Journal articles on the topic 'Lisa Bufano'

Antecedentes y Objetivos: La diversidad de macrolíquenes saxícolas en el estado de Guanajuato es poco conocida. Los escasos datos que existen son menciones de colectas y de especies en páginas electrónicas especializadas. El objetivo de este trabajo fue contribuir, mediante la elaboración de un listado florístico, al conocimiento de la diversidad de macrolíquenes saxícolas en cuatro localidades (cerro “La Bufa”, parque ecológico “El Orito”, carretera panorámica “El Pípila” y Sierra de Santa Rosa de Lima).Métodos: Los ejemplares fueron recolectados y posteriormente determinados mediante el uso de claves especializadas, considerando características morfológicas, anatómicas y químicas. Se apoyó en observaciones al microscopio estereoscópico y compuesto, respuesta a reactivos químicos y, en algunos casos, en la realización de cromatografía de capa fina. Finalmente se revisaron descripciones de las mismas y se cotejaron los ejemplares determinados con aquellos existentes en el herbario EBUM de la Universidad Michoacana de San Nicolás de Hidalgo.Resultados clave: Se presenta una lista de 42 especies para el distrito minero de Guanajuato, que constituyen registros nuevos para las localidades estudiadas; 23 son nuevos registros para el estado de Guanajuato y uno lo es para México.Conclusiones: De las 42 especies, la familia Parmeliaceae es la más representativa del área de estudio, especialmente el género Xanthoparmeliacon nueve especies, de las cuales tres son nuevos registros para el estado de Guanajuato y una de ellas lo es para México. La zona de La Bufa con clima semicálido y la ignimbrita como roca dominante reúne la mayoría de las especies registradas. Las especies de las familias Cladoniaceae, Usneaceae, Ramalinaceae y Stereocaulaceae son representativas de la zona de Santa Rosa de Lima en donde domina un clima húmedo y la toba riolítica como roca principal.

Persawahan merupakan habitat yang baik bagi kehidupan amphibi. Amphibi memiliki fungsi ekologis sebagai penyeimbang ekosistem dan sebagai bioindikator lingkungan. Penilitian ini bertujuan untuk menganalisis keanekaragaman amphibi di areal persawahan Boleuvard Kota Tondano berdasarkan nilai indeks Shannon-Wiener. Penelitian ini menggunakan metode Line Transect yang dilaksanakan pada bulan Januari-Desember 2018. Nilai indeks keanekaragaman Shannon-Wiener pada transek satu H’ 0,782, transek dua H’1,208 dan transek tiga H’ 1,139. Berdasarkanhasilpenelitianterdapat lima spesies yang ditemukanya itu Bufo melanostictus, Rana cancrifora, Rana chalconota, Fejevarya limnocharis, dan Hylarana nicobariensis. Berdasarkan kategori indeks Shannon-wiener keanekaragaman amphibi di areal persawahan Tondano termasuk dalam kategori sedangRice fields are good habitat for amphibian life. Amphibians have an ecological function as a counterweight to ecosystems and as an environmental bioindicator. This research tries to analyze the amphibians in the Boleuvard rice field area of Tondano City based on the Shannon-Wiener index value. This study uses the Path Transect method which was carried out in January - December 2018. The index value of the Shannon-Wiener contribution to habitatone H '0,782, habitat two H'1,208 and habitat three H' 1,139. Based on the results of the study found five species found, namely Bufo melanostictus, Rana cancrifora, Rana chalconota, Fejevarya limnocharis, and Hylarana nicobariensis. Based on the Shannon-wiener index category the various amphibians in the Tondano rice field area are included in the medium category

This study is entitled "Cultural Code in the Aceh Community Fable". The formulation of the problem in this research is how is the cultural code in the Acehnese fable? To describe the cultural code in the Acehnese fable. The benefit of this research for the researchers themselves is that they can add insight into the literary codes contained in the Acehnese fable and as an input in studying and studying literature, especially fables. Sources of research data are the Acehnese fable, namely (1) Shearing Abang Gajah (Gayo), and (2) Carito Sang Nago Jo Tuanku Tapa (Jamee), (3) Origin of Monkeys (Simeulue), and (4) White Buffalo (Buffalo) ( Simeulue), and (5) Palandok (The Mouse Deer). The method used in this research is descriptive method. The data collection technique used in this study is the documentation technique. The data in this study were obtained from the book Collection of Oral Literature by Budiman Sulaiman in the 2000 issue. Based on the data processing and analysis, it was concluded that in the five fables analyzed there were various cultural codes, namely icons, symbols and indexes. An icon is a physical object (two or three dimensions) that resembles what it represents, a symbol is something or a condition that leads the subject's understanding of the object, while an index is a sign that is present sociatively due to the presence of a fixed characteristic reference relationship. Cultural codes in the Acehnese fable are very important, especially in shaping the character of children.
 Abstrak
 Penelitian ini bertujuan untuk mendeskripsikan kode budaya dalam masyarakat Aceh. Metode yang digunakan dalam penelitian ini adalah metode deskriptif.Teknik pengumpulan data yang dilakukan dalam penelitian ini adalah teknik dokumentasi.Data penelitian ini bersumber dari buku Kumpulan Fabel Masyarakat Acehyang ditulis oleh Budiman Sulaiman. Fabel yang dipilih berjumlah lima judul yang terdapat di Aceh, yaitu (1) Geser Geser Abang Gajah (Gayo), dan (2) Carito Sang Nago Jo Tuanku Tapa (Jamee), (3) Asal Mula Monyet (Simeulue), dan (4) Kerbau Putih (Simeulue), dan (5) Palandok (Si Kancil).Berdasarkan pengolahan dan analisis data diperoleh simpulan bahwa dalam dalam kelima fabel yang dianalisis tersebut terdapat bermacam-macam kode budaya, yaitu ikon, simbol, dan indeks.Ikon adalah sesuatu benda fisik yang menyerupai apa yang dipresentasikannya, simbol adalah sesuatu hal atau keadaan yang memimpin pemahaman si subjek kepada objek, sedangkan indeks adalah tanda yang hadir secara asosiatif akibat terdapatnya hubungan ciri acuan yang sifatnya tetap.Kode budaya dalam fabel masyarakat Aceh sangat bermanfaat dalam membentuk karakter anak baik sebagai individu, sebagai warga masyarakat, dan sebagai warga negara yang baik.
