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Title Pages, Drawings, and Graphical Elements); Magazine Clippings; and Interleaves (Notes, Marginalia, and Other Ephemera)

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Title Pages, Drawings, and Graphical Elements); Magazine Clippings; and Interleaves (Notes, Marginalia, and Other Ephemera) WRITING A MEASURE OF HER LIFE: THE RHETORIC OF WOMEN’S COOKBOOKS by JENNIE LEE VAUGHN AMY E. DAYTON, COMMITTEE CHAIR MICHELLE B. ROBINSON JAMES A. CRANK YOLANDA M. MANORA JENNIFER PURVIS A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2015 Copyright Jennie Lee Vaughn 2015 ALL RIGHTS RESERVED ABSTRACT This dissertation argues that women have employed cookbooks as rhetorical vehicles in order to establish individual and communal identities, claim authority of a written genre, and respond to dominant notions of womanhood. Three categories of cookbooks are explored within the project including: unpublished manuscripts, community cookbooks, and commercially published cookbooks. Drawing on the work of feminist scholars, Jaqueline Jones Royster and Gesa Kirsch, I argue that cookbooks from each of these categories function in different rhetorical ways for their authors. The cookbooks analyzed here evidence that women use “everyday” or “ordinary” writing to record history and memory, preserve relationships, pass on knowledge, and effect social change at many levels. Although focused on cookbooks written by Alabama women from 1850-1930, the archival study opens possibilities for acknowledging and valuing the important rhetorical work of everyday, ordinary forms of writing. ii DEDICATION This work is dedicated to my motherline, the women related to me by blood, marriage, and choice whose love and care has nurtured my body, mind, and spirit. I write back through you. iii ACKNOWLEDGMENTS I have always wanted to write an acknowledgments page. Now that the task is before me, I realize it is no easy feat. There are more people responsible for me being where I am today than I can possibly name or recognize, and yet I am grateful to each one. To my director, Dr. Amy Dayton, your first advice to follow my heart when choosing a research project has led me to where I am today. Your continued support, mentoring, and partnership has challenged my thinking and writing and made me better for it. I can never pay you back, but I can promise to pay it forward. To the rest of my committee, Drs. Robinson, Purvis, Manora, and Crank, I thank you for your interest in and support of my project. You have shared with me your knowledge, insight, and expertise, and in your presence I have always felt encouraged and challenged. You are just the sort of scholars I hope to become. Thank you for all you have done for me and for all you continue to do for our university. To the rest of my UA support system, the folks who have helped me through these past five years with their counsel, wisdom, and friendship. Allen, we met at the beginning and are still together at the end. You are just the kind of friend I need, always supportive, willing to challenge, and full of love. Collyn, Syreeta, Erin, Mallory, Catherine, and Amanda, each of you have played a huge part in my evolution this last five years. The conversations I have had with each of you have pushed me forward and held me up. From each of you I have learned about grace, beauty, friendship, scholarship, and compassion. Dr. Karen Gardiner, I have never left a conversation without feeling inspired and encouraged. Your support of my project has been iv phenomenal and I can truly say that without you care and concern I would not have finished. I give a heartfelt thanks to each and every one of you. To the women before me whose hands soothed crying babies; mixed flour, fat, and milk into countless meals; and coaxed life from red clay soil. I want to thank the women of my family whose meals fed my body and whose stories fed my soul, who taught me that love means giving unconditionally. To Mama Johnson who convinced her nine children that the backbone was her favorite part of the chicken. To Grandma Cain who knew love meant holding tight and letting go. To Granny and Grandma who taught me conventions were meant to be bucked. To Granddaddy and Papa who had little but saw to it that their children had more. To Doris whose baby became my eternal companion. To my Dad who gave me my first lessons in feminism when he taught me there was no such thing as “boys’ chores” or “girls’ chores.” To my Mom who showed me that grace, love, and intellect are the true traits of the southern woman. To all of you—your backs are my bridge. Thank you for lifting me up. I am here because of you. To my children Holdyn, Evie, and Kallie—you are the treasures of my life. You gave me the courage to set this goal and reach it. I hope that when you read this you will think it was all worthwhile. Always look for and acknowledge in your own lives the hands of those who came before you; they lift and hold you high. To Krager, words fail