K Kruger
TVWBB 1-Star Olympian
In the 1987 book Southern Food: At Home, On the Road, In History, author John Egerton posits that the diverse geography of the South, its rich diversity of wild game and fruits, and its moderate climate, attracted the first European migrants who then (in short) wiped out the native population and exploited the possibilities of 'their' new lands largely on the backs of Africans. The society that resulted was unjust but supported by law and if needed, by force.
In his article, "The Endurance of Southern Food" (Oxford American, Issue 49, Spring 2005), Mr. Egerton asks, "How can we reconcile this wrenching anomaly of a grossly unjust society being heralded for its food and hospitality?"
He states, correctly, that "[t]here are no obvious answers." but says, "Bad places make good books, good music, good art, and good food. The more messed-up the place, the more inventive and freewheeling its creative voices." I find this very interesting. He continues:
Consider the music that has boiled up out of the hardscrabble South--every original American category, arguably, from jazz, blues, and gospel to country, rock & roll, and bluegrass.
And condsider Southern cookery. Here were the finest foodstuffs. And here, too, were the people who applied creative excellence in the one place where their talent was not just tolerated, but publicly encouraged: the kitchen. When virtually every other opportunity was close to them, people of African ancestry often found that they had free rein there (if only because the endless labor was typically shunned by whites), and they made the most of it.
And, later in the article:
Consider barbecue, the de facto dish of the South. Its distinction and diffusion would be impossible to imagine as the work of whites only. On the contrary, it would come closer to being a black art.
I find this fascinating. In light of your research and travels I would be interested in your comments.
I'm very much looking forward to reading your book.
In his article, "The Endurance of Southern Food" (Oxford American, Issue 49, Spring 2005), Mr. Egerton asks, "How can we reconcile this wrenching anomaly of a grossly unjust society being heralded for its food and hospitality?"
He states, correctly, that "[t]here are no obvious answers." but says, "Bad places make good books, good music, good art, and good food. The more messed-up the place, the more inventive and freewheeling its creative voices." I find this very interesting. He continues:
Consider the music that has boiled up out of the hardscrabble South--every original American category, arguably, from jazz, blues, and gospel to country, rock & roll, and bluegrass.
And condsider Southern cookery. Here were the finest foodstuffs. And here, too, were the people who applied creative excellence in the one place where their talent was not just tolerated, but publicly encouraged: the kitchen. When virtually every other opportunity was close to them, people of African ancestry often found that they had free rein there (if only because the endless labor was typically shunned by whites), and they made the most of it.
And, later in the article:
Consider barbecue, the de facto dish of the South. Its distinction and diffusion would be impossible to imagine as the work of whites only. On the contrary, it would come closer to being a black art.
I find this fascinating. In light of your research and travels I would be interested in your comments.
I'm very much looking forward to reading your book.