Finding Lost Fruit: the Cider Poetic, Orchard Conservation, and Craft Cider Making in Britain.” Chair: Dr

FINDING LOST FRUIT: THE CIDER POETIC, ORCHARD CONSERVATION, AND CRAFT CIDER MAKING IN BRITAIN Maria Elizabeth Kennedy Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of Folklore and Ethnomusicology Indiana University November 2017 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee ____________________________________________ Committee Chair: Michael Dylan Foster, PhD ____________________________________________ Committee Member: Henry Glassie, PhD ____________________________________________ Committee Member: Susan Lepselter, PhD ____________________________________________ Committee Member: John Holmes McDowell, PhD Date of Defense: May 4, 2017 ii Copyright © 2017 Maria Elizabeth Kennedy iii I dedicate this work to my late dear mentor and friend Dr. Clara Henderson. I wish you could have celebrated its completion with me, and seen the final work. You were, and are, the role model I always needed: An adventurous, curious, joyful woman of the keenest intellect and the best humor. I continue to look to you for guidance, hope to live up to your example, and commiserate with your spirit over a cup of tea. iv Acknowledgements I first went to Britain in the summer of 2004, having finished my undergraduate degree in English Literature, but with little idea of what to do next. After several summers spent working at Conner Prairie Living History Museum in Indiana, I had cultivated a love of the outdoors, an interest in old buildings, archaic forms of work, and a capacity for physical labor. I wanted to see the landscapes of the poets I had spent my undergraduate years reading. Unable to afford a pleasure trip, figured I’d work my way around on farms through the World Wide Opportunities on Organic Farms (WWOOF) network. I got off a plane, got on a bus, and arrived in the middle of mid-Wales in a town with a name even the bus ticket agent couldn’t pronounce: Llanidloes. This was the true beginning of everything that was to come later in graduate school, the beginning of this dissertation. What I found in my travels around rural Britain engendered a deep love for a place, and longing to return to it, and a desire to understand it, that have culminated in this dissertation. Through this project, I have accumulated many families, each of whom has nurtured me in its own time. Most importantly, my family at Broome Farm is so warm, generous, and expansive, that I can barely begin to thank you for helping me find what became my real home in Britain, a place I was not only profoundly interested in through the research project, but a place I felt I belonged to more than anywhere I had ever lived. To Mike Johnson, Toby and Kate Lovell, John and Hillary Draper, Kate and Gary Bollands, Monica and Roger Lovell, Clem and Harry Percival, Katy and Roo Roberts, Ed Brandt and Melanie Cassels, Henry and Cheryl Hewitt, Max Flemmig and Liz , Chris Price and Annika Hilhorst, Ann and Roger Broom, Margie and Mark Farmer, John v Edwards and Els, Kenelm Lovell, Howie Colley, Paul Craggster, Ian Shaw, Allan, Laura Martin, Ben Jarman, Gabe Cook, Phil Long, Cindy, Bob Davies, and many others, I love you all and cherish my time at Broome Farm beyond measure. The Blockleys at Old Chapel Farm in Llanidloes, my first WWOOF host family, changed my life forever, and though they did not become central to this dissertation, their encouragement, friendship, and mentorship allowed me to find my way to this project in both theoretical and material ways. To Kevin, Freya, Iona, and Merlin, thank you for welcoming me always. And to Fran Blockley I am grateful for your mentoriship. You modeled for me a life of adventure, poetry, spirituality, and great soul. Fellow volunteers Chris and Bea Lenaerts and Crystal Tan and Bjorn Low, thank you for sharing this learning experience. I have been inspired by the directions you have gone from the farm. Thank you to those who gave me a home during my research: Anthony, Jenny, and Emily Tuke of Bishop’s Moat; Bob and Margaret Wall in Bishops Castle; Clare Schofield and Liz Colebrook for giving me dinners, friendship, and a bicycle to explore the lanes of Shropshire; and to Hettie Ashby, Dave Williams and Rhi Twitchett, my flatmates at the Coach House in Sellack. Thank you to the many cider makers, farmers, orchardists, and lovers of rural life I came to know and who made time for interviews and demonstrations of their crafts: Albert Rixon, Bill Bradshaw, Charles Martell, Chris Fairs, Jenny Beard, Keith and Meg Pybus, SaraJane Brough, Catherine Morran, Dave Marshall, Dave Matthews, David Spilsbury, Emily Durrant, John Worle, Eric Freeman, Gabe Cook, Gillian Bulmer, John Teiser, James Marsden, Jean Nowell, Jim and Sally Colin, Jim Chapman, John Tucker and Diggory Kempton, Jonathon Briggs, Keith Turner, Kevin Minchew, Liz Copas, vi Martin Harris, Matthew