Saturday of this past weekend was a banner day for the household. The book tour for MG’s latest opus (co-edited with her collaborator on this and other projects) began, auspiciously enough, at one of the destinations on everyone’s short list of great independent bookstores: Politics and Prose, in Washington DC. Setting aside the universal plight of all independent bookstores—how to stay viable and profitable in a world of online discount selling—we can take comfort that the strongest and most appealing of these stores, and Politics and Prose is one of them, seem to thrive. Sometime, in another post, I may end up musing on the qualities of these stores that allow them to survive where they are beaten every time on price, the factor that seems to trump all others in the book buyer’s decision process.
The book that was the focus of the event is an anthology of food writing, a collection born of a mutual interest on the part of the co-editors long since to teach this genre, drawing from a growing library and history of such works. Several years ago, in tandem, but on separate campuses, they offered what turned out to be very popular courses. One editor, whose expertise skews toward fiction, and scholarly inquiry into the nineteenth century novel in English, taught a curriculum that demonstrated a similar predisposition. Jennifer Cognard-Black is Professor of English at St. Mary’s College of Maryland, an institution whose constituents, all and sundry, seem reflexively to add to the name, “the public honors college,” is a respected, if small, liberal arts college that is actually part of the State of Maryland system of higher education institutions. Hence it operates at the fiscal discretion of the Governor and the Maryland Senate and House of Delegates. All of which is by way of seeing that there’s an analogy here, between the plight of the independent bookstore, and the plight of the small college of liberal arts—also a struggling breed, except for quality institutions like St. Mary’s, which holds its own, with far smaller budgets, though at far less cost to its students, with its peer institutions, far better funded, more prestigious, and highly competitive in their selectivity.
One co-editor, Melissa Goldthwaite [full disclosure: she’s my wife], is a Professor of English, at St. Joseph’s University, a specialist in Rhetoric and Composition, and Creative Writing. St. Joseph’s is one of a whole network of Jesuit-affiliated institutions of higher learning throughout the country. The aims of the education have, still, at their core a dedication to providing a solid liberal arts education. I say still, because the challenge for any U.S. institution of higher education today is how to continue to instill not only a love for learning and an understanding that a broadly based education steeped in the cultural history of the world, with some requisite skills in analyzing the relevance and meaning of the substance of that history.
The impediment confronted on many campuses, regardless of how you categorize the institution, and not strictly an antithetical stumbling block, but in seeming counterpoise, is the acquisition of credentials through the study of more marketable subject matter. Strictly speaking, and increasingly, this means courses in business, or marketing, or economics—or any of the broadening array of sub-disciplines—that constitute a more practical species of specialized skill sets. It’s well and good to be able to suss out meaning that appeals to the heart and the mind in a poem; it’s another thing altogether to understand the arcane relations between columns of numbers in a balance sheet and what they might augur for the continued prosperity of an enterprise.
Smarter dispassionate heads struggle to prevail in the argument that these are not antithetical capabilities. Indeed, the subject areas in the classic curriculum collectively still referred to as the humanities provide a foundation in discovering a successful way of coping with life in the real world. Not every argument is won by the humanists. There has been a progressive retrenchment in traditional curricula and it’s likely at least three decades, if not longer, that colleges and universities have introduced, in a first wave, new departments and areas of specialization: women’s studies, gender studies, and targeted ethnicities, including African-American and Latino studies, being prime examples.
More recently, and in tandem with rising tuition costs on almost all campuses around the country (rising at rates that far exceed the rate of increase in almost any other critical economic marker), the entire industry, for that is, alas, what it has come to resemble, of higher education, has added courses of study that are directly and unambiguously platforms into seeking and achieving paying jobs within highly defined areas of specialization, in technology, finance, and entertainment. In ways that test the elasticity of meaning of a word that originally sustained little ambiguity given its roots, I mean the humanities, the new designers of academic missions and the supportive educational infrastructure argue—usually by way of mere lip service—that being human endeavors, the new subjects and courses are merely latter-day manifestations of this classic epistemology. Others, in a sense less cynical, say that the study of the humanities per se, with no qualification or abridgment of the standard meaning of the term, have become at best a luxury, and at worst a useless anachronism.
There is one constant, however, and not paradoxically. If anything, the importance of the ability to communicate, especially verbally, has never been more of a manifest value. Which brings me back to the substance of the spanking new Goldthwaite/Cognard-Black opus. In food writing, I suggest, there is a rare amalgam, a blend of the two still viable contemporaneous disciplines: effective communication (dare I say, at the apex of its expressive qualities, attaining to literary worth?) and the subject of food in every conceivable aspect. The latter has long since been monetized in the still major media channels of radio, television, the Internet, and that strange space coextensive of the World Wide Web, proprietary social media. Food has become competitive sport, obsession, confessional, practical, salvational, healing, spiritual, and technological.
Books that Cook: The Making of A Literary Meal is, frankly, not an exponent of all these salient if divergent methods of inquiry into the subject. The editors being who they are, and with a more singular mission in their noble day jobs as pedagogues and mentors to would-be writers, have chosen not a more conservative course of activity, so much as a classic one. And on the Saturday, just passed, in question, seven of us read from our work, including the co-editors who were also contributors: Cognard-Black wrote a short story specifically for this volume, and Goldthwaite included one of her excellent poems. The other five of us, including myself (with a poem, commissioned for the volume, “How to Make the Perfect Fried Egg Sandwich”), and two other poets, an essayist, and memoir author.
