First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 1997. This cookbook invites you to sample cuisines that are still exotic even in the post-modern kitchen. Try out cooking techniques from the Colombian Amazon or from Highland New Guinea. Experiment with recipes from a Malaysian fishing village or taste a Maroon dish from the Jamaican mountains. The idea that a meal should be made up of a sequence of dishes is by no means universal, but there is no reason why one might not construct a syncretic menu. But this book does not just offer a string of recipes. Cooking and eating can be a way of travelling to foreign countries, just as food can trigger memories and bring the past back to you. This book is also a practical introduction to the anthropology of food.

From ingredients and recipes to meals and menus across time and space, this highly engaging overview illustrates the important roles that anthropology and anthropologists play in understanding food and its key place in the study of culture. The new edition, now in full colour, introduces discussions about nomadism, commercializing food, food security, and ethical consumption, including treatment of animals and the long-term environmental and health consequences of meat consumption. New feature boxes offer case studies and exercises to help highlight anthropological methods and approaches, and each chapter includes a further reading section. By considering the concept of cuisine and public discourse, Eating Culture brings order and insight to our changing relationship with food.

Organized like a cookbook, Books that Cook: The Making of a Literary Meal is a collection of American literature written on the theme of food: from an invocation to a final toast, from starters to desserts. All food literatures are indebted to the form and purpose of cookbooks, and each section begins with an excerpt from an influential American cookbook, progressing chronologically from the late 1700s through the present day, including such favorites as American Cookery, the Joy of Cooking, and Mastering the Art of French Cooking. The literary works within each section are an extension of these cookbooks, while the cookbook excerpts in turn become pieces of literature--forms of storytelling and memory-making all their own. Each section offers a delectable assortment of poetry, prose, and essays, and the selections all include at least one tempting recipe to entice readers to cook this book. Including writing from such notables as Maya Angelou, James Beard, Alice B. Toklas, Sherman Alexie, Nora Ephron, M.F.K. Fisher, and Alice Waters, among many others, Books that Cook reveals the range of ways authors incorporate recipes--whether the recipe flavors the story or the story serves to add spice to the recipe. Books that Cook is a collection to serve students and teachers of food studies as well as any epicure who enjoys a good meal alongside a good book.

A New York Times Book Review Summer Reading Selection “Delves into not only what we eat around the world, but what we once ate and what we have lost since then.”—The New York Times Book Review Two centuries ago, nearly half the North American diet was foraged, hunted, or caught in the wild. Today, so-called “wild foods” are becoming expensive luxuries, served to the wealthy in top restaurants. Meanwhile, people who depend on wild foods for survival and sustenance find their lives forever changed as new markets and roads invade the world’s last untamed landscapes. In Feasting Wild, geographer and anthropologist Gina Rae La Cerva embarks on a global culinary adventure to trace our relationship to wild foods. Throughout her travels, La Cerva reflects on how colonialism and the extinction crisis have impacted wild spaces, and reveals what we sacrifice when we domesticate our foods —including biodiversity, Indigenous and women’s knowledge, a vital connection to nature, and delicious flavors. In the Democratic Republic of the Congo, La Cerva investigates the violent “bush meat” trade, tracking elicit delicacies from the rainforests of the Congo Basin to the dinner tables of Europe. In a Danish cemetery, she forages for wild onions with the esteemed staff of Noma. In Sweden––after saying goodbye to a man known only as The Hunter––La Cerva smuggles freshly-caught game meat home to New York in her suitcase, for a feast of “heartbreak moose.” Thoughtful, ambitious, and wide-ranging, Feasting Wild challenges us to take a closer look at the way we eat today, and introduces an exciting new voice in food journalism. “A memorable, genre-defying work that blends anthropology and adventure.”—Elizabeth Kolbert, New York Times-bestselling author of The Sixth Extinction “A food book with a truly original take.”—Mark Kurlansky, New York Times bestselling author of Salt: A World History “An intense and illuminating travelogue... offer[ing] a corrective to the patriarchal white gaze promoted by globetrotting eaters like Anthony Bourdain and Andrew Zimmern. La Cerva combines environmental history with feminist memoir to craft a narrative that's more in tune with recent works by Robin Wall Kimmerer, Helen Macdonald and Elizabeth Rush.”—The Wall Street Journal

Ghulam Bombaywala sells bagels in Houston. Demetrios dishes up pizza in Connecticut. The Wangs serve tacos in Los Angeles. How ethnicity has influenced American eating habits—and thus, the make-up and direction of the American cultural mainstream—is the story told in We Are What We Eat. It is a complex tale of ethnic mingling and borrowing, of entrepreneurship and connoisseurship, of food as a social and political symbol and weapon—and a thoroughly entertaining history of our culinary tradition of multiculturalism. The story of successive generations of Americans experimenting with their new neighbors’ foods highlights the marketplace as an important arena for defining and expressing ethnic identities and relationships. We Are What We Eat follows the fortunes of dozens of enterprising immigrant cooks and grocers, street hawkers and restaurateurs who have cultivated and changed the tastes of native-born Americans from the seventeenth century to the present. It also tells of the mass corporate production of foods like spaghetti, bagels, corn chips, and salsa, obliterating their ethnic identities. The book draws a surprisingly peaceful picture of American ethnic relations, in which “Americanized” foods like Spaghetti-Os happily coexist with painstakingly pure ethnic dishes and creative hybrids. Donna Gabaccia invites us to consider: If we are what we eat, who are we? Americans’ multi-ethnic eating is a constant reminder of how widespread, and mutually enjoyable, ethnic interaction has sometimes been in the United States. Amid our wrangling over immigration and tribal differences, it reveals that on a basic level, in the way we sustain life and seek pleasure, we are all multicultural.

What might become of anthropology if it were to suspend its sometime claims to be a social science? What if it were to turn instead to exploring its affinities with art and literature as a mode of engaged creative practice carried forward in a world heterogeneously composed of humans and other than humans? Stuart McLean claims that anthropology stands to learn most from art and literature not as “evidence” to support explanations based on an appeal to social context or history but as modes of engagement with the materiality of expressive media—including language—that always retain the capacity to disrupt or exceed the human projects enacted through them. At once comparative in scope and ethnographically informed, Fictionalizing Anthropology draws on an eclectic range of sources, including ancient Mesopotamian myth, Norse saga literature, Hesiod, Lucretius, Joyce, Artaud, and Lispector, as well as film, multimedia, and performance art, along with the concept of “fabulation” (the making of fictions capable of intervening in and transforming reality) developed in the writings of Bergson and Deleuze. Sharing with proponents of anthropology’s recent “ontological turn,” McLean insists that experiments with language and form are a performative means of exploring alternative possibilities of collective existence, new ways of being human and other than human, and that such experiments must therefore be indispensable to anthropology’s engagement with the contemporary world.