 Kata Kunci : Kode, Budaya, Fabel

Dadih is a traditional fermented buffalo milk consumed by the Minangkabau people in West Sumatera Province, Indonesia, especially in Bukittinggi, Padang Panjang, Solok, Lima Puluh Kota, and Tanah Datar districts. The objective of this study was to identify amino acid and strain of acid lactic bacteria isolated from dadih and to evaluate the benefit of dadih intervention during pregnancy on the nutritional status of an infant's birth. This study was initiated with DNA extraction from bacterial cultures, Ribosomal DNA amplification, and sequencing, analysis of amino acid using UPLC. The intervention was conducted in two districts on 138 pregnant mothers for 6 months. A prospective cohort study was conducted on a follow up of a previous randomized controlled trial. This study was conducted in two districts in West Sumatera Province from April 2018 to July 2019. Spontaneous probiotic species of dadih strain were identified in this study: Lactobacillus Plantarum, Lactobacillus casei, Lactobacillus durans, Leuconostoc pseudo mesentoroides, and Lactobacillus cactis. Glutamic acid was the highest quantity of non-essential amino acid in dadih (16.28 mg/g), while Lysine and Leucine were the highest essential amino acids (7.22 and 6.42 mg/g). The study revealed that after a 6-month intervention, about 66.7% of infants birth weight > 3000 grams and only 2.1% of infants having birth weight < 2500 grams for Dadih Group and about 60.0% had infant birth weight > 3000 grams and 4.4% infants with low birth in Control Group. The result of this study shows that there are more benefits in pregnant mothers' weight gain and infants' birth weight until a six-month follow up from pregnant mothers in Dadih Group than Control Group. The results of the follow-up study show that infants from mothers supplemented with Dadih Zinc Group have significantly less undernutrition status as compared to the Control Group (p<0,05). The results also show that dadih has a sufficient amount of protein to fulfill the nutritional need for pregnant mothers and the outcomes.

The Rhinella granulosa group consists of 13 described species with distribution from South America to Panama (Narvaes & Rodrigues 2009; Sanabria et al. 2010; Pereyra et al. 2016). Species belonging to this monophyletic group are characterized by their small to medium body size, ossified skull, small parotoid gland, keratinized cephalic crests and body covered by granules and spicules (Narvaes & Rodrigues 2009; Pereyra et al. 2016). These toads present explosive or prolonged breeding in temporary ponds of open areas (Borteiro et al. 2006; Mercês et al. 2009; Narvaes & Rodrigues 2009; Blotto et al. 2014), where eggs are laid in two long, uniseriate and gelatinous strings (Lima et al. 2012; Blotto et al. 2014; Pereyra et al. 2015). In general, tadpoles of these species are small, round and darkly colored (Blotto et al. 2014). Currently, only seven species have had their tadpoles formally described: Rhinella azarai (Gallardo 1965), Rhinella dorbignyi (Duméril & Bibron 1841), Rhinella fernandezae (Gallardo 1957), Rhinella granulosa (Spix 1824), Rhinella humboldti (Gallardo 1965), Rhinella mirandaribeiroi (Gallardo 1965), and Rhinella pygmaea (Myers & Carvalho 1952) (Fernández 1927; Kenny 1969; Carvalho-e-Silva & Carvalho-e-Silva 1994; Borteiro et al. 2006; Lynch 2006; Mercês et al. 2009; Blotto et al. 2014; Schulze et al. 2015). Pereyra et al. (2016) discussed the taxonomic identity of tadpoles described by Lavilla et al. (2000) as Rhinella major (Müller & Hellmich 1936), and following their concern we do not include these in our comparison. For the Rhinella merianae tadpole, there has been only a brief description (diagrammatic drawings and color patterns in life) in the tadpole identification key from Central Amazonia of Hero (1990) as Bufo granulosus. Therefore, we present in this paper a formal description of the tadpole of R. merianae and additional comments of its clutch size, measurements of eggs and spawning sites.

UNIVERSIDADE DO ESTADO DO RIO DE JANEIROReitor: Ruy Garcia Marques CENTRO DE CIÊNCIAS SOCIAISDiretor: Domenico Mandarino INSTITUTO DE FILOSOFIA E CIÊNCIAS HUMANASDiretora: Dirce Eleonora Nigro Solis PROGRAMA DE PÓS-GRADUAÇÃO EM HISTÓRIACoordenadora: Márcia de Almeida GonçalvesCoordenadora adjunta: Lúcia Maria Bastos Pereira das Neves LABORATÓRIO DE ESTUDOS DAS DIFERENÇAS E DESIGUALDADES SOCIAIS – LEDDESCoordenadora: Marilene Rosa Nogueira da Silva Revista TransversosISSN 2179-7528 Revista quadrimestral do Laboratório de Estudos das Diferenças e Desigualdades Sociais, vinculado ao Programa de Pós-Graduação em História da UERJ. DOSSIÊ: LGBTTQI: histórias, memórias e resistências. Responsáveis pelo número:Ana Cristina SantosFábio Henrique LopesMarina Vieira de Carvalho EDITORA-GERENTEMarilene Rosa Nogueira da Silva - Universidade do Estado do Rio de Janeiro (UERJ), Instituto de Filosofia e Ciências Humanas (IFCH), Rio de Janeiro (RJ), Brasil.COMITÊ EDITORIALMarilene Rosa Nogueira da Silva – Universidade do Estado do Rio de Janeiro (UERJ), Instituto de Filosofia e Ciências Humanas (IFCH), Rio de Janeiro (RJ), Brasil. Sonia Maria de Almeida Ignatiuk Wanderley – Universidade do Estado do Rio de Janeiro (UERJ), Instituto de Aplicação Fernando Rodrigues da Silveira (CAp/UERJ), Rio de Janeiro (RJ), Brasil. Gustavo Pinto de Sousa – Instituto Nacional de Educação de Surdos (INES), Brasil, Rio de Janeiro (RJ), Brasil. Marina Vieira de Carvalho – Grupo de Estudos de Gênero da Associação Nacional de História - Seção Rio de Janeiro (ANPUH/RJ), Laboratório de Estudos das Diferenças e Desigualdades Sociais (LEDDES/UERJ), Brasil, Rio de Janeiro (RJ), Brasil. Paulo Henrique Silva Pacheco – Universidade do Estado do Rio de Janeiro (UERJ), Programa de Pós-Graduação em História, Instituto de Filosofia e Ciências Humanas (IFCH), Rio de Janeiro (RJ), Brasil. Rogério da Silva Guimarães - Universidade do Estado do Rio de Janeiro (UERJ), Programa de Pós- Graduação em História, Instituto de Filosofia e Ciências Humanas (IFCH), Rio de Janeiro (RJ), Brasil. CONSELHO EDITORIAL[MVDC1] Ana Lúcia Vieira– Universidade Federal do Amazonas (UFAM). Instituto de Ciências Humanas e Letras (IFCH), Departamento de História (DH), Amazonas (AM), Brasil. Augusto Manuel Saraiva do Nascimento Diniz - Universidade Nova de Lisboa, Faculdade de Letras, Centro de História, Lisboa, Portugal. Cecilia Maria Bouças Coimbra - Universidade Federal Fluminense (UFF) e do Programa de Pós-Graduação em Psicologia (PPGP). Eddy Chávez Huanca- Universidad Continental, Departamento de Derecho, Huancayo, Perú. Eliane