In my first post as an editor for the Recipes Project, I talked to Allen Grieco about his roles as editor of Food & History (published by Brepols) and series editor of a new book series on Food Culture, Food History before 1900 published by Amsterdam University Press. Both publications have recently celebrated some exciting milestones: Alban Gautier and Rachel Rich are the new editors of Food & History and the first book in AUP’s Food Culture, Food History series will be published in February 2022. So, today we revisit this chat with sound advice for publishing recipes-related research. -Sarah Kernan
Welcome to the first Publisher Chat as part of our new series, Around the Table, in which I will occasionally be talking to editors and publishers of journals and book series dealing with topics related to historic recipes. Today I am chatting with Allen Grieco, editor-in-chief of the journal Food & History (published by Brepols) and series editor of a new book series on Food Culture, Food History (13th to 19th centuries) published by Amsterdam University Press.
You serve both as
editor-in-chief of the journal Food & History and series editor of a
new book series on Food Culture, Food History (13th to 19th
centuries). Could you describe the types of research and writing being
published in this journal and series?
Anybody working in this field knows to what extent the
subject matter we deal with needs to be approached in a resolutely
interdisciplinary way. While both the journal and the book series have at their
core an historian’s approach to the subject, as is highlighted by the presence
of the word “history” in both titles, it is readily apparent that the life
blood of the discipline in the last three or four decades has seen a high
degree of methodologically innovative work. The breakdown of barriers that used
to separate disciplinary fields, a process that characterized the development
of cultural history in general, has been particularly pronounced in food
history. Our field has also witnessed the emergence of a pointed interest in
previously neglected sources that have since shown their hidden
potential. One of the many examples of this is the “discovery” of
cookbooks a type of document that was considered nothing more than a curiosity
and has now produced nothing less than a stream of publications. Much the same
might be said of the imaginative use iconographic sources are put to by both
historians and art historians or, for that matter, the serial use of literary
texts used by historians and literary historians to flesh out the
cultural context of food consumption.
Both the book series and the journal publish the work of
scholars working in this direction even though we are also open to more
traditional approaches such as work exploring the economic history of food,
philological work on important texts, etc. The differences, apart from the
length of the texts, are that the book series ranges from the thirteenth
century to the early nineteenth while the journal has a much larger chronological
range from prehistory to the present.
What is your role as
journal editor versus series editor?
In many ways they are very similar. As an editor (actually a co-editor in chief along with my colleague Peter Scholliers) working in close collaboration with two first class production editors (Lucinda Byatt and Olivier de Maret) of a journal that has reached sixteen years of age, the task is to ensure the quality of the articles and dossiers but also that what we publish fits the very open editorial line we have followed from the very beginning. Since this is the journal published by the IEHCA (Institut Européen d’Histoire et Culture de l’Alimentation) it needs to reflect the varied membership of this institution both in terms of chronological focus and the fields of research that cohabit under that label.
The yearly meetings held in Paris bring together the
editorial board, composed by a varied, highly international group of
specialists, that reflect not only what food history looks like at present but also
the range of topics published by the journal. Choosing the members of the board
is one of the tasks that Peter Scholliers and I undertake after consultation
with the sitting members.
As a series editor (but that has only just begun) I have
more freedom to choose though here too there is a small board that I can turn
to both for suggesting interesting manuscripts and for expert opinions. They
then go to Amsterdam University Press where, ultimately, the publisher approves
the recommendations Erika Gaffney and I have passed on to them.
Could you tell us how
to go about getting published in Food & History and Food Culture
and Food History? What is the process? Are scholars of all career stages
welcomed to try publishing?
For Food & History all you have to do is to send your article to Lucinda Byatt and Olivier de Maret. If you want to propose a more ambitious dossier, usually no less than four articles by different authors with an introduction, then you should send a one page proposal and a table of contents that will be evaluated before we come to some kind of decision.
