Tales from the Archives: Around the Table: Publisher Chat

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.

Food & History 14.1 (2016)

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 topics?

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.

Around the Table: Publisher Chat

Welcome to the latest Around the Table! I recently had the pleasure of chatting with Karen Merikangas Darling, an Executive Editor in the Books Division at the University of Chicago Press, about the process of publishing recipes-related research.

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.

Jennifer Rampling, The Experimental Fire: Inventing English Alchemy, 1300-1700 (University of Chicago Press, 2020).

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?

Paul Fehribach, The Big Jones Cookbook: Recipes for Savoring the Heritage of Regional Southern Cooking (University of Chicago Press, 2015).

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?

Elaine Leong, Recipes and Everyday Knowledge: Medicine, Science, and the Household in Early Modern England (University of Chicago Press, 2018).

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 Knowledge as 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.

Around the Table: Events

This month on Around the Table, we will learn about the Folger Shakespeare Library’s tradition of teatime. Since renovations recently began at the Folger, the Library’s afternoon tea has also undergone some changes in order to keep the Folger community together. I had the opportunity to speak to Leah Thomas and Haylie Swenson about the teatime tradition. Leah and Haylie both recently joined the Folger Institute staff and thoroughly enjoy afternoon tea breaks!

Leah completed an MA in Art History at UNC Chapel Hill. She worked for the Smithsonian as an Education Specialist before joining the Folger Institute as a Program Assistant in early 2019. Leah enjoys the constant stream of Ceylon Tea brought by her partner’s family from Sri Lanka; her favorite cookies are ones containing chocolate. Haylie joined the Folger Institute as the Program Assistant for Scholarly Programs in September. She holds a PhD in English from George Washington University and is the author of Wild Things, a series about animals in early modern life and culture for Shakespeare & Beyond. Haylie’s favorite tea is English Breakfast in her Dolly Parton-inspired “Ambition” mug, and her favorite cookies are gingersnaps.  

Could you tell Recipes Project readers about the Folger Shakespeare Library’s tradition of teatime?

Afternoon tea is one of the Folger’s most cherished traditions. The practice of serving tea at the Folger began in 1936, according to the annual report for that year. Director Joseph Quincy Adams’ description of tea at the time is, well, interesting: 

No use has ever been made of the Founders’ Room with its charming atmosphere of Elizabethan times. But this year we started the custom of serving tea there each afternoon (at 3:30 o’clock) in the English manner, with the young ladies of our staff acting in turn as hostess.

Speaking as two of the current “young ladies of our staff,” we are very glad that some things have changed. The main purpose, of tea, however, remains the same: 

To bring together the scholars who come to us from various places, in order that they might meet one another socially and also come personally to know the members of staff. The experiment has proved to be of the greatest value, not only in building up a spirit of friendliness that permeates the entire Library, but also in promoting a free discussion of the research problems under investigation. Those discussions are always stimulating, and often lead to suggestions that are highly profitable.  

Although we’re no longer in the Founders’ Room, tea is at 3:00 (not 3:30), and nearly 100 years have passed, researchers and staff still consider afternoon tea an essential foundation of the Folger scholarly community.

Photo by Elman Studio/Folger Shakespeare Library.
Photo by Elman Studio/Folger Shakespeare Library.

Why is this kind of community-building so important at the Folger? Do scholars and staff find it useful and meaningful?

Folger tea serves two essential purposes. First, it allows researchers to learn from and be inspired by each other’s work. One of our past Folger Fellows, Peter Sherlock, describes how “the simple medium of a table, a hot drink and a biscuit engendered lively discussion … What are you working on? How are you doing your project? Have you thought of this? Do you know that? It was at tea that friendships and research partnerships were forged through that most basic human activity, conversation.”

Photo by Elman Studio/Folger Shakespeare Library.

Second, by providing a space for readers to talk to each other, Folger Tea helps to ease the sense of isolation that can come along with long-form research. Anyone who has ever engaged in scholarship knows that it can be a lonely business. Researchers spend long hours grappling with difficult questions and trying to make complicated arguments clear, and that’s tough to do if your only company consists of voices from the past. It’s nice, towards the end of a day studying, for example, 16th century recipe books, to spend some time having tea and cookies with living humans. 

Because the Folger tea room is now closed, due to renovations, the Folger is hosting a virtual tea. Tell us about it! Who can drop in? (and could you include a little bit of general information here about the renovation, as well?)

We are so excited to introduce a new tradition of #FolgerTea for the Twitter community during our renovation. The Folger’s renovation project, which began in early 2020, will expand public spaces, improve accessibility, and enhance the experience for all who come to the Folger. The researcher experience, in particular, will benefit from new ergonomic furniture, better lighting and internet connectivity, and access to collaborative, multi-purpose study rooms. Not to mention, a communal space for enjoying wine and coffee in the Great Hall!

Photo by Elman Studio/Folger Shakespeare Library.

Until we can gather for that drink and chat in the Great Hall, we invite the scholarly community to gather virtually for #FolgerTea. Every Thursday at 3:00pm EST, @FolgerResearch opens tea with a live thread. Participants reply to the thread using the hashtag, along with a picture of what they’re drinking and an update on what they’re reading, writing, or plotting for their current research project. This is a space for people to make new connections, check in with friends, offer advice, give reference suggestions, and post silly GIFS. At exactly 3:30pm EST, the iconic tea bell rings to signal the close of #FolgerTea. As in life, we encourage everyone to ignore the bell. 

The virtual #FolgerTea is open to anyone who wants to drop in for a bit of scholarly discussion. We would love to hear from scholars, researchers, grad students, artists, theatre professionals, educators, Folger staff, museum workers, librarians, etc. The interdisciplinary nature of Folger Tea is a huge part of what makes it so special! We’re also delighted when we hear from “official” Twitter handles such as other institutions and university departments, or from groups of people who are gathering for things like transcribathons, conferences, or scholarly programs. For people in other time zones who want to participate–feel free to chime in later! 

What kinds of interesting things have been Tweeted so far?

So far, we’ve learned that the James Joyce community has a fussy citation style, the Smithsonian has a useful collections resource called “Learning Lab,” and a researcher wrote a poem about Folger Tea in 1945. We have heard from scholars who are writing conference papers, dissertation chapters, novels, fellowship applications, course syllabi, and essays. It is especially exciting to see photos of the rare materials scholars are working on elsewhere (minus the tea, of course!). #FolgerTea is also a great place to hear news and updates about #FolgerOnTheRoad offsite programs, dispatches from #FolgerFellows, and opportunities for scholars to gather.

Is there anything else we should know about #FolgerTea?

We routinely award #FolgerTeaBonusPoints for photos that include cute animals alongside your beverage of choice. Fun mugs also receive honorable mentions. In fact, Haylie tracked down and bought her current mug after someone tweeted a photo of it during #FolgerTea!

“Staff Tea at the Folger Library,” a poem by Friend of the Folger, Jessica Kerr, published in 1945.

Thanks, Leah and Haylie, for chatting with me about #FolgerTea! If you’d like to feature a project, scholar, or institution on Around the Table, please email Sarah Kernan.

Around the Table: Publisher Chat

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.

Food & History 14.1 (2016)

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 topics?

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.