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Delores B. Phillips, Doctor of Philosophy, 2009 Professor

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Delores B. Phillips, Doctor of Philosophy, 2009 Professor ABSTRACT Title: IN QUESTIONABLE TASTE: EATING CULTURE, COOKING CULTURE IN ANGLOPHONE POSTCOLONIAL TEXTS Delores B. Phillips, Doctor of Philosophy, 2009 Dissertation Directed by: Professor Sangeeta Ray, Department of English Language and Literature This dissertation produces an extensive and intensive study of the culture of food in postcolonial literature and cookbooks that describe particular regions and cultures. It treats novels and cookbooks that depict food and eating in Africa, South Asia, and the Caribbean to argue that while both cookbooks and novels depict as unstable the connection between food and culture; the key difference lies in the manner in which each genre describes that instability. The study uses memoir cookbooks (cookbooks that use the autobiographical accounts of their authors as a method of organizing content and providing context for recipes) and literary depictions of cooking and eating to trouble the neat tautology that establishes food and home as interchangeable cultural signifiers of equal weight. It evaluates the work that cookbooks do by comparing them to representations of cooking, eating and food in representative novels that frame depictions of citizenship and the nation in deeply ambivalent terms even as they depict delicious meals, well- laid family tables, and clean, productive kitchens. The dissertation studies cookbooks and novels to illustrate how the text under consideration act out the concerns that structure postcolonial critique. If regional cookbooks provide obscured or incomplete insight into the cultures they purport to authentically depict, then the novels under study provide openly ambivalent accounts of cultural identification. The study begins by examining how pan-cultural cookbooks do the work of drawing multiple nations beneath the aegis of the global—and how this work fails to engage the problematic cosmopolitics of globality as revealed in two South Asian novels. It then examines African texts to analyze the difficulties that press bodies into motion—hunger and impoverishment, political disenfranchisement and oppression, and attenuated relationships with cultural traditions. The dissertation then moves to America via the Caribbean, examining diasporic longing in Cuban expatriates and the manner in which regional cookbooks and memoirs construct the past by reinventing the spaces that their authors have left behind. IN QUESTIONABLE TASTE EATING CULTURE, COOKING CULTURE IN ANGLOPHONE POSTCOLONIAL TEXTS by Delores Bobbie Jean Phillips 2009 Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2009 Advisory Committee: Professor Sangeeta Ray Professor Merle Collins Professor Keguro Macharia Professor Zita Nunes Professor Valerie Orlando ACKNOWLEDGEMENTS For preparing the marvelous meals that nourished both body and imagination and which inspired the initial path of this study, I thank Le Hoàng and mẹ chồng. For fostering the dialogue that initiated this project, I thank Dr. Gerhard Stilz and the participants in the University of Tübingen‐University of Maryland Joint Graduate Research Initiative. For being a sensitive and enthusiastic mentor, I thank Dr. Sangeeta Ray. Without you, the dissertation would have remained half‐cooked. For being a patient listener, I thank my bidanshi. You opened my eyes to everything, and your respect and loving support in all forms nurtured my work. Without you, nothing fits. For laughing with me viciously, I thank David Kreutter. Yes indeed: we all know one, and you are mine. And finally, I thank my mom and my brother, who loved and understood, and who put things in the freezer when I wasn’t at home. My mom (as all moms do) gets the lion’s share of my gratitude, because she always comes through in the clutch. ii TABLE OF CONTENTS Acknowledgements....................................................................................................... ii Table of Contents.........................................................................................................iii Introduction................................................................................................................... 1 Chapter 1: The Globe at the Table.............................................................................. 50 Chapter 2: The Excesses of this World..................................................................... 106 Chapter 3: “And there’s only my imagination where our history should be” .......... 167 Epilogue: Pangs ........................................................................................................ 214 Notes ......................................................................................................................... 249 Bibliography ............................................................................................................. 306 iii INTRODUCTION A cuisine is already a form of writing. — Paul Magee I begin this dissertation, not with a personal culinary recollection, but with a literary one: a tomato sandwich. In Arundhati Roy’s The God of Small Things, the remembered flavor of a tomato sandwich plays a significant role in the temporality that binds the book. The taste forms a gustatory link that binds Rahel and Estha to the awful memory of their separation and its tragic cause. The sandwiches that her brother eats and that she can taste evoke for Rahel the memory of Estha's return to his father. Her tongue remembers this taste as he lunches on them while riding the train that splits the twins from one another, this flavor conveyed from one tongue to another in a moment of empathic transmission (5). The twins remain separated until adults, and Estha stops speaking entirely. His tongue, which tastes the sandwiches and empathically shares their flavor with his sister, is locked by a silence that permeates his entire being (13). The sandwiches represent the terminus of remembered events that lead up to the moment of their consumption and Estha’s verbal shutdown at the beginning of the text—and their delicious flavor becomes the accelerant that unleashes those memories in the form of the narrative that follows. They mark the bookends that identify the conclusion of the story (a conclusion that appears both at the beginning and then at 1 the end of the book) and they arrive in their tiffin in the story's fragmented aftermath that is presented at the novel’s opening moments. Similarly to the banana jam in this novel, the sandwiches that Estha eats constitute structural figurations, tropes that determine how signification and temporality function in the text. From chutney jars to roasted venison, food tropes in postcolonial fiction do heavier work than the mere arousal of nostalgia—they invite a complex critique of location and displacement, of memory and lived experiences, and of the ways in which daily living acts out the abstractions of cosmopolitanism, subalternity, and ethics. Their evocative nature provides a powerful, readily recognizable, immediate means of prefiguring the themes they represent. Likewise, nonfiction culinary collections—recipe books, culinary memoirs, autobiographical cookbooks—bear even heavier freight of remembrance and cultural contiguity. However, the technical, “factual” nature of their accounts invites, not formal or thematic critique, but acceptance and uncritical reception. Cookbooks seem so innocuous in their task, particularly when the authenticity of their accounts is supplemented by an autobiographical account that lends the collection added credence. However, the same concerns outlined in postcolonial theory and fiction also arise in culinary autobiographies written in postcolonial contexts—concerns about displacement and diaspora, cosmopolitan outreach, subalternity and empowered expression, and the ethics of writing and consumption. In this dissertation, I undertake a study of culinary autobiographies (a category of texts that includes culinary memoirs, autobiographical cookbooks, and autoethnographic cookbooks)1 and postcolonial fiction from the Caribbean, India, and 2 Africa. My study examines these works through the lens of postcolonial theory and food studies to determine how the depictions of domesticity under construction in these different genres actually work to undermine the very ties to family and nation that they purport to define and reinforce. My study illustrates how, contrary to conventional notions that food images signify cultural contiguity and the comforts of home, food images in postcolonial contexts underscore the disruption of domestic spaces. They point toward the attenuation of the ties that bind, and draw into sharp relief the spaces of yearning that impel writers of culinary autobiographies to compile recipes and memories as parallel endeavors of recovery. My study examines how culinary autobiographies do their work in shadowy ways, how they elide what they elide and why, and outlines how the food images in postcolonial novels can offer a tool that can clarify these elisions. More importantly, my work offers a refutation of the argument that cookbooks, recipe writing, and culinary culture should be treated as unambivalent cultural referents. For example, a recent argument set forth by Paul Magee in a 2005 issue of Postcolonial Studies states that critics ought to treat regional cookbooks— and, by extension, the regional/cultural aspect of culinary autobiographies—as technical manuals that instruct
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