As for the book series the procedure is to begin by getting
in touch with me and/or with the
commissioning editor Erika
Gaffney. Send us an informal proposal on the basis of which we will send
you a more complete Publication Proposal Form to get the kind of information
that is required by AUP to move forward with your project. It is important to
say that scholars at all career stages are published and that the only proviso
is that it be new, quality work. I should add that publications are exclusively
in English and that the series also plans to publish essay collections.
Do you have any
general advice for scholars trying to publish historical research on food
The advice here might sound a little obvious but food history
is a relatively new field, you might even say a fashionable one. While that
means more opportunities to publish (the amount of publishers who have entered
their hat in the arena over the past ten years is quite remarkable) this has
also a corollary which is that standards are not always maintained. The journal
and the book series I am involved with are both resolutely bent on quality
scholarship but that does not mean dry and long winded, quite to the contrary.
Good scholarship and a lively approach to a subject are of course possible,
even though they come at some cost. While Food & History has more
latitude for contributions that are aimed at a very small group of specialists,
the book series has to be aimed at a broader readership. So, for example, a
book should strive to go beyond our specialized field and speak to historians
in general. This is very important since many a main stream historian still
thinks that food history has nothing to do with them. Our field needs to break
out of what threatens to be a ghetto but to do this I am looking for new ideas
and rigorous scholarship communicated in an accessible, lively manner.
Thanks, Allen, for
chatting with me! If
you’d like to feature an editor or publisher on the Around the Table Publisher
Chat, please email Sarah Kernan.
At the beginning of the COVID-19 pandemic, organizations cancelled conferences and events in staggering numbers. As it became clear that events would have to move online in order to continue, our organizations and institutions did so with gusto. While the Recipes Project community may not have had the chance to socialize in person at these events, we are left with a treasure trove of recordings. This is a roundup of free recipes-related recordings from Fall 2020-Fall 2021 conferences, webinars, workshops, and symposia.
The IEHCA – University of Tours (L’Institut Européen d’Histoire et des Cultures de l’Alimentation) hosted the 6th International Conference on Food History and Food Studies (May-June 2021). Recordings of sessions are available through the conference program by clicking on the “Detailed Schedule” link.
Thank you so much for taking the time to chat! First, could you tell me more about your role at the University of Chicago Press?
Thank you for inviting me! I am one of fourteen acquiring editors at the University of Chicago Press. The Press was one of three original divisions of the University when it was founded in 1890. Although for a year or two it functioned only as a printer, in 1892 the Press began publishing scholarly books and journals, making it one of the oldest continuously operating university presses in the United States. We publish significant scholarly and nonspecialist (trade) books by authors from within and beyond the academy; translations of important foreign-language texts, both historical and contemporary; and essential reference works, such as the Chicago Manual of Style – now in its 17th edition. In all of this, the Press is guided by the judgment of individual editors who work to build a broad but coherent publishing program engaged with authors and readers around the world.
Specifically, acquisitions editors are responsible for publishing “lists,” or collections of books in certain areas: my areas include the history of science, medicine, technology, and the environment, as well as philosophy, sociology, and anthropology of science, medicine, and technology. Sometimes we sponsor book series within our areas. For example, in partnership with the Science History Institute and an excellent Series Board, I publish books in our Synthesis series, which focuses on the history of chemistry, broadly construed.
Day-to-day, my role is to shepherd books from idea into print. Acquisitions editors evaluate proposals for books that arrive unsolicited in our inboxes, but we also seek out and invite projects that we think might result in exciting books for the Press. We work closely with authors to develop their manuscripts so that they reach their full potential. As a university press, part of this involves steering promising projects through peer review.
UChicago Press has a reputation in the Recipes Project community for publishing scholarship showcasing very high-quality recipes-related research. Your catalogue includes topics as varied as studies of vaccine and medicine development, modern industrial food systems, early modern household recipe books, and even a study of medieval feasts. Could you describe the types of research and writing the UChicago Press seeks to publish?