Garcindo de Sá– Universidade do Estado do Rio de Janeiro (UERJ), Instituto de Filosofia e Ciências Humanas (IFCH), Departamento de História (DHIS), Programa de Pós-Graduação em História Política (PPGH/UERJ), Rio de Janeiro (RJ), Brasil. Estela Scheinvar – Universidade do Estado do Rio de Janeiro (UERJ), Programa de Pós-Graduação em Políticas Públicas e Formação Humanas - Faculdade de Formação de Professores (PPGPPFHFFP), Rio de Janeiro (RJ), Brasil. Fábio Henrique Lopes– Universidade Federal Rural do Rio de Janeiro (UFRRJ), Departamento de História (DH), Rio de Janeiro (RJ), Brasil. Heliana de Barros Conde Rodrigues– Universidade do Estado do Rio de Janeiro (UERJ), Departamento de Psicologia Social e Institucional (DPSI), Rio de Janeiro (RJ), Brasil. James Roberto Silva– Universidade Federal do Amazonas (UFAM). Instituto de Ciências Humanas e Letras (IFCH), Departamento de História (DH), Amazonas (AM), Brasil. Joana D`Arc Fernandes Ferraz - Professora da Universidade Federal Fluminense (UFF).Departamento de Sociologia e Metodologia das Ciências Sociais, Rio de Janeiro (RJ), Brasil. Laura Moutinho Nery- Universidade do Estado do Rio de Janeiro (UERJ), Instituto de Filosofia e Ciências Humanas (IFCH), Rio de Janeiro (RJ), Brasil. Luciano Rocha Pinto – Universidade Federal Fluminense (UFF), Programa de Pós-Graduação em História (PPGH), Niterói (RJ), Brasil. Ludmila Brandão – Universidade Federal do Mato Grosso (UFMT), Departamento de Artes (DA), Mato Grosso (MT), Brasil.Luiz Edmundo de Souza Moraes - Universidade Federal Rural do Rio de Janeiro (UFRRJ), Instituto de Ciências Humanas e Sociais, Rio de Janeiro (RJ), Brasil. Magda Maria Jaolino Torres – Universidade Federal do Rio de Janeiro (UFRJ), Instituto de História (IH), Rio de Janeiro (RJ), Brasil. Marcia Eliane Alves de Souza e Mello – Universidade Federal do Amazonas (UFAM). Instituto de Ciências Humanas e Letras (IFCH), Departamento de História (DH), Amazonas (AM), Brasil. Maria Elizabeth Carneiro – Universidade Federal de Uberlândia (UFU), Instituto de História (IH), Rio de Janeiro (RJ), Brasil. Martha Campos de Abreu – Universidade Federal Fluminense (UFF), Instituto de Filosofia e Ciências Humanas (IFCH), Rio de Janeiro (RJ), Brasil. Matthias Röhrig Assunção – University of Essex (EU), Departamenty of History (DH), Inglaterra (UK), Reino Unido. Michael H. Frisch - University at Buffalo (UB), Buffalo (NY), Estados Unidos. Oswaldo Machado Filho – Universidade Federal do Estado do Mato Grosso (UFMT), Departamento de História (DH). Mato Grosso (MT), Brasil. Patrícia Souza Lima – Centro Federal de Educação Tecnológica Celso Suckow da Fonseca (Cefet– UnED). Petrópolis (RJ), Brasil. Priscila de Oliveira Xavier Scudder - Universidade Federal do Mato Grosso (UFMT), Mato Grosso (MT), Brasil. Rachel Soihet – Universidade Federal Fluminense (UFF), Departamento de História(DH), Rio de Janeiro (RJ), Brasil. Rafael Maul de Carvalho Costa - Professor da Universidade Federal Rural do Rio de Janeiro (UFRRJ), Departamento de Educação do Campo, Movimentos Sociais e Diversidade, Rio de Janeiro (RJ), Brasil. Sílvio de Almeida Carvalho Filho – Universidade Federal do Rio de Janeiro (UFRJ), Instituto de História (IH), Rio de Janeiro (RJ), Brasil. Tania Maria Bessone da Cruz Ferreira– Universidade do Estado do Rio de Janeiro (UERJ), Instituto de Filosofia e Ciências Humanas (IFCH), Rio de Janeiro (RJ), Brasil.Tatyana de Amaral Maia – Pontifícia Universidade Católica (PUC), Programa de Pós-Graduação em História (PPGH), Rio Grande do Sul (RS), Brasil. Washington Santos Nascimento – Universidade do Estado do Rio de Janeiro (UERJ), Instituto de Filosofia e Ciências Humanas (IFCH), Rio de Janeiro (RJ), Brasil. EDITORES DE SEÇÃOMarina Vieira de Carvalho – Grupo de Estudos de Gênero da Associação Nacional de História - Seção Rio de Janeiro (ANPUH/RJ), Laboratório de Estudos das Diferenças e Desigualdades Sociais (LEDDES/UERJ), Brasil, Rio de Janeiro (RJ), Brasil. EDITORXS CONVIDADXSAna Cristina Santos - Centro de Estudos Sociais da Universidade de Coimbra (CES-UC), Coimbra, Portugal. Fábio Henrique Lopes – LabQueer - Laboratório de estudos das relações de gênero, masculinidade e transgêneros/UFRRJ. Universidade Federal Rural do Rio de Janeiro (UFRRJ), Departamento de História (DH), Rio de Janeiro (RJ), Brasil. Revisão Gramatical e Copidesque: Marina Vieira de Carvalho (ANPUH/RJ, LEDDES/UERJ). Revisão Técnica: Carol Gonzaga de Oliveira (Cetreina/UERJ) Editor de Layout e Capa: Paulo Henrique Silva Pacheco[MVDC2] . Imagem da Capa: Coraticum, 2018.Raphael EliasTinta à óleo, giz pastel e colagem sobre chapa de madeira.(40cm x 50cm) BOLSISTA CETREINA/UERJCaroline Gonzaga de Oliveira - Bolsista de Estágio Interno Complementar

L’article part d’une série de considérations sur la précocité des intérêts de Diderot dans le domaine médical. «Pas de livres que je lise plus volontiers que les livres de médecine, pas d’hommes dont la conversation soit plus intéressante pour moi que les médecins», il affirmera vers la fin de sa vie. En fait, le discours médical, dans son oeuvre, s’identifie à un discours philosophique militant sous le signe d’un monisme rigoureux polémiquement opposé au dualisme de la tradition platonicienne-chrétienne, un discours nettement orienté vers la traduction totale de ‘l’âme’ dans le fonctionnement des organes du corps. Cependant, au-delà de la controverse philosophique, chez Diderot la connaissance médicale se révèle comme la base d’une fascinante vision biologique. Contrairement à un Buffon, qui continue de reconnaître une centralité ontologique à l’homme, Diderot tend à nier toute solution de continuité entre l’être humain et le règne animal - et même entre le règne animal et le règne minéral. L’article met en évidence quelques conséquences capitales d’une telle position sur les idées esthétiques de Diderot; et, d’ici, les réflexions sur l’enracinement de la pensée dans le corps présentes dans les Éléments de physiologie sont ramenées à l’un des plus grands changements de paradigme culturel de l’histoire européenne moderne.