Town, Nick Dunn, Norman, Laurence Greene, Paul Hand, Pete Symonds, Peter Keam, Peter King Turner, Rachael Kennedy, Sally Perkis, Simon Day, Greg Clare, Ian Wall, John Edgecomb, Ann and Noel Shepherdosn, Robert Milne, Catherine Humphries, Christopher Jones, David and Pam Jones, Graham Lambert, Jack Smith, Jonathon and Carol Griffiths, Janta Wheelhaouse John Marpols, Mark Eastham, Mary Austin, Nick Tilt, Nicky Moor, Peter Carty, Rosemary and David Meddin, and Julian and Ken Pady. Thank you to members of the Marches Cyder Circle: Terry Tandler, Nigel and Sharon Cox, Dave Sanders, and Charles and Tracy Yarnold. Thank you to many others, unnamed, who I encountered along the way and who guided my investigation. I am indebted to the institutional partners who have helped fund my research and with whom I was able to study. Thank you to the Social Sciences and Humanities Research Council of Canada, which provided me two years of dissertation research funding, under which my field research was conducted, and to the College of Arts and Sciences at Indiana University, which provided a dissertation year fellowship. Thank you especially to the Countryside and Community Research Institute at the University of Gloucestershire, which provided me work-space and intellectual opportunities to broaden my work in the field, especially Dan Keech, Damian Maye, and Matthew Reed. Thank you to the Department of Folklore and Ethnomusicology, Traditional Arts Indiana, and the Institute for Digital Arts and Humanities at Indiana University for its funding and support over the many years of my graduate education. I owe a great debt to my many research mentors and colleagues. First and foremost I thank my dissertation advisor, Michael Dylan Foster. Your guidance from vii afar helped me through my field research, and your encouragement kept me going with writing. Thank you for the generosity and trust that provided me a home while you were away on sabbatical. Your love of writing makes your criticism a real joy to receive and has given me continual faith in my ideas and creativity. Michael, I am honored to be your student and hope to one day write with your elegance and grace. I have been intellectually formed by many professors and colleagues, who have shaped my graduate career as well as my professional career. Thank you to committee members Henry Glassie, John McDowell, and Susan Lepselter. You have all been inspirational teachers over many years. Thank you also to Diane Goldstein for helping me secure research funding and guiding the early portion of my dissertation project; Richard Bauman and Michael Evans for shepherding my MA thesis; and to Jon Kay, Jason Jackson, Kay Turner, Robert Baron, Ellen McHale, and my colleagues from the New York Folklore Society for continuing to inspire me with the professional possibilities and responsibilities of our field of Folklore. Thanks also to Dan Knudsen, Will Pooley, and Paul Cowdell for contributing new intellectual directions to my project. Special thanks are due to my director at The ARTS Council of the Southern Finger Lakes, Dr. Connie Sullivan-Blum, who has made the completion of this dissertation possible by allowing me time to write at work. Connie, you once said that you felt it was your calling to be a professor. I hope you consider me your graduate student, because without your unshakeable belief in the value of research, writing, and higher learning, I might not have finished. Many friends have helped along the way, including my writing group at IU, with whom I wrote the early chapters, and to whom I still turn for advice. Thank you for all viii your help along the way: Dave Lewis, Jeremy Stoll, Valerie Weiskamp, Jennifer Heusel, and Brian Amsden. Jim Seaver, Kate Schramm, Steve Stanzak, Suzanne Godby Ingalsbe, Spring Serenity Duvall, Sara Gregory Whitney, Kevin Atkins, Noel Sylvester, Meredith Collins, Jennifer Boles, and Arle Lommel all read and critiqued the work, and I thank you for your contributions to its quality. Janice Frisch and Challey Comer, thank you for coming all the way to Britain to visit me in the field, and being champions of my work inside and out of the academy. Kim Stryker and Danille Christensen, thank you for being my fellow scholars of food and cider. Dan Mirer, thank you for providing a quiet place to revise during the last few weeks of writing. Chris and Anna Mulé, Carrie Hertz, Thomas Grant Richardson, Shannon Larson, Elise Anderson, Zilia Balkansky-Sellés, Paulina Guerrero, Hannah Davis, Allison Distler, Kelley Totten, Tia Trueblood, Tamar Samuel Siegel, Laura Charles, Chris Walters, Casey Winston, Bryan and Shawnee Emmett, and Jason Morris, thank you for always believing in me. I also want to thank the vibrant cider community in the Finger Lakes who have encouraged me in my research and included me in the exciting renaissance of cider in New York.

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