We didn’t exactly wear our academic credentials on our sleeves—for one thing it was a very hot, beyond sultry, Washington DC day, and the majority of us were in short sleeves, if there were sleeves at all to our garments. In fact, to some greater or lesser extent each of us, as well as all the other writers in the book, were or are published authors. Our bona fides preceded us. The only criterion the works selected had to meet, aside from manifestly having food as a major theme, motif, or subject, was that each include a bona fide executable recipe within the text.
The publisher bankrolled a generous adjunct to the gathering, especially generous to the attendees who met no other criterion of admission than to show up, in the form of a smorgasbord of sample tastings of five of the recipes featured. In short, they paid a caterer to prepare and provide small, but ample, tastes of two kinds of cake, a vegetable soup, and a beverage, a punch. Anecdotally, I’d say, from the amount consumed and the overheard comments of approbation, the crowd was pleased.
The audience settled in, many of them with tiny cups of soup, sipped with even tinier spoons, and the reading began with a greeting from our merchant host, which, courtesy again of the publisher had provided stacks of volumes for purchase, and a traditional signing after we had all performed. We read in turn, taking from five to ten minutes each. Some of the readers bolstered the rendering of their contributions as published with yet more works of theirs along the same lines. In an hour, we were done. There were few questions, all asked with that earnestness that characterizes self-consciously literary crowds. And then the queue formed.
I was surprised to see that several folks bought multiple copies, each receiving a requested and different personalized greeting. The book is not costly, and I did not inquire as to any discounts, but three copies, let us say, which at least one generous soul had purchased, plus the local sales tax ate up most of a hundred dollar bill. I was further surprised to be asked myself to sign several copies, and I easily fought the temptation to disabuse the pilgrim of the likely value of my scrawl in any conceivable future.
I will admit personally to a certain sense of a kind of temporary dissociation. I for sure knew where I was, but I also wished I weren’t. I loathe crowds of strangers of any size. They intimidate me, and put me on guard. When it came time to read, I stood up, and didn’t quite entirely put aside my usual sense of confidence (bolstered by a rehearsal the day before at home, before my editor and our pooch, who both listened raptly as I easily gave a flowing reading of my free verse) as I hugged the podium and barely glanced at the equally rapt crowd. As I read, with the same well-paced cadences I’m sure in retrospect, all I could hear was a tremulousness in my voice, which I certainly felt. By all accounts that reading was as free of defect as the run-through, though it had seemed interminable to me. Barely noticing the applause, which had justifiably greeted each of the other readers, I regained my seat, as the sense of otherness enveloped me again.
Other than the pride in my wife’s accomplishment (and I was one of very few, present or not, with any acquaintance with the trials the editors together had undergone in seeing the book through its long gestation) my memory of the afternoon is hazy. It was, undoubtedly, a success, which I knew, having seen the number of copies the store had rung up. For all that, this was, I admit, my first opportunity to participate in a reading of this sort, from the other side of the lectern. Seeking no prior indoctrination, and even knowing my antipathy for crowds of strangers, I was interested to take in as much as I might perceive. For all the sales of the book that day (and to date, as it enjoys its inaugural weeks on sale nationally), the publisher had shipped what proved to be a significant surplus, no doubt in an established protocol of cautious optimism and preparedness. I happened to be at the check out at the front of the store, as the staff prepared for the next event, hard on the heels of our own. I admit as well, I cannot step into a well-stocked bookstore without spending some money (and I bested the outlay of the hundred dollar lady, with quite a much larger sum in a fit of spreading the wealth—I should disclose that my own copy of Books that Cook had arrived weeks ago at home, gratis). As I paid for my second purchase of the day, for another book, another audio CD, and a Lamy rollerball pen I couldn’t resist, I watched as two of the staff members, expertly stuffed what was left of an unsold pile of volumes of the literary feast into two sizable cartons, festooned with labels that looked familiar from a shipment long ago of my one published volume—probably the same production house. They had those cartons packed and sealed and ready for shipment back, all in the time it took to swipe my card and for me to sign the check.
All in all, and nevertheless, I am sure it was a good day for NYU Press, and Politics and Prose, and the co-editors. Later that same weekend, a check on Amazon of how the book was selling showed it had, for what it appears was a shining moment, achieved “best-seller” status, making it to the “Top 100” in three different sub-categories. I have no doubt with our next reading, scheduled for New York City, the home turf of the publisher, at a rare book library on campus, it will attain a few more moments of fame, and once again, even a few grains, like scattered salt crystals, will reach me.
The book is available on-line, here http://www.amazon.com/Books-That-Cook-Making-Literary/dp/1479830216/ref=pd_rhf_ee_p_img_1, and here http://www.barnesandnoble.com/w/books-that-cook-jennifer-cognard-black/1119220500?ean=9781479830213. And, of course, at your local independent bookstore. I know where I’d go.by