India has one of the world’s highest proportions of plant-based consumers relative to its total population (Sawe). However, the view that India is a predominantly vegetarian nation is likely inaccurate, as recent findings from the 2014 Indian Census indicate that only three in ten Indians self-identity as vegetarian (Census of India). Other studies similarly estimate the prevalence of vegetarianism to range from about 25% (Mintel Global) to about 40% (Euromonitor International; Statista, “Share”), and many Indians are shifting from strict plant-based diets to more flexible versions of plant-based eating (Food and Agriculture Organization of the United Nations). When it comes to meat eating, poultry is the most widely consumed (USDA Foreign Agricultural Service; Organisation for Economic Co-operation and Development). Some claim that the changing consumer landscape is also eroding traditional taboos associated with beef and buffalo meat consumption (Kala; Bansal), with many tending to underreport their meat consumption due to religious and cultural stigmas (Bansal).This change in food choices is driven by several factors, such as increasing urbanisation (Devi et al.), rising disposable incomes (Devi et al.; Rukhmini), globalisation, and cross-cultural influences (Majumdar; Sinha). Today, the urban middle-class is one of India’s fastest growing consumer segments (Wharton School of the University of Pennsylvania), and the rise in the consumption of animal products is primarily occurring in urban India (National Sample Survey Office), making this an important market to investigate.From a global perspective, while many Western nations are increasingly adopting plant-based diets (Eswaran), the growth in meat consumption is predicted to mainly come from emerging markets (OECD/FAO) like India. With these points in mind, the purpose of this study was to explore contemporary eating practices in urban India and to understand how social structures, cultures, and traditions influence these practices. The findings indicate that the key reasons why many are transitioning away from plant-based diets are the rise of new and diverse meat-based foods in urban India, emerging tastes for meat-based cuisines, and meat becoming to be viewed as a status symbol. These factors are further elaborated upon in this article.MethodA key question of this research was “What are eating practices like in urban India today?” The question itself is a challenge, given India’s varied cultures and traditions, along with its myriad eating practices. Given this diversity, the study used an exploratory qualitative approach, where the main mode of data gathering was twenty-five unstructured individual face-to-face interviews, each approximately sixty minutes in duration. The discussions were left largely open to allow participants to share their unique eating practices and reflect on how their practices are shaped by other socio-cultural practices. The research used an iterative study design, which entailed cycles of simultaneous data collection, analysis, and subsequent adaptations made to some questions to refine the emerging theory. Within the defined parameters of the research objectives, saturation was adequately reached upon completion of twenty-five interviews.The sample comprised Mumbai residents aged 23 to 45 years, which is fairly representative given about a third of India’s population is aged under 40 (Central Intelligence Agency). Mumbai was selected as it is one of India’s largest cities (Central Intelligence Agency) and is considered the country’s commercial capital (Raghavan) and multicultural hub (Gulliver). The interviews were conducted at a popular restaurant in downtown Mumbai. The interviews were conducted predominantly in English, as it is India’s subsidiary official language (Central Intelligence Agency) and the participants were comfortable conversing in English. The sample included participants from two of India’s largest religions—Hindus (80%) and Muslims (13%) (Registrar General and Census Commissioner of India), and comprised an even split of males and females.The Market Research Society of India has developed a socio-economic classification (SEC) grid that segments urban households into twelve groups (Market Research Society of India). This segmentation is based on two questions: level of education—from illiteracy to a postgraduate degree—and the ownership of eleven items that range from fairly basic (e.g., electricity connection, gas stove) to relatively sophisticated (e.g., refrigerator, personal computer). As previous qualitative work has found that education levels and disposable incomes can significantly impact one’s ability to make informed and deliberate food choices (Khara), and given meat is a relatively expensive commodity in India (Puskar-Pasewicz), the study focused on the most affluent segments—i.e., SEC A1 and some of SEC A2.It is said that researcher values and predispositions are to some extent inseparable from the research process, and therefore that potential researcher bias must be managed by being self-aware, looking for contradictory data, and being open to different interpretations of the data (Ogden). As the interviewer is a vegan of Indian ethnicity, she attempted to manage researcher bias in several ways. Triangulation of data sources (e.g., interviews, observations, product analysis) helped provide a multi-faceted understanding of the topic (Patton). The discussion guide and findings were also discussed with researchers from different cultural and dietary backgrounds. It is also argued that when a researcher shares the same background as the participants—as was the case in this study—participants may remain silent on certain issues, as they may assume the researcher knows the context and nuances in relation to these issues (McGinn). This arose in some instances as some participants said, “it’s standard stuff you know?” The interviewer hence took an “outsider” role, stating “I’ll need to know what standard stuff is”, so as to reduce any expectation that she ought to understand the social norms, conventions, and cultural practices related to the issue (Leckie). This helped yield more elaborate discussions and greater insight into the topic from the participant’s own unique perspective.The Rise of New and Diverse Meat-based Foods in Urban India Since the early 1990s, which marked the beginning of globalisation in India, urban Indian food culture has undergone a significant change as food imports have been liberalised and international food brands have made their way into the domestic market (Vepa). As a result, India’s major urban centres appear to be witnessing a food revolution:Bombay has become so metropolitan, I mean it always was but it’s so much more in terms of food now … and it’s so tempting. (Female, age 32)The changing food culture has also seen an increase in new dishes, such as a lamb burger stuffed with blue cheese, and the desire to try out exotic meats such as octopus, camel, rabbit, and emu. Many participants described themselves as “food obsessed” and living in a “present and continuous state of food”, where “we finish a meal and we’ve already started discussing our next