{"word_count": 1363, "character_count": 8043}
By Rachel HerrmannBefore I entered the final stages of revising my first book, No Useless Mouth: Waging War and Fighting Hunger in the American Revolution, I had tried for reasons of sanity to compartmentalize the fun food stuff from the work food stuff. And then I came up against my final, self-imposed deadline and decided to blur the line between them. In this post, I want to explain why. During the editing process, I began to think about paratext. Although I don’t discuss the term “paratext” in my book, I think about it a lot when reading cookbooks and food writing. Paratext refers to the pieces of a book that are not part of its main body and can include epigraphs, chapter titles, and prefaces, as well as covers and blurbs. It can also refer to the index, even though Gerard Genette, who I cite here, did not include this in his definition of paratext; I would, especially now during a time when many of us compile our own to save money. This focus on paratext was not just about my manuscript, and linked to when I first started working on food and thinking about how eighteenth- and nineteenth-century cookbook authors told readers how to feel about food from the moment they encountered a cookbook’s cover. I read cookbook prefaces to learn about intended audiences and errors in previous editions, and thought about the intentionality of an author’s recipe titles. I wanted a way to use paratext to do something similar for readers of No Useless Mouth.[caption id="attachment_15313" align="aligncenter" width="334"] Fig. 1. Rachel Herrmann, No Useless Mouth, courtesy of Cornell University Press[/caption]A good cookbook teaches you a technique, uses it to make something delicious that works on the first attempt, and then uses that technique recipe as a base ingredient for other recipes in the book. A cookbook with excellent paratext tells you how to read the author’s recipes. Its preface tells the reader where to find specialty ingredients, instructs her to read the recipe once through before beginning to prep and cook, and explains how the author has indicated components that can be made ahead of time. For example, my most recent revelation is Andrea Nguyen’s caramel sauce in Vietnamese Food Any Day. This sauce becomes an ingredient that gets added by the teaspoon to subsequent recipes, like her (delicious) Coconut-Kissed Chicken and Chile. Let me just say: the caramel sauce recipe is a scary recipe on the first read. You’re instructed to cook caramel until it’s almost burned. As any amateur pastry or baking enthusiast will tell you, burnt caramel is nearly never the explicit goal of a recipe. But Nguyen makes you feel confident by showing you pictures of the beginning, middle, and end stages of the process. She also includes a genius hack to slow down the cooking process faster than I’ve ever been able to do: she has you fill your sink with an inch or two of ice water. And then when you start to panic that the caramel really is going to burn, you gently plonk the bottom of your saucepan in the sink! GENIUS! Nguyen writes recipes this way because she wants to teach you as you cook.I wanted No Useless Mouth’s paratext to do similar work: to show readers how I undertook my research, to explain how they could replicate it, to provide signposts about navigating my ideas, and to suggest how some of the ideas I developed in the book could be used for other work on food history. I used the acknowledgements section of the book to tell readers a little bit about me as a cook and an eater. Sometimes when I meet people, they express reservations about going out to eat with me because they worry that I will dislike the food where we have gone. In my acknowledgments, I tried to make clear that although the food I eat with people at conferences and during non-work get-togethers matters to me, the company often matters more. I recall how conversations shaped my ideas and how the meal made me feel about them more than I remember the taste of what we ate.Later in the process, when I was finishing the last round of edits on No Useless Mouth, my editor, Michael McGandy, asked me to write a bibliographic note—I suspect because I’d wanted a full bibliography and he wanted to keep the cost low by saving pages. I used the note to tell readers where I had traveled to do research, what travel current researchers could avoid, given the outpouring of digital databases with relevant primary source material, and what researchers should eat near the archives I visited if I thought travelling to them remained imperative. I suppose that the implicit argument in this part of my paratext is that research can be isolating, lonely, and all-consuming, but that using food to break up the monotony keeps it from being so.The last piece of paratext I worked on was my index. This was the second index I’d compiled, and I took the advice of Sara Georgini, who has had lots of experience working on indexes for the Adams Papers: she described an index as an “on ramp to readers.” A good index allows you to enter a book slowly, get a sense of the subjects that inform and surround it, choose where you want to visit inside of it and then decide where to go next. The number of subheadings for a subject might suggest that these moments in the book are moments to get “stuck in.”[1] “See” informs readers that there’s a different term they should be using to search the index, and reveals the author’s opinions on navigating the subject. Cross-references (“See also”) provide another way to slow down and explore the backroads. This approach extends to cookbooks; Andrea Nguyen’s index is a great example of paratext that is informed by her overarching goal to teach. She seems to know intuitively that readers may remember a key ingredient in one of her recipes, but not necessarily the name of the recipe itself. Thus her Coconut-Kissed Chicken and Chile is indexed under “Chicken,” “Chile,” and “Coconut Water.”More than anything, I wanted my index to teach readers that food and hunger are giant categories that require specificity. My food-related terms consequently include words like “animals” (which include edible animals like cattle and fish, but also crop-destroying animals like the Hessian fly). My entry for “food” includes verbs and nouns like butchering, gifts, marketing, markets, meals, preservation, rationing, spoilage, storage, and transportation, but readers will find “food diplomacy,” “food laws,” “food riots,” “food sovereignty,” and “foodstuffs” indexed, too. Among the foodstuffs you can read about you’ll find bacon (of course!), boiled bones, buttermilk, corn, mussels, purslane, spikenard root (said to prevent huger), and wild rice. My hunger-related terms include “appetite,” “eating,” “environmental problems” (including drought and crop failure), and “famine,” among others.I have come to think of my paratext as adding an additional double layer of rigor and fun to the book. If you want to know how I became interested in food history, you can read my acknowledgments. If you’re wondering where I think there’s room for the field to grow, I’ve written about this in my conclusion. If you’re a student who wants to write an essay about food but is struggling to break “food” into more manageable themes, my index will help you to do so. If you’re a food studies scholar who, like me, is trying to pin down the distinction and overlap between food studies and food history, well, I can’t promise that my paratext will provide a single answer to this question, but I hope it will help to continue that conversation.&#160;No Useless Mouth is available from Cornell University Press in November, 2019.[1] I mean this phrase to include here both the British and the American possibilities. To get “stuck in” to something in Britain is to slow down, savor, and spend time.” To get “stuck in traffic” in American English is a less pleasant experience, but nevertheless encapsulates the possibility that readers will need to work slowly to wrap their heads around this subject.