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Before there were celebrity gourmands, Creole Feast brought together the stories and knowledge of New Orleans top chefs when it was first presented in 1978. These masters of modern Creole cuisine share the recipes, tips, and tricks from the kitchens of New Orleans' most famous restaurants, including Dooky Chase, Commander's Palace, Broussard's, and Galatoire's. Today, Creole Feast still stands as the most comprehensive collection of Creole recipes assembled in one volume. The recipes include classic dishes synonymous with New Orleans, such as gumbo, jambalaya, and red beans and rice, and also luxurious Creole dishes like Lobster Armorican and Oysters Bienville, plus tempting desserts like Creole bread pudding with whiskey sauce and the famous old Hotel Pontchantrain's Mile High Pie. With this classic now back in print, home cooks will turn their kitchens into some of New Orleans premiere restaurants, helped along by fifteen master chefs.
Who are the Creoles? The answer is not clear-cut. Of European, African, or Caribbean mixed descent, they are a people of color and Francophone dialect native to south Louisiana; and though their history dates from the late 1600s, they have been sorely neglected in the literature. Creole is a project that both defines and celebrates this ethnic identity. In fifteen essays, writers intimately involved with their subject explore the vibrant yet understudied culture of the Creole people across time—their language, literature, religion, art, food, music, folklore, professions, customs, and social barriers.
At the Table of Power is both a cookbook and a culinary history that intertwines social issues, personal stories, and political commentary. Renowned culinary historian Diane M. Spivey offers a unique insight into the historical experience and cultural values of African America and America in general by way of the kitchen. From the rural country kitchen and steamboat floating palaces to marketplace street vendors and restaurants in urban hubs of business and finance, Africans in America cooked their way to positions of distinct superiority, and thereby indispensability. Despite their many culinary accomplishments, most Black culinary artists have been made invisible—until now. Within these pages, Spivey tells a powerful story beckoning and daring the reader to witness this culinary, cultural, and political journey taken hand in hand with the fight of Africans in America during the foundation years, from colonial slavery through the Reconstruction era. These narratives, together with the recipes from the nineteenth and twentieth centuries, expose the politics of the day and offer insight on the politics of today. African American culinary artists, Spivey concludes, have more than earned a rightful place at the table of culinary contribution and power.
The road that runs through all our lives, paved with treasured memories of family, food, and fun, is our infinite feast, of holidays and special occasions and all the other days in between. All generations will be glad to see these old and new recipes, such as Tomato Okra Casserole, Nanaimo Bars, Paradise Almond Chicken, and Strawberry Cheesecake Cupcakes. The book is divided seasonally, from the new year to the harvest moon, with chapters such as "The Winter Feast," "Holiday in Venice," "Patio Party," and "Silver Bells."
"Theresa McCulla probes the overt and covert ways that the production of food and food discourse both creates and reinforces many strains of inequality in New Orleans, a city often defined by its foodways. She uses menus, cookbooks, newspapers, dolls, and other material culture to limn the interplay among the production and reception of food, the inscription and reiteration of racial hierarchies, and the constant diminishment and exploitation of working-class people. McCulla goes far beyond the initial task of tracing New Orleans culinary history to focus on how food suffuses culture and our understandings and constructions of race and power"--
The sixteen essays in The Larder argue that the study of food does not simply help us understand more about what we eat and the foodways we embrace. The methods and strategies herein help scholars use food and foodways as lenses to examine human experience. The resulting conversations provoke a deeper understanding of our overlapping, historically situated, and evolving cultures and societies. The Larder presents some of the most influential scholars in the discipline today, from established authorities such as Psyche Williams-Forson to emerging thinkers such as Rien T. Fertel, writing on subjects as varied as hunting, farming, and marketing, as well as examining restaurants, iconic dishes, and cookbooks. Editors John T. Edge, Elizabeth Engelhardt, and Ted Ownby bring together essays that demonstrate that food studies scholarship, as practiced in the American South, sets methodological standards for the discipline. The essayists ask questions about gender, race, and ethnicity as they explore issues of identity and authenticity. And they offer new ways to think about material culture, technology, and the business of food. The Larder is not driven by nostalgia. Reading such a collection of essays may not encourage food metaphors. "It's not a feast, not a gumbo, certainly not a home-cooked meal," Ted Ownby argues in his closing essay. Instead, it's a healthy step in the right direction, taken by the leading scholars in the field.
In Creole Italian, Justin A. Nystrom explores the influence Sicilian immigrants have had on New Orleans foodways. His culinary journey follows these immigrants from their first impressions on Louisiana food culture in the mid-1830s and along their path until the 1970s. Each chapter touches on events that involved Sicilian immigrants and the relevancy of their lives and impact on New Orleans. Sicilian immigrants cut sugarcane, sold groceries, ran truck farms, operated bars and restaurants, and manufactured pasta. Citing these cultural confluences, Nystrom posits that the significance of Sicilian influence on New Orleans foodways traditionally has been undervalued and instead should be included, along with African, French, and Spanish cuisine, in the broad definition of "creole." Creole Italian chronicles how the business of food, broadly conceived, dictated the reasoning, means, and outcomes for a large portion of the nearly forty thousand Sicilian immigrants who entered America through the port of New Orleans in the nineteenth and early-twentieth centuries and how their actions and those of their descendants helped shape the food town we know today.
"New Orleans Cuisine: Fourteen Signature Dishes and Their Histories provides essays on the unparalleled recognition New Orleans has achieved as the Mecca of mealtime. Devoting each chapter to a signature cocktail, appetizer, sandwich, main course, staple, or dessert, contributors from the New Orleans Culinary Collective plate up the essence of the Big Easy through its number one export: great cooking. This book views the city's cuisine as a whole, forgetting none of its flavorful ethnic influences--French, African American, German, Italian, Spanish, and more"--Page 2 of cover.
Beignets, Po’ Boys, gumbo, jambalaya, Antoine’s. New Orleans’ celebrated status derives in large measure from its incredibly rich food culture, based mainly on Creole and Cajun traditions. At last, this world-class destination has its own food biography. Elizabeth M. Williams, a New Orleans native and founder of the Southern Food and Beverage Museum there, takes readers through the history of the city, showing how the natural environment and people have shaped the cooking we all love. The narrative starts with the indigenous population, resources and environment, then reveals the contributions of the immigrant populations, major industries, marketing networks, and retail and major food industries and finally discusses famous restaurants and signature dishes. This must-have book will inform and delight food aficionados and fans of the Big Easy itself.
Set in New Orleans before the American Civil War, this is the story of the Free People of Color, descended from slaves, and their French and Spanish owners. Among their number is Marcel, an artist in the making, also his gentle sister Marie and Anna Bella, a beautiful young courtesan.