Literary Nonfiction. From the margins of gastronomy to the depths of taste, a compendium of culinary delights and anguish. Rare recipes, lost histories, perfect dishes, childhood nostalgias, improbable ecstasies. This volume offers a miscellany of articles and illustrations in celebration of food and the social relations fostered by dining. These texts mix genres, reveal secrets, resolve mysteries, communicate passions--precisely what is needed to consider the complex cultural associations between cuisine and the other arts.

"In recent years, Peruvian food has become of interest to tourists drawn to the inventive ways in which the incredibly ecologically diverse country has been a locus for chefs to experiment with the many foodstuffs and to draw on Indigenous knowledge and cultural histories. However, the simpler, everyday cooking of Peru is rarely the focus of media about Peru. In this manuscript Amy Cox Hall illustrates this history for readers who want to expand their understanding of the complex culinary histories of Peru"--

A delightful celebration of everyday life in France through the lens of the kitchens and cooking of the author’s neighbors, who, while busy and accomplished, still manage to make every meal a sumptuous occasion. Even before Susan Herrmann Loomis wrote her now-classic memoir, On Rue Tatin, American readers have been compelled by books about the French’s ease with cooking. With In a French Kitchen, Loomis—an expat who long ago traded her American grocery store for a bustling French farmer’s market—demystifies in lively prose the seemingly effortless je ne sais quoi behind a simple French meal. French cooks have the savoir faire to get out of a low-ingredient bind. They are deeply knowledgeable about seasonal produce and what mélange of simple ingredients will bring out the best of their garden or local market. They are perfectly at ease with cracked bowls and little counter space. In a French Kitchen proves that delicious, decadent meals aren’t complicated. Loomis takes lessons from busy, everyday people and offers tricks and recipes to create a meal more focused on quality ingredients and time at the table than on time in the kitchen.

During the Depression, the Federal Writers' Project (FWP) dispatched scribes to sample the fare at group eating events like church dinners, political barbecues, and clambakes. Its America Eats project sought nothing less than to sample, and report upon, the tremendous range of foods eaten across the United States. Camille Begin shapes a cultural and sensory history of New Deal-era eating from the FWP archives. From "ravioli, the diminutive derbies of pastries, the crowns stuffed with a well-seasoned paste" to barbeque seasoning that integrated "salt, black pepper, dried red chili powder, garlic, oregano, cumin seed, and cayenne pepper" while "tomatoes, green chili peppers, onions, and olive oil made up the sauce", Begin describes in mouth-watering detail how Americans tasted their food. They did so in ways that varied, and varied widely, depending on race, ethnicity, class, and region. Begin explores how likes and dislikes, cravings and disgust operated within local sensory economies that she culls from the FWP’s vivid descriptions, visual cues, culinary expectations, recipes and accounts of restaurant meals. She illustrates how nostalgia, prescriptive gender ideals, and racial stereotypes shaped how the FWP was able to frame regional food cultures as "American."

Preparing and consuming food is an integral part of identity formation, which in contemporary China embodies tension between fast-forward modernization and cultural nostalgia. Jin Feng’s wide-ranging exploration of cities in the Lower Yangzi Delta—or Jiangnan, a region known for its paradisiacal beauty and abundant resources—illustrates how people preserve culinary inheritance while also revamping it for the new millennium. Throughout Chinese history, food nostalgia has generated cultural currency for individuals. Feng examines literary treatments of Jiangnan foodways from late imperial and twentieth-century China, highlighting the role played by gender and tracing the contemporary metamorphosis of this cultural landscape, with its new platforms for food culture, such as television and the internet. As communities in Jiangnan refashion their regional heritage, culinary arts shine as markers of ethnic and social distinction.

