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Artists Austin Young and David Allen Burns (collectively known as FALLEN FRUIT) fallenfruit.org
Hannah Brantley
Stacie Cassarino. Culinary Poetics and Edible Images in Twentieth-Century American Literature. Ohio Country University Press, 2018. x, 201 pp.
Culinary Poetics and Edible Images in Twentieth-Century American Literature by Stacie Cassarino is about art and its influence on everyday consumption. Cassarino argues that gastronomic avant-garde literary texts influence national consumption and that these shifts later influence what'southward for dinner. On a larger calibration, these cultural ruptures can potentially feed dorsum into nutrient policy. Although art, particularly the avant-garde, is conceived of equally existence sequestered from reality and the everyday, Cassarino demonstrates how avant-garde cookbooks, poesy, live performance and visual fine art forms are in dialogue with the quotidian and how art maintains the ability to "retell the story of food […] revolutionizing political, upstanding, environmental, class-powered, and artful choices around eating" (8,9).
Cassarino's methodology draws on M.F.K. Fisher's[1] literary technique of pairing the aesthetic with the mundane, or art and necessity. Fisher's work problematized notions of listen-trunk dualism by demonstrating that food is a subject for the intellect and a good book tin be a corporeal pleasance. Similarly, Cassarino'southward Fisherian framework complicates common perceptions of the detached boundaries between literary forms as a stimulant for the mind and food as a stimulant for the body. This methodology gets at the interpenetration, as Cassarino calls information technology, of food and fine art.
Each of the get-go three chapters pairs a cookbook author with a poet whose published works Cassarino analyzes to demonstrate how both are literary art forms that reflect and shape national consciousness about taste, politics, the surround, gender, race, course antagonisms, economics and pleasance. Her last chapter departs from her initial thematic of reading a cookbook author and poet together and instead looks to visual art projects that critique national food systems. While the previous capacity are dubious as to whether the cookbook and verse form led to social and political change or were a result of it, her last effort is more grounded and explicit in how food can be an impetus towards change in national consumption through policy and legislation. This does not mean, however, that because the changes resulting from these gimmicky food projects are more explicit than their literary counterparts that the latter did non bear upon national foodways. Rather, the reader is left to reflect on the subtle, nuanced change that occurs through literature compared to the more obvious kind of change afflicted through socially conscious art projects such as chef Dan Barber's pop-up eating house, wastED, which utilizes leftover scraps considered trash to create affordable meals and to "combat hunger, food scarcity, and inequity in the food system" (190).
Past reading the recipe as verse form and the verse form as recipe, Cassarino demonstrates how both participate in analogous dialogues about food, art and consumption. For instance, by reading Julia Child's Mastering the Art of French Cooking and Gertrude Stein's Tender Buttons together, Cassarino suggests these texts are an impetus towards new, modernist tastes. Both leverage mundanity as admission to the extraordinary: Child with her meticulous instructions on how to elevate the apprehensive egg into the perfect omelette and Stein with her employ of ordinary (yet recondite) language to create an avant-garde aesthetics of the detail and quotidian.
Poppy Cannon'due south The Fast Gourmet Cookbook and Frank O'Hara'due south Lunch Poems are read together to demonstrate the modernist, mid-twentieth-century inclination and fascination with industry, speed and efficiency. Cannon'southward "tin can opener cookbook" praises the use of pre-fabricated, processed food to fix gourmet meals in minutes versus the hours Child's recipes crave. O'Hara's Lunch Poems are snappy, quick and mostly composed while walking or taking his luncheon break. The tempo and style of Cannon's recipes and O'Hara's poems reverberates through the consumption habits of America during the middle of the twentieth-century which valued convenience, speed and technological inventions intended to ease the time-consuming burdens of life such as cooking.
The third literary duo Cassarino examines is Black avant-garde cookbook author Vertamae Smart-Grosvenor and Black poet Harryette Mullen. Smart-Grosvenor'southward cookbook, Vibration Cooking, and Mullen's collection of poems, S*PeRM**Grand*T, recycle nutrient practices of the Blackness community to recreate meaning within foodways that were previously considered "trash" or low-brow by Whites. These texts interrupt and dislodge hegemonic discourses of nutrient that latently suggest Anglo-American and Western European foods to be the essence of "good" nutrient, asserting Black consumption as a source of pleasure and empowerment.
In her terminal affiliate, Cassarino looks to visual art projects that offering commentary on national food systems and consumption. Fine art projects such as Daniel Spoerri's "Eat Art," Spanish chef Ferran Adrià's performance meals at El Bulli, and David Burns and Austin Young'southward art collective Fallen Fruit represent ways in which fine art is a goad towards policy change and a more democratic food system.
The terminal chapter illuminates how perceiving modify in food systems is more conspicuously detectable than modify infoodways, a indicate Cassarino does not make explicit in her work. Shifts in food systems are more than apparent in revealing how food is processed, distributed and consumed. Thus, art that critiques the construction of nutrient systems will showroom more overt examples of success and change. Foodways, on the other manus, as seen in her examples of literature, proceed and morph non-coherently and are not every bit quantitatively analyzable as their food systems counterpart. This does not detract from her overall argument that art leads to structural alter, but it leaves the reader to puzzle over the unlike ways change is perceived and enacted in policy versus civilization.
Cassarino's piece of work is significant to the field of food studies, aesthetics, sociology, history and politics by offering new channels of enquiry to examine the influence of art on the everyday and not only the resulting change in national consumption, simply how fine art motivates new avenues of thought about social justice and policy. This, at once, establishes art as possessing businesslike qualities and nutrient equally existence an of import artistic medium through which to critique capitalist distribution, the surroundings, technology, gender, class and race relations and the ideals of consumption.
Biography
Hannah Brantley is a educatee in Boston University's Gastronomy program. Primarily using feminist and critical theories, her research focuses on intersectional inequality within American foodways. She has an undergraduate degree in Philosophy from the University of Missouri at Kansas Urban center and is certified in Culinary Arts from Auguste Escoffier School of Culinary Arts. Boston, Massachusetts is her current domicile.
[1] Fisher, Grand. F. K., and Joan Reardon. The Art of Eating, 50th Anniversary Edition. John Wiley & Sons, 2004.
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