meal”.In comparison, traditional plant-based foods were seen to have not undergone the same transformation and were described as “boring” and “standard” in comparison to the more interesting and diverse meat-based dishes:a standard restaurant menu, you don’t have all the different leafy vegetables…It’s mostly a few paneer and this or that—and upon that they don’t do much justice to the vegetable itself. It’s the same masala which they mix in it so everything tastes the same to me. So that’s a big difference when you consider meats. If I eat chicken in different preparations it has a different taste, if I have fish each has a different taste. (Male, age 29)If I’m going out and I’m spending, then I’m not going to eat the same thing which I eat at home every day which is veg food ... I will always pick the non-vegetarian option. (Male, age 32)Liberalisation and the transformation of the local media landscape also appears to have encouraged a new form of consumerism (Sinha). One participant described how an array of new TV channels and programmes have opened up new horizons for food:The whole visual attraction of food, getting it into your living room or into your bedroom and showing you all this great stuff … [There are now] kiddie birthdays which are MasterChef birthdays. There are MasterChef team building activities … So food is very big and I think media has had a very, very large role to play in that. (Female, age 40+)In a similar vein, digital media has also helped shape the food revolution. India has the world’s second largest number of Internet users (Statista, Internet) and new technology seems to have changed the way urban Indians interact with food:We are using social sites. We see all the cooking tips and all the recipes. I have a wife and she’s like, “Oh, let’s cook it!” (Male, age 25)I see everything on YouTube and food channels and all that. I really like the presentation, how they just a little they cook the chicken breast. (Female, age 42)Smartphones and apps have also made access to new cuisines easier, and some participants have become accustomed to instant gratification, givendelivery boys who can satisfy your craving by delivering it to you … You order food from “Zomato” at twelve o’clock, one o’clock also. And order from “Sigree” in the morning also nowadays … more delivery options are there in India. (Male, age 30)This may also partially explain the growing popularity of fusion foods, which include meat-based variations of traditional plant-based dishes, such as meat-filled dosas and parathas.Emerging Tastes for Meat-based Cuisines Many highlighted the sensory pleasure derived from meat eating itself, focusing on a broad range of sensory qualities:There’s the texture, there’s the smell, there’s aroma, there’s the taste itself … Now imagine if chicken or beef was as soft as paneer, we probably wouldn’t enjoy it as much. There’s a bit of that pull. (Female, age 32)Some discussed adopting a plant-based diet for health-related reasons but also highlighted that the experience, overall, was short of satisfactory:I was doing one week of GM Diet … one day it was full of fruits, then one day it was full of vegetables. And then in the third day, when it was actually the chicken part, frankly speaking even I enjoyed … you just cannot have veggies everyday. (Female, age 35)Only eating veg, I think my whole mouth was, I think gone bad. Because I really wanted to have something … keema [minced meat]. (Female, age 38)Plant-based foods, in comparison to meat-based dishes, were described as “bland”, “boring”, and lacking in the “umami zing”. Even if cooked in the same spices, plant-based foods were still seen to be wanting:you have chicken curry and soya bean curry made from the same masala … but if you replace meat with some other substitutes, you’re gonna be able to tell the difference ... the taste of meat, I feel, is better than the taste of a vegetable. (Male, age 32)The thing is, vegetarian dishes are bland … They don’t get the feeling of the spices in the vegetarian dish ... So when you are eating something juicy, having a bite, it’s a mouthful thing. Vegetarian dishes are not mouthful. (Male, age 25)At the end of a vegetarian meal … I think that maybe [it is] a lack of fullness … I’m eating less because you get bored after a while. (Female, age 32)Tasting the Forbidden FruitIn India, chicken is considered to be widely acceptable, as pork is forbidden to Muslims and beef is prohibited for Hindus (Devi et al.; Jishnu). However, the desire for new flavours seems to be pushing the boundaries of what is deemed acceptable, as highlighted in the discussion below with a 25-year-old male Muslim participant:Participant: When I go out with my friends then I try new things like bacon.Moderator: Bacon?Participant: Yeah... when I went with my colleagues to this restaurant in Bandra—it’s called Saltwater Cafe. And they had this chicken burger with bacon wrapped on it.Moderator: Okay.Participant: And I didn’t know at the time that it’s bacon … They didn’t tell me what we are having … When I had it, I told them that it’s tasting like different, totally different, like I haven’t had this in my life.Moderator: Yeah.Participant: And when they told me that it’s bacon then, I thought, okay fine. Something new I can have. Now I’m old enough to make my own choices.Similarly, several Hindu participants expressed similar sentiments about beef consumption:One of our friends, he used to have beef. He said this tastes better than chicken so I tried it. (Male, age 30)I ended up ordering beef which I actually would never eat ... But then everyone was like, it’s a must try ... So I start off with eating the gravy and then it entices me. That’s when I go and try the meat. (Female, aged 23)Although studies on meat eating in India are limited, it seems that many prefer to consume meats outside the home (Suresh; Devi et al.), away from the watchful eyes of parents, partners and, in some instances, the neighbours:My dad would say if you want to eat beef or anything have it outside but don’t bring it home. (Male, age 29)One of my friends … he keeps secret from his girlfriend … he come with us and eat [meat] and tell us not to tell her. (Male, age 26)People around have a little bit of a different view towards people eating non-veg in that area—so we wouldn’t openly talk about eating non-veg when somebody from the locality is around. (Female, age 32)Further to this point, some discussed a certain thrill that arose from pushing social boundaries by eating these forbidden meats:feel excited ... it gave me confidence also. I didn’t know ... my own decision. Something