In this gustatory tour of human history, John S. Allen demonstrates that the everyday activity of eating offers deep insights into human beings’ biological and cultural heritage. We humans eat a wide array of plants and animals, but unlike other omnivores we eat with our minds as much as our stomachs. This thoughtful relationship with food is part of what makes us a unique species, and makes culinary cultures diverse. Not even our closest primate relatives think about food in the way Homo sapiens does. We are superomnivores whose palates reflect the natural history of our species. Drawing on the work of food historians and chefs, anthropologists and neuroscientists, Allen starts out with the diets of our earliest ancestors, explores cooking’s role in our evolving brain, and moves on to the preoccupations of contemporary foodies. The Omnivorous Mind delivers insights into food aversions and cravings, our compulsive need to label foods as good or bad, dietary deviation from “healthy” food pyramids, and cross-cultural attitudes toward eating (with the French, bien sûr, exemplifying the pursuit of gastronomic pleasure). To explain, for example, the worldwide popularity of crispy foods, Allen considers first the food habits of our insect-eating relatives. He also suggests that the sound of crunch may stave off dietary boredom by adding variety to sensory experience. Or perhaps fried foods, which we think of as bad for us, interject a frisson of illicit pleasure. When it comes to eating, Allen shows, there’s no one way to account for taste.

This fascinating and insightful volume introduces readers to food as a window to the social and cultural history and geography of Singapore. It demonstrates how the food we consume, the ways in which we acquire and prepare it, the company we keep as we cook and eat, and our preferences and practices are all revealing of a larger economic, social, cultural and political world, both historically and in contemporary times. Readers will be captivated by chapters that deal with the intersections of food and ethnicity, gender and class, food hybridity, innovations and creativity, heritage and change, globalization and localization, and more. This is a must-read for anyone interested in Singapore culture and society.

With contributions by Barbara Banks, Sheila Bock, Susan Eleuterio, Jillian Gould, Phillis Humphries, Michael Owen Jones, Alicia Kristen, William G. Lockwood, Yvonne R. Lockwood, Lucy M. Long, LuAnne Roth, Rachelle H. Saltzman, Charlene Smith, Annie Tucker, and Diane Tye Comfort Food explores this concept with examples taken from Atlantic Canadians, Indonesians, the English in Britain, and various ethnic, regional, and religious populations as well as rural and urban residents in the United States. This volume includes studies of particular edibles and the ways in which they comfort or in some instances cause discomfort. The contributors focus on items ranging from bologna to chocolate, including sweet and savory puddings, fried bread with an egg in the center, dairy products, fried rice, cafeteria fare, sugary fried dough, soul food, and others. Several essays consider comfort food in the context of cookbooks, films, blogs, literature, marketing, and tourism. Of course what heartens one person might put off another, so the collection also includes takes on victuals that prove problematic. All this fare is then related to identity, family, community, nationality, ethnicity, class, sense of place, tradition, stress, health, discomfort, guilt, betrayal, and loss, contributing to and deepening our understanding of comfort food. This book offers a foundation for further appreciation of comfort food. As a subject of study, the comfort food is relevant to a number of disciplines, most obviously food studies, folkloristics, and anthropology, but also American studies, cultural studies, global and international studies, tourism, marketing, and public health.

The Aesthetics of Nostalgia TV explores the aesthetic politics of nostalgia for 1950s and 60s America on contemporary television. Specifically, it looks at how nostalgic TV production design shapes and is shaped by larger historical discourses on gender and technological change, and America's perceived decline as a global power. Alex Bevan argues that the aesthetics of nostalgic TV tell stories of their own about historical decline and progress, and the place of the baby boomer television suburb in American national memory. She contests theories on nostalgia that see it as stagnating, regressive, or a reversion to outdated gender and racial politics, and the technophobic longing for a bygone era; and, instead, argues nostalgia is an important form of historical memory and vehicle for negotiating periods of historical transition. The book addresses how and why the shows construct the boomer era as a placeholder for gender, racial, technological, and declensionist discourses of the present. The book uses Mad Men (AMC, 2007-2015), Ugly Betty (ABC, 2006-2010), Desperate Housewives (ABC, 2004-2012), and film remakes of 1950s and 60s family sitcoms as primary case studies.