Scarlett O'Hara munched on a radish and vowed never to go hungry again. Vardaman Bundren ate bananas in Faulkner's Jefferson, and the Invisible Man dined on a sweet potato in Harlem. Although food and stories may be two of the most prominent cultural products associated with the South, the connections between them have not been thoroughly explored until now. Southern food has become the subject of increasingly self-conscious intellectual consideration. The Southern Foodways Alliance, the Southern Food and Beverage Museum, food-themed issues of Oxford American and Southern Cultures, and a spate of new scholarly and popular books demonstrate this interest. Writing in the Kitchen explores the relationship between food and literature and makes a major contribution to the study of both southern literature and of southern foodways and culture more widely. This collection examines food writing in a range of literary expressions, including cookbooks, agricultural journals, novels, stories, and poems. Contributors interpret how authors use food to explore the changing South, considering the ways race, ethnicity, class, gender, and region affect how and what people eat. They describe foods from specific southern places such as New Orleans and Appalachia, engage both the historical and contemporary South, and study the food traditions of ethnicities as they manifest through the written word.

LEARN HOW TO WRITE BEAUTIFULLY ABOUT FOOD AND BUILD AN AUDIENCE. Are you thinking of starting a food blog, or have you always wanted to promote and distribute your own recipes? Would you like to be the next Nigel Slater or Jay Rayner? This is an engaging, enlightening and utterly indispensable guideto how to write about food. From sharing family recipes to starting a supper club, promoting the latest gastronomical trend or advertising your amazing diet tips, this book gives friendly, clear and readable guidance from one of the UK's most popular bloggers. It includes tips on great food photography and strategies for building your brand and securing TV appearances or regular press commissions. Contemporary, connected and compelling, this is all you need to become a high profile food writer with your own online community and upward trajectory. ABOUT THE SERIES The Teach Yourself Creative Writing series helps aspiring authors tell their story. Covering a range of genres from science fiction and romantic novels, to illustrated children's books and comedy, this series is packed with advice, exercises and tips for unlocking creativity and improving your writing. And because we know how daunting the blank page can be, we set up the Just Write online community at tyjustwrite, for budding authors and successful writers to connect and share.

The go-to soup-to-nuts guide on how to really make money from food writing, both in print and online With recipe-driven blogs, cookbooks, reviews, and endless foodie websites, food writing is ever in demand. In this award-winning guide, noted journalist and writing instructor Dianne Jacob offers tips and strategies for getting published and other ways to turn your passion into cash, whether it's in print or online. With insider secrets and helpful advice from award-winning writers, agents, and editors, Will Write for Food is still the essential guide to go from starving artist to well-fed writer.

The Resource Guide for Food Writers represents the first comprehensive listing of resources for food writers and culinary enthusiasts. A feast for all who love food, it is both a research tool for finding out facts about food and a guide to food writing. Author Gary Allen presents an impressive menu of relevant resources, ranging from specialty libraries and booksellers to periodicals, organizations, and web sites. Allen goes on to provide genuine guidance on how writers can utilize those resources for writing about food and getting published. This authoritative reference and handbook is essential for every epicurean who wants to learn more about food, from the food­service professional to the ambitious home gourmet.

Inspired by the need for interpretations and critiques of the varied messages surrounding what and how we eat, Food, Feminisms, Rhetorics collects eighteen essays that demonstrate the importance of food and food-related practices as sites of scholarly study, particularly from feminist rhetorical perspectives. Contributors analyze messages about food and bodies—from what a person watches and reads to where that person shops—taken from sources mundane and literary, personal and cultural. This collection begins with analyses of the historical, cultural, and political implications of cookbooks and recipes; explores definitions of feminist food writing; and ends with a focus on bodies and cultures—both self-representations and representations of others for particular rhetorical purposes. The genres, objects, and practices contributors study are varied—from cookbooks to genre fiction, from blogs to food systems, from product packaging to paintings—but the overall message is the same: food and its associated practices are worthy of scholarly attention.

Between 2000 and 2010, many contemporary US-American women writers were returning to the private space of the kitchen, writing about their experiences in that space and then publishing their memoirs for the larger public to consume. Season to Taste: Rewriting Kitchen Space in Contemporary Women’s Food Memoirs explores women’s food memoirs with recipes in order to consider the ways in which these women are rewriting this kitchen space and renegotiating their relationships with food. Caroline J. Smith begins the book with a historical overview of how the space of the kitchen, and the expectations of women associated with it, have shifted considerably since the 1960s. Better Homes and Gardens, as well as the discourse of the second-wave feminist movement, tended to depict the space as a place of imprisonment. The contemporary popular writers examined in Season to Taste, such as Ruth Reichl, Kim Sunée, Jocelyn Delk Adams, Julie Powell, and Molly Wizenberg, respond to this characterization by instead presenting the kitchen as a place of transformation. In their memoirs and recipes, these authors reinterpret their roles within the private sphere of the home as well as the public sphere of the world of publishing (whether print or digital publication). The authors examined here explode the divide of private/feminine and public/masculine in both content and form and complicate the genres of recipe writing, diary writing, and memoir. These women writers, through the act of preparing and consuming food, encourage readers to reconsider the changing gender politics of the kitchen.