice, and the persistent appeal of crime.

Welcome to a world where little people have big personalities. A world that’s upside down and yet weirdly, wonderfully real. A world where Lilliputian thieves poach strawberry seeds. Where it takes a guy with a jackhammer to pop open pistachios. Where skaters fall into a crack in the crème brûlée, and teddy bear cookies congregate with evil intent. Marrying inspired photographs of real food and tiny people with equally inspired captions, photographer Christopher Boffoli creates a smart, funny, quirky vision of what it means to play with your food. The scenes are hilarious and outlandish— a farmer shovels a pasture full of cow pies, aka chocolate chips; hikers pause at a rest stop to take in a magical mushroom forest. And the captions surprise with their cleverness and emotional truth. Of the proudly gesticulating little chef amid the macarons: “Right on cue, Philippe stepped up to take all of the credit.” Of the tiny bather up to her chin in waves of blue Jell-O: “In her continuing search for a husband, Gladys decided it was best to put herself in situations where she needed to be rescued.” Of the broad-shouldered technician spreading condiments on a hot dog: “Gary always uses too much mustard. But no one can say so. It’s a union thing.” Happiness, hope, adventure, pride, love, greed, menace, solitude—it’s our world, seen through a singularly unique and funny lens, in more than 100 scenes from breakfast through dessert.

Written with the no-holds-barred ethos of his beloved series, No Reservations and Parts Unknown, the celebrity chef and culinary explorer’s first cookbook in more than ten years—a collection of recipes for the home cook. Anthony Bourdain is a man of many appetites. And for many years, first as a chef, later as a world-traveling chronicler of food and culture on his CNN series Parts Unknown, he has made a profession of understanding the appetites of others. These days, however, if he’s cooking, it’s for family and friends. Appetites, his first cookbook in more than ten years, boils down forty-plus years of professional cooking and globe-trotting to a tight repertoire of personal favorites—dishes that everyone should (at least in Mr. Bourdain’s opinion) know how to cook. Once the supposed "bad boy" of cooking, Mr. Bourdain has, in recent years, become the father of a little girl—a role he has embraced with enthusiasm. After years of traveling more than 200 days a year, he now enjoys entertaining at home. Years of prep lists and the hyper-organization necessary for a restaurant kitchen, however, have caused him, in his words, to have "morphed into a psychotic, anally retentive, bad-tempered Ina Garten." The result is a home-cooking, home-entertaining cookbook like no other, with personal favorites from his own kitchen and from his travels, translated into an effective battle plan that will help you terrify your guests with your breathtaking efficiency.

Employs the foodways paradigm to analyze the ideological dimensions of food imagery and food behavior in fiction and documentary films. Cinema is a mosaic of memorable food scenes. Detectives drink alone. Gangsters talk with their mouths full. Families around the world argue at dinner. Food documentaries challenge popular consumption-centered visions. In Appetites and Anxieties: Food, Film, and the Politics of Representation,authors Cynthia Baron, Diane Carson, and Mark Bernard use a foodways paradigm, drawn from the fields of folklore and cultural anthropology, to illuminate film's cultural and material politics. In looking at how films do and do not represent food procurement, preparation, presentation, consumption, clean-up, and disposal, the authors bring the pleasures, dangers, and implications of consumption to center stage. In nine chapters, Baron, Carson, and Bernard consider food in fiction films and documentaries-from both American and international cinema. The first chapter examines film practice from the foodways perspective, supplying a foundation for the collection of case studies that follow. Chapter 2 takes a political economy approach as it examines the food industry and the film industry's policies that determine representations of food in film. In chapter 3, the authors explore food and food interactions as a means for creating community in Bagdad Café, while in chapter 4 they take a close look at 301/302,in which food is used to mount social critique. Chapter 5 focuses on cannibal films, showing how the foodways paradigm unlocks the implications of films that dramatize one of society's greatest food taboos. In chapter 6, the authors demonstrate ways that insights generated by the foodways lens can enrich genre and auteur studies. Chapter 7 considers documentaries about food and water resources, while chapter 8 examines food documentaries that slip through the cracks of film censorship by going into exhibition without an MPAA rating. Finally, in chapter 9, the authors study films from several national cinemas to explore the intersection of food, gender, and ethnicity. Four appendices provide insights from a food stylist, a selected filmography of fiction films and a filmography of documentaries that feature foodways components, and a list of selected works in food and cultural studies. Scholars of film studies and food studies will enjoy the thought-provoking analysis of Appetites and Anxieties.

In Carnal Appetites, Elspeth Probyn charts the explosion of interest in food - from the cults that spring up around celebrity chefs, to our love/hate relationship with fast food, our fetishization of food and sex, and the impact of our modes of consumption on our identities. 'You are what you eat' the saying goes, but is the tenet truer than ever? As the range of food options proliferates in the West, our food choices become inextricably linked with our lives and lifestyles. Probyn also tackles issues that trouble society, asking questions about the nature of appetite, desire, greed and pleasure, and shedding light on subjects including: fast food, vegetarianism, food sex, cannibalism, forced feeding, and fat politics.

Glossy magazines write about them, celebrities give their names to them, and you’d better believe there’s an app (or ten) committed to finding you the right one. They are New York City restaurants and food shops. And their journey to international notoriety is a captivating one. The now-booming food capital was once a small seaport city, home to a mere six municipal food markets that were stocked by farmers, fishermen, and hunters who lived in the area. By 1890, however, the city’s population had grown to more than one million, and residents could dine in thousands of restaurants with a greater abundance and variety of options than any other place in the United States. Historians, sociologists, and foodies alike will devour the story of the origins of New York City’s food industry in Urban Appetites. Cindy R. Lobel focuses on the rise of New York as both a metropolis and a food capital, opening a new window onto the intersection of the cultural, social, political, and economic transformations of the nineteenth century. She offers wonderfully detailed accounts of public markets and private food shops; basement restaurants and immigrant diners serving favorites from the old country; cake and coffee shops; and high-end, French-inspired eating houses made for being seen in society as much as for dining. But as the food and the population became increasingly cosmopolitan, corruption, contamination, and undeniably inequitable conditions escalated. Urban Appetites serves up a complete picture of the evolution of the city, its politics, and its foodways.

DIVAn experimental ethnography of food, sex, and health in post-socialist China/div

Exotic Appetites is a far-reaching exploration of what Lisa Heldke calls food adventuring: the passion, fashion and pursuit of experimentation with ethnic foods. The aim of Heldke's critique is to expose and explore the colonialist attitudes embedded in our everyday relationship and approach to foreign foods. Exotic Appetites brings to the table the critical literatures in postcolonialism, critical race theory, and feminism in a provocative and lively discussion of eating and ethnic cuisine. Chapters look closely at the meanings and implications involved in the quest for unusual restaurants and exotic dishes, related restaurant reviews and dining guides, and ethnic cookbooks.

Provides a collection of French bistro style recipes, including lobster bisque, coq au vin, and a warm potato and goat cheese tart.