I appreciate how the Recipes Project community is attentive to the many ways recipes feature in our books! Researchers have drawn on and discussed—and on occasion ingeniously recreated—recipes in books on topics as varied as travel and tourism and musicology. But most of our work with recipes is historical, contributing to art history, historical geography, American and environmental history, and the history of science, medicine, and technology. And, of course, gastronomy itself, as in our Big Jones Cookbook!
We do not have a dedicated food studies editor at Chicago, but my colleagues and I are drawn to work that approaches all range of questions from innovative angles, and deep dives into recipes, as your readers know well, is a wonderfully vivid way to recreate everyday experiences. Analyzing recipes and, relatedly, actual experiments and instruments, is also, I believe, an especially fruitful way to get at what was really going on when people practiced alchemy, science, or medicine before our modern times. Recipe research resonates with a general interest in embodiment, and across our acquisitions areas we share an enthusiasm for work that brings to the fore the senses and lenses of gender and sexuality, race, and disability studies.
Could you help our readers navigate the active UChicago series and subjects related to recipes?
Yes! The best way to approach this is to think about who your book is for. Aspirational answers like “everyone!” are not going to be of much help, so try to think about the main message of your book and then ask questions of yourself like these: Who cares about this? Who needs to know this? Who would find this interesting? If we look at Elaine Leong’s book Recipes and Everyday Knowledgeas an example, we might say “historians of early modern science and medicine,” “family and gender studies scholars,” and “recipe-researchers.” These answers are useful because they locate the book’s specific contribution in ongoing conversations across fields, methodological approaches, and individuals’ interests.
The acquisitions editor who handles the areas that are most squarely represented by your answers is the one to approach with your book proposal. Every press website will have pages that introduce the editors and outline their areas and interests, and from these personal statements or descriptions you can figure out not only who to reach out to but also, and importantly, whether the press has a commitment to and presence in your specific area. It is important to you, your book, and the press that your manuscript have support from the surrounding titles the press publishes, so look around to see who publishes the books most relevant to your own and start there.
How does UChicago Press solicit and review publications for proposals? Is it helpful for scholars interested in publishing with UChicago to first reach out to a specific editor? Are there any aspects of UChicago’s process that are particularly notable or different from other presses?
Please reach out to us! We welcome it. Along with information about who to contact, every press will provide guidance online about how to do it in “information for prospective authors” or “submission guidelines.” Generally, what we would like to see is a letter of introduction, CV, and book prospectus. The latter includes a general project overview, annotated table of contents, description of audience and related work, and particulars about time to completion, production needs, and any other special circumstances. This is standard across presses, because these documents give us what we need to evaluate how well your work might fit on our lists. In short, they tell us what your book is about and how it is structured, who you aim to reach with it, and why you are well positioned to write it.
(As a tip: because recipe work can be quite interdisciplinary, I should reiterate that at any one press, please send your work to only one editor. It is perfectly fine to say, “my book might also be of interest to your colleague who works with reference books,” but please, in the interest of efficiency (and our sanity!), please do not write to both of us at once.)
We also are happy to begin discussions with authors early in the process—we may even contact you if we see a news piece, article, blog, review, poster, talk, or hear about your work from a trusted colleague or advisor—so don’t be afraid to approach us at conferences or reach out for a quick chat. We may do the same!
The Recipes Project community includes many graduate students and early career researchers. Do you have any general advice for these scholars as they plan and try to publish their first books, whether it is with UChicago or another press?
Good question. My main advice is to think of your book apart from your other writing. Figure out what your institution needs from your thesis or dissertation and work with your advisor or committee to provide that. A dissertation is not a book. So I recommend keeping a separate folder of ideas for the book. If your dissertation focuses on one archive, begin to think about how the book might fold in research from others to stretch its scope, geographically or temporally, or both. If your thesis revises previous work by making a careful case against another scholar’s reading of sources, this is likely something to excise from the book and publish as an article.