that is riskier in my life, which I hadn’t done before. (Male, age 25)Meat as a Status SymbolIn urban India, meat is increasingly considered a status symbol (Roy; Esselborn; Goswami). Similarly, several participants highlighted that meat-based dishes tend to be cooked for special occasions:non-vegetarian meals [at home] were perceived as being more elaborate and more lavish probably as compared to vegetarian meals. (Male, age 34)Dal [a lentil dish] is one of the basic things which we don’t make in the house when you have guests, or when you have an occasion … We usually make biryani…gravies of chicken or mutton. (Female, age 38)Success in urban India tends to be measured through one’s engagement with commodities that hold status-enhancing appeal (Mathur), and this also appears to apply to eating practices. Among meat-eating communities, it was found that serving only plant-based foods on special occasions was potentially seen as “low grade” and not quite socially acceptable:It’s just considered not something special. In fact, you would be judged…they would be like, “Oh my God, they only served us vegetables.” (Female, age 32)If you are basically from a Gujarati family, you are helpless. You have to serve that thing [vegetarian food] ... But if you are a non-vegetarian … if you serve them veg, it looks too low grade. (Female, age 38)In fact, among some families, serving “simple vegetarian food” tended to be associated with sombre occasions such as funerals, where one tends to avoid eating certain foods that give rise to desires, such as meat. This is elaborated upon in the below discussion with a Hindu participant (female, aged 40+):Participant: So an aunt of mine passed away a little over a year ago … traditionally we have this 13 day thing where you eat—We call it “Oshoge”… the khaana [food] is supposed to be neutral.Moderator: The khaana is supposed to be vegetarian?Participant: Yeah, it’s not just vegetarian … You’re supposed to have very simple vegetarian food like boiled food or you know dahi [plain yoghurt] and puffed rice … after a day of that, we were all looking at each other and then my cousin said, “Let me teach you how to fillet fish.” Similarly, a Muslim participant mentioned how serving certain dishes—such as dal, a common vegetarian dish—tends to be reserved for funeral occasions and is therefore considered socially unacceptable for other occasions:I’m calling a guest and I make dal chawal [lentils and rice] okay? They will think, arrey yeh kya yeh mayat ka khaana hai kya? [oh what is this, is the food for a corpse or what]? ... I can make it on that particular day when somebody has died in the family ... but then whenever guest is at home, or there is an occasion, we cannot make dal. (Female, age 38)ConclusionUrban India is experiencing a shift in norms around food choices, as meat-based dishes appear to have become symbolic of the broader changing landscape. Meat is not only eaten for its sensory properties but also because of its sociocultural associations. In comparison, many plant-based foods are perceived as relatively bland and uninteresting. This raises the question of how to make plant-based eating more appealing, both in terms of social significance and sensory enjoyment. In view of the attachment to familiar customs against the backdrop of a rapidly changing urban culture (Sinha; Venkatesh), perhaps plant-based foods could be re-introduced to the urban Indian as a blend of Western novelty and traditional familiarity (Majumdar), thereby representing the “the new along with the old” (Sinha 18), and hence enhancing their status. 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Introduction Food has always been an essential component of daily life. Today, thinking about food is a much more complicated pursuit than planning the next meal, with food studies scholars devoting their efforts to researching “anything pertaining to food and eating, from how food is grown to when and how it is eaten, to who eats it and with whom, and the nutritional quality” (Duran and MacDonald 234). This is in addition to the work undertaken by an increasingly wide variety of popular culture researchers who explore all aspects of food (Risson and Brien 3): including food advertising, food packaging, food on television, and food in popular fiction. In creating stories, from those works that quickly disappear from bookstore shelves to those that become entrenched in the literary canon, writers use food to communicate the everyday and to explore a vast range of ideas from cultural background to social standing, and also use food to provide perspectives “into the cultural and historical uniqueness of a given social group” (Piatti-Farnell 80). For example in Oliver Twist (1838) by Charles Dickens, the central character challenges the class system when: “Child as he was, he was desperate with hunger and reckless with misery. He rose from the table, and advancing basin and spoon in hand, to the master, said, somewhat alarmed at his own temerity–‘Please, sir, I want some more’” (11). Scarlett O’Hara in Margaret Mitchell’s Gone with the Wind (1936) makes a similar point, a little more dramatically, when she declares: “As God is my witness, I’m never going to be hungry again” (419). Food can also take us into the depths of another culture: places that many of us will only ever read about. Food is also used to provide insight into a character’s state of mind. In Nora Ephron’s Heartburn (1983) an item as simple as boiled bread tells a reader so much more about Rachel Samstat than her preferred bakery items: “So we got married and I got pregnant and I gave up my New York apartment and moved to Washington. Talk about mistakes [...] there I was, trying to hold up my end in a city where you can’t even buy a decent bagel” (34). There are three ways in which writers can deal with food within their work. Firstly, food can be totally ignored. This approach is sometimes taken despite food being such a standard feature of storytelling that its absence, be it a lonely meal at home, elegant canapés at an impressively catered cocktail party, or a cheap sandwich collected from a local café, is an obvious omission. Food can also add realism to a story, with many authors putting as much effort into conjuring the smell, taste, and texture of food as they do into providing a backstory and a purpose for their characters. In recent years, a third way has emerged with some writers placing such importance upon food in fiction that the line that divides the cookbook and the novel has become distorted. This article looks at cookbooks and cookery in popular