me when I think of you. You are my partner, my cheerleader, my eternal companion. Thank you for seeing who I can become and loving me in spite of who I am. ii CONTENTS ABSTRACT ................................................................................................ ii DEDICATION ........................................................................................... iii ACKNOWLEDGMENTS ...........................................................................v 1. INTRODUCTION ...................................................................................1 2. CHAPTER 1 – WRITING HER LIFE: THE MANUSCRIPT COOKBOOKS OF MARTHA BANKS AND ANNIE PERKINS ...........29 3. CHAPTER 2 – COMMUNITY COOKBOOKS: RECIPES RHETORICAL AND RESISTANT ..........................................................60 4. CHAPTER 3 – COMMERCIAL COOKBOOKS: CASHING IN ON COOKING ..........................................................................................90 5. CONCLUSION ....................................................................................117 REFERENCES ........................................................................................133 NOTES .....................................................................................................144 iii INTRODUCTION “No one who cooks, cooks alone. Even at her most solitary, a cook in the kitchen is surrounded by generations of cooks past, the advice and menus of cooks present, the wisdom of cookbook writers.” – Laurie Colwin “The universe is made of stories, not of atoms.” – Muriel Rukeyser My family has a treasured spaghetti sauce recipe. “Mary Ann’s spaghetti sauce” was the only spaghetti sauce recipe my mother used during my childhood and adolescence. We never had “store-bought” sauce from a can or jar. The yellowed, stain-spattered recipe card lives in a battered metal index card box. That recipe box travelled with us as we moved every two or three years first during my father’s military service and then later as he struggled to shake his wanderlust. Finally, we and the box settled in a rural log house my parents built. Twenty-five years later that house has become the quintessential Southern “family home” where my parents host their daughters, sons-in-law, a pile of grandchildren, and various friends and relatives for holidays, birthdays, and gatherings. No matter the occasion or meal, the green recipe box is there on the shelf in the kitchen standing ready to offer the recipes, written in (mostly) my mother’s hand, that have come to define our family: Chinese pork chops, Watergate salad, Boiled oatmeal cookies, and Mary Ann’s spaghetti sauce. The sauce recipe came from my mother’s good friend, Mary Ann Adams. A few years ago, my mother compiled and transcribed all of her best recipes and created a family cookbook 1 for my sisters and me. When I saw Mary Ann, soon after, I joked with her that she was now famous as her recipe was “published” in my family cookbook. She was surprised that my mother had kept and used her recipe for over thirty years, but she was also pleased and happy. She told me about how she and my mother became friends, how they shared young motherhood together, and how they helped and influenced each other. Mary Ann and my mother had not seen each other in nearly ten years, and I had not seen Mary Ann since I was a young child, but I knew part of her through her recipe. “Mary Ann’s spaghetti sauce” was a fixture in my life. Thoughts of Mary Ann’s recipe have been central in my mind as I ponder the practice of recipe naming and its power to record women’s relationships and identities. This idea has become especially poignant as cancer treatment complications resulted in Mary Ann’s sudden, unexpected death. I am not suggesting that death will result in erasing the effects of Mary Ann’s entire life, nor am I suggesting that she will only be remembered for one spaghetti sauce recipe. Her numerous friends, family, children, and grandchildren will remember her life for various reasons. What I am suggesting though, is that by claiming and naming the recipe “Mary Ann’s spaghetti sauce” part of Mary Ann Adams’ life and identity lives beyond her immediate family and friends. I have and use her recipe as do my four sisters and several of our friends (who may or may not have known Mary Ann) with whom we shared the recipe. Additionally, my mother shared the recipe with her friends (again who may or may not have known Mary Ann) over the past thirty years, as I am sure that Mary Ann did, too. It is difficult to know exactly how many people may have used or possess a copy of Mary Ann’s recipe, but the possibility is amazing. At least for my family, Mary Ann Adams continues to be a part of our lives and gatherings. Her life is on our record. 2 The story of Mary Ann’s spaghetti sauce recipe is not unique. The simple act of naming and sharing a recipe creates a network of relationships that stretches beyond family lines, generations, and time.
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