The idea is to think big about the book, and when you’re early in your career, an easy way to make headway on this is to listen. Listen to what others say when you talk about your work. How do they connect it to their own interests? What do they pick out as being most interesting or significant in what you are up to? Listening to their answers can help you plan your next steps. And so can talking with an editor!
Thank you for the opportunity to talk with you today.
Thank you, Karen, for chatting about publishing practices at University of Chicago Press! If you would like to feature a project, scholar, or institution on Around the Table, please email Sarah Kernan.
Welcome to the latest Around the Table! Today we have a chat about the recipes-related collections at the Smithsonian Institution in Washington, D.C., especially the National Museum of American History (NMAH)! I am delighted to speak with Ashley Rose Young, Historian in the NMAH Division of Work and Industry, and Paula Johnson, Curator in the NMAH Division of Work and Industry.
The Smithsonian has many items of interest to our readership, particularly in the National Museum of African American History and Culture (NMAAHC), National Museum of American History (NMAH), and the National Museum of the American Indian (NMAI). Within the collections at all three museums are impressive holdings of items related to recipes research. Could you provide a brief overview of the Smithsonian’s collections related to recipes?
Paula Johnson: Researching recipes at the Smithsonian Institution is a complex endeavor, but one that has the potential for great rewards. With nineteen museums and research bureaus, plus pan-institutional libraries and archives, a veritable trove of material covering an astonishing array of culinary-related subjects awaits the intrepid researcher. While each museum has its own physical branch library, the consolidated digital catalog contains records for all Smithsonian holdings. A useful overview of the institution’s libraries and archives can be found here.
My long experience with Smithsonian collections is based almost entirely on the holdings of the National Museum of American History (NMAH), which houses significant collections of artifacts, documents, books, ephemera, and digital material reflecting many broad areas of culinary history. Among the diverse food-related collections are many that contain recipes, although that may not be apparent at a glance. Due to different cataloging protocols for objects, archives, and libraries over the institution’s 175-year-history, researchers need to think broadly about search terms and pack some patience when accessing the collections. While catalogs and finding aids are key to a researcher’s success, there’s always the possibility of serendipity, as in this item we located in the Smithsonian Archives, a “Receipt Book” for medicinal and dietary uses, kept by James Smithson, the British scientist whose bequest established the Smithsonian Institution in 1846. The handwritten receipts are mostly for simple candies and spirits, including “Pate de Jujubes,” “Usquebaugh,” and various cordials.
In the NMAH collections, recipes can be found in historic cookbooks that are held by the main research library as well as the Dibner Library of the History of Science and Technology. A significant number of books and pamphlets was donated to the Smithsonian Institution Libraries (SIL) by the Culinary Historians of Washington, DC, and that collection continues to grow, courtesy of CHOW. The library also holds a large collection of trade literature and product cookbooks that contain recipes and can be accessed here.
The NMAH Archives Center houses many food history-related collections, including some that contain recipes. Although the word “recipe” may not appear in the record title or even the description, it is possible to access recipes (and marvelous related material) via creative searching. Some highlights include the Pillsbury Bake-off Collection and the Nordic Ware Papers, which include recipe pamphlets from the “Maid of Scandinavia” line of cookware, the forerunner to the Nordic Ware brand, most famous for its Bundt cake pans.
As a curator, I collect objects and archival documents for the museum, and over the years I have brought several collections into the museum that include recipes. A recent example is the Mollie Katzen collecting documenting the development of her Moosewood Cookbook. In addition to the original artwork and early, spiral-bound edition of the book (1974), the collection includes Katzen’s detailed estimates of the cost of each ingredient in each recipe and other papers containing recipe notes. My favorite part of the collection are the letters written to Katzen by fans, some of whom were enthusiastic converts to vegetarian cooking. These documents provide both context and texture to the recipes.