fiction with a particular focus on crime novels. Recipes: Ingredients and Preparation Food in fiction has been employed, with great success, to help characters cope with grief; giving them the reassurance that only comes through the familiarity of the kitchen and the concentration required to fulfil routine tasks: to chop and dice, to mix, to sift and roll, to bake, broil, grill, steam, and fry. Such grief can come from the breakdown of a relationship as seen in Nora Ephron’s Heartburn (1983). An autobiography under the guise of fiction, this novel is the first-person story of a cookbook author, a description that irritates the narrator as she feels her works “aren’t merely cookbooks” (95). She is, however, grateful she was not described as “a distraught, rejected, pregnant cookbook author whose husband was in love with a giantess” (95). As the collapse of the marriage is described, her favourite recipes are shared: Bacon Hash; Four Minute Eggs; Toasted Almonds; Lima Beans with Pears; Linguine Alla Cecca; Pot Roast; three types of Potatoes; Sorrel Soup; desserts including Bread Pudding, Cheesecake, Key Lime Pie and Peach Pie; and a Vinaigrette, all in an effort to reassert her personal skills and thus personal value. Grief can also result from loss of hope and the realisation that a life long dreamed of will never be realised. Like Water for Chocolate (1989), by Laura Esquivel, is the magical realist tale of Tita De La Garza who, as the youngest daughter, is forbidden to marry as she must take care of her mother, a woman who: “Unquestionably, when it came to dividing, dismantling, dismembering, desolating, detaching, dispossessing, destroying or dominating […] was a pro” (87). Tita’s life lurches from one painful, unjust episode to the next; the only emotional stability she has comes from the kitchen, and from her cooking of a series of dishes: Christmas Rolls; Chabela Wedding Cake; Quail in Rose Petal Sauce; Turkey Mole; Northern-style Chorizo; Oxtail Soup; Champandongo; Chocolate and Three Kings’s Day Bread; Cream Fritters; and Beans with Chilli Tezcucana-style. This is a series of culinary-based activities that attempts to superimpose normalcy on a life that is far from the everyday. Grief is most commonly associated with death. Undertaking the selection, preparation and presentation of meals in novels dealing with bereavement is both a functional and symbolic act: life must go on for those left behind but it must go on in a very different way. Thus, novels that use food to deal with loss are particularly important because they can “make non-cooks believe they can cook, and for frequent cooks, affirm what they already know: that cooking heals” (Baltazar online). In Angelina’s Bachelors (2011) by Brian O’Reilly, Angelina D’Angelo believes “cooking was not just about food. It was about character” (2). By the end of the first chapter the young woman’s husband is dead and she is in the kitchen looking for solace, and survival, in cookery. In The Kitchen Daughter (2011) by Jael McHenry, Ginny Selvaggio is struggling to cope with the death of her parents and the friends and relations who crowd her home after the funeral. Like Angelina, Ginny retreats to the kitchen. There are, of course, exceptions. In Ntozake Shange’s Sassafrass, Cypress & Indigo (1982), cooking celebrates, comforts, and seduces (Calta). This story of three sisters from South Carolina is told through diary entries, narrative, letters, poetry, songs, and spells. Recipes are also found throughout the text: Turkey; Marmalade; Rice; Spinach; Crabmeat; Fish; Sweetbread; Duck; Lamb; and, Asparagus. Anthony Capella’s The Food of Love (2004), a modern retelling of the classic tale of Cyrano de Bergerac, is about the beautiful Laura, a waiter masquerading as a top chef Tommaso, and the talented Bruno who, “thick-set, heavy, and slightly awkward” (21), covers for Tommaso’s incompetency in the kitchen as he, too, falls for Laura. The novel contains recipes and contains considerable information about food: Take fusilli […] People say this pasta was designed by Leonardo da Vinci himself. The spiral fins carry the biggest amount of sauce relative to the surface area, you see? But it only works with a thick, heavy sauce that can cling to the grooves. Conchiglie, on the other hand, is like a shell, so it holds a thin, liquid sauce inside it perfectly (17). Recipes: Dishing Up Death Crime fiction is a genre with a long history of focusing on food; from the theft of food in the novels of the nineteenth century to the utilisation of many different types of food such as chocolate, marmalade, and sweet omelettes to administer poison (Berkeley, Christie, Sayers), the latter vehicle for arsenic receiving much attention in Harriet Vane’s trial in Dorothy L. Sayers’s Strong Poison (1930). The Judge, in summing up the case, states to the members of the jury: “Four eggs were brought to the table in their shells, and Mr Urquhart broke them one by one into a bowl, adding sugar from a sifter [...he then] cooked the omelette in a chafing dish, filled it with hot jam” (14). Prior to what Timothy Taylor has described as the “pre-foodie era” the crime fiction genre was “littered with corpses whose last breaths smelled oddly sweet, or bitter, or of almonds” (online). Of course not all murders are committed in such a subtle fashion. In Roald Dahl’s Lamb to the Slaughter (1953), Mary Maloney murders her policeman husband, clubbing him over the head with a frozen leg of lamb. The meat is roasting nicely when her husband’s colleagues arrive to investigate his death, the lamb is offered and consumed: the murder weapon now beyond the recovery of investigators. Recent years have also seen more and more crime fiction writers present a central protagonist working within the food industry, drawing connections between the skills required for food preparation and those needed to catch a murderer. Working with cooks or crooks, or both, requires planning and people skills in addition to creative thinking, dedication, reliability, stamina, and a willingness to take risks. Kent Carroll insists that “food and mysteries just go together” (Carroll in Calta), with crime fiction website Stop, You’re Killing Me! listing, at the time of writing, over 85 culinary-based crime fiction series, there is certainly sufficient evidence to support his claim. Of the numerous works available that focus on food there are many series that go beyond featuring food and beverages, to present recipes as well as the solving of crimes. These include: the Candy Holliday Murder Mysteries by B. B. Haywood; the Coffeehouse Mysteries by Cleo Coyle; the Hannah Swensen Mysteries by Joanne Fluke; the Hemlock Falls Mysteries by Claudia Bishop; the Memphis BBQ Mysteries by Riley Adams; the Piece of Cake Mysteries by Jacklyn Brady; the Tea Shop Mysteries by Laura Childs; and, the White House Chef Mysteries by Julie Hyzy. The vast majority of offerings within this female dominated sub-genre that has been labelled “Crime and Dine” (Collins online) are American, both in origin and setting. A significant contribution to this increasingly popular formula is, however, from an Australian author Kerry Greenwood. Food features within her famed Phryne Fisher Series with recipes included in A Question of Death (2007). Recipes also form part of Greenwood’s food-themed collection of short crime stories Recipes for Crime (1995), written with Jenny Pausacker. These nine stories, each one imitating the style of one of crime fiction’s greatest contributors (from Agatha Christie to Raymond Chandler), allow readers to simultaneously access mysteries and recipes. 2004 saw the first publication of Earthly Delights and the introduction of her character, Corinna Chapman. This series follows the adventures of a woman who gave up a career as an accountant to open her own bakery in Melbourne. Corinna also investigates the occasional murder. Recipes can be found at the end of each of these books with the Corinna Chapman Recipe Book (nd), filled with instructions for baking bread, muffins and tea cakes in addition to recipes for main courses such as risotto, goulash, and “Chicken with Pineapple 1971 Style”, available from the publisher’s website. Recipes: Integration and Segregation In Heartburn (1983), Rachel acknowledges that presenting a work of fiction and a collection of recipes within a single volume can present challenges, observing: “I see that I haven’t managed to work in any recipes for a while. It’s hard to work in recipes when you’re moving the plot forward” (99). How Rachel tells her story is, however, a reflection of how she undertakes her work, with her own cookbooks being, she admits, more narration than instruction: “The cookbooks I write do well. They’re very personal and chatty–they’re cookbooks in an almost incidental way. I write chapters about friends or relatives or trips or experiences, and work in the recipes peripherally” (17). Some authors integrate detailed recipes into their narratives through description and dialogue. An excellent example of this approach can be found in the Coffeehouse Mystery Series by Cleo Coyle, in the novel On What Grounds (2003). When the central protagonist is being questioned by police, Clare Cosi’s answers are interrupted by a flashback scene and instructions on how to make Greek coffee: Three ounces of water and one very heaped teaspoon of dark roast coffee per serving. (I used half Italian roast, and half Maracaibo––a lovely Venezuelan coffee, named after the country’s major port; rich in flavour, with delicate wine overtones.) / Water and finely ground beans both go into the ibrik together. The water is then brought to a boil over medium heat (37). This provides insight into Clare’s character; that, when under pressure, she focuses her mind on what she firmly believes to be true – not the information that she is doubtful of or a situation that she is struggling to understand. Yet breaking up the action within a novel in this way–particularly within crime fiction, a genre that is predominantly dependant upon generating tension and building the pacing of the plotting to the climax–is an unusual but ultimately successful style of writing. Inquiry and instruction are comfortable bedfellows; as the central protagonists within these works discover whodunit, the readers discover who committed murder as well as a little bit more about one of the world’s most popular beverages, thus highlighting how cookbooks and novels both serve to entertain and to educate. Many authors will save their recipes, serving them up at the end of a story. This can be seen in Julie Hyzy’s White House Chef Mystery novels, the cover of each volume in the series boasts that it “includes Recipes for a Complete Presidential Menu!” These menus, with detailed ingredients lists, instructions for cooking and options for serving, are segregated from the stories and appear at the end of each work. Yet other writers will deploy a hybrid approach such as the one seen in Like Water for Chocolate (1989), where the ingredients are listed at the commencement of each chapter and the preparation for the recipes form part of the narrative. This method of integration is also deployed in The Kitchen Daughter (2011), which sees most of the chapters introduced with a recipe card, those chapters then going on to deal with action in the kitchen. Using recipes as chapter breaks is a structure that has, very recently, been adopted by Australian celebrity chef, food writer, and, now fiction author, Ed Halmagyi, in his new work, which is both cookbook and novel, The Food Clock: A Year of Cooking Seasonally (2012). As people exchange recipes in reality, so too do fictional characters. The Recipe Club (2009), by Andrea Israel and Nancy Garfinkel, is the story of two friends, Lilly Stone and Valerie Rudman, which is structured as an epistolary novel. As they exchange feelings, ideas and news in their correspondence, they also exchange recipes: over eighty of them throughout the novel in e-mails and letters. In The Food of Love (2004), written messages between two of the main characters are also used to share recipes. In addition, readers are able to post their own recipes, inspired by this book and other works by Anthony Capella, on the author’s website. From Page to Plate Some readers are contributing to the burgeoning food tourism market by seeking out the meals from the pages of their favourite novels in bars, cafés, and restaurants around the world, expanding the idea of “map as menu” (Spang 79). In Shannon McKenna Schmidt’s and Joni Rendon’s guide to literary tourism, Novel Destinations (2009), there is an entire section, “Eat Your Words: Literary Places to Sip and Sup”, dedicated to beverages and food. The listings include details for John’s Grill, in San Francisco, which still has on the menu Sam Spade’s Lamb Chops, served with baked potato and sliced tomatoes: a meal enjoyed by author Dashiell Hammett and subsequently consumed by his well-known protagonist in The Maltese Falcon (193), and the Café de la Paix, in Paris, frequented by Ian Fleming’s James Bond because “the food was good enough and it amused him to watch the people” (197). Those wanting to follow in the footsteps of writers can go to Harry’s