The Archives Center also houses documents collected from the recipients of the Julia Child Award, presented annually since 2015 by the Julia Child Foundation for Gastronomy and the Culinary Arts. Among them is a journal of field notes kept by Chef Rick Bayless, as he and his wife Deann traveled through Mexico in the early 1980s to research regional ingredients, dishes, and cooking techniques. These field notes became the foundation for Bayless’ first book, Authentic Mexican: Regional Cooking from the Heart of Mexico (1987).
Another wonderful and perhaps unexpected document is contained in the Paul Ma Papers, collected from Paul and Linda Ma, a Chinese American couple who operated successful restaurants in the West Chester area of New York, beginning in the 1980s. A well-used, handwritten booklet features recipes for the basic dishes and sauces the Mas remembered from home after migrating to the United States around 1964. With recipes and notes written in both Chinese and English, and with sauce stains identifying the most favored recipes, the booklet also provides insight into the context of Ma’s restaurant menu and cooking.
Occasionally there are recipes filed as “reference material” associated with accessioned objects and these can sometimes be difficult to find without curatorial staff assistance. An example are the thirty-three recipe cards donated by La Deva Davis, an African American teacher whose 1976 television show, “What’s Cooking?” aired on PBS through station WHYY in Wilmington, DE. Donated along with three aprons La Deva Davis wore on the show, the cards provide a record of the dishes she demonstrated (“low cost, high nutrition cooking”), including “Oriental Beef Stew,” “Liptauer Cheese,” and “Think Thin Salad.”
Finally, a note about beer. Our colleague Theresa McCulla, curator of the museum’s American Brewing History Initiative, has collected beer recipes from the individuals who shaped the modern home brewing and craft beer industries. A couple of examples are included in the museum’s exhibition, FOOD: Transforming the American Table Theresa’s work has also inspired a great deal of interest in some of the older brewing history collections at the museum and for one beer historian, the Archives Center yielded recipe gold. As he was researching the Walter H. Voigt Brewing Industry Collection, the researcher found a 1930 recipe for Bock beer that called for corn, rice, and sugar scribbled on a piece of paper. In 2019, brewers at Denizens Brewing Co. in Silver Spring, Maryland, created an American bock from the recipe found in the NMAH Archives Center.
You have been creating a lot of programming around food culture in recent years at the Smithsonian-could you talk about that and how you have adapted during the COVID-19 closures this year?
Ashley Rose Young: The American Food History Project at NMAH hosts a variety of public programs including Cooking Up History, Deep-Dish Dialogues, Roundtables, Conversation Circles, Brewing History After Hours, Ask a Farmer, and more. Additionally, during our annual Food History Weekend, we invite community leaders, food practitioners, activists, academics, policy makers, and the public to come together to discuss a central theme in American history and in our current moment.
Recently, while planning for the all-virtual 2020 Food History Weekend, “Food Futures: Striving for Justice,” we took inspiration from what we saw in our research and collecting around COVID-19: that people are looking ahead with energy and hope for creating better systems and more innovative and humane solutions that will address long-term needs when we emerge from these unprecedented conditions. That weekend, our Cooking Up History programs featured chefs who each shared and prepared a recipe and spoke about its traditional and contemporary significance to food justice. Chef Nico Albert of the Cherokee Nation, for example, prepared Sumac-Crusted Trout with Sauteed Mushrooms and Greens, and guided audiences through foraging for sumac and greens, while also speaking about the culinary heritage of the Cherokee people. She emphasized that retaining and celebrating traditional foodways was a means of securing food sovereignty for indigenous communities across the U.S.
As with Chef Nico’s demonstration, all of our Cooking Up History programs are centered around recipes, the history and traditions behind their ingredients, culinary techniques, and enjoyment. The recipes and descriptions of each event can be found on our website under “Past Demos and Recipes.”
For 2021, we are currently developing new models to bring Cooking Up History and other food history programs to digital audiences throughout the year. Please visit our website this spring for updates.
What tips can you offer to help users find collection items? Is it possible to search all of the Smithsonian’s holdings at once, or do researchers need to look at the individual museums?
Ashley Rose Young: I had a chance to reach out to Alison Oswald, an archivist at the Archives Center at NMAH, for tips on how to navigate the vast collections of the Smithsonian, which, admittedly, can be somewhat daunting given the volume of material available. Alison noted that the data related to our collections are exported into the Collections Search Center (CSC), and the CSC is a good place for researchers to start when they want to search across the Smithsonian including all museums, archives, libraries, and research units.
Researchers can also search finding aids in Smithsonian archives by visiting the Smithsonian Online Virtual Archives(SOVA). Some finding aids include digitized content linked at collection, series, and folder level.
Alison also provided a few tips on how to make the best of your searches on CSC and SOVA:
It can help to use quotes (“ ”) around the key word/search term and to make use of the facets, which allow you to limit a search. For example, “recipes” in SOVA yields 214 collection level records, but if you wanted to know what kind of recipes the National Museum of Air and Space has, you can limit it by selecting archival repository and you get 4 collections.
Researchers should also try a variety of terms when searching. Recipes is a pretty specific term so starting broader with cookbooks, cookery, cooking, baking, etc. can be useful. Most catalogs do something called “stemming” which is when the catalog searches for the “root” of a word and displays all words with that stem. For example, the word “searching” or “search” or “searches” all stem to “search”.
Last but not least, Alison noted that catalogs are works in progress that are constantly evolving, and that the Smithsonian welcomes feedback from researchers to make our catalogs better.
For researchers who have projects and interests spanning multiple museums within the Smithsonian, how do you recommend they go about searching for pertinent materials?
Paula Johnson: This is such an important issue and one we have explored recently through a special collaboration with colleagues in the UK and the US, with support from the UK’s Arts and Humanities Research Council. While this initiative has been the subject of previous posts, I’ll simply share that we worked with graduate student researchers from the Boston University Program in Gastronomy to test the ease and challenges of conducting food-related subject searches across the Smithsonian’s consolidated digital collections catalogs. The resulting white paper, “Looking for Food in the New Smithsonian Institution Catalog,” is under review and will help inform how we can improve cataloging to make materials more accessible across subject areas.
How much of the Smithsonian’s holdings are digitized? What other digital resources and events are available?
Ashley Rose Young: I also had the opportunity to touch base with Sherri Berger, the head of NMAH’s Digital Programs Office, about the Smithsonian’s digital offerings. Sherri noted that as of 2019, the Smithsonian holds 155.4 million museum objects and specimens, about 19 million of which have been digitized; 1.2 million library volumes, about 760,000 of which have been either fully or partially digitized; and 163,000 cubic feet of archival material, with 5.6 million digitized items. For ways to learn about and access these materials, please see our answer to question 3.
In addition to these materials, the Smithsonian hosts numerous virtual events. You can learn about NMAH’s food history offering by signing up to our newsletter and selecting “food history” as a topic of interest.
We also have recordings of past events available online. You can watch our 2020 Food History Weekend programming and other food-related events on our YouTube “food history” playlist.
Does the Smithsonian offer any fellowships or grants for researchers?
Ashley Rose Young: The Smithsonian offers research fellowships to graduate students, predoctoral students, and postdoctoral and senior investigators to conduct independent research and to utilize the resources of the Institution with members of the Smithsonian professional research staff serving as advisors and hosts. These fellowships are offered through the Smithsonian’s Office of Fellowships and Internships, and are administered under the charter of the Institution, 20 U.S. Code section 41 et seq. You can learn more about our fellowship program here.
*Several photos in this post were taken by research staff and are not official scans provided by the Smithsonian museums and archives. Because the Smithsonian research facilities have been closed due to the pandemic, we are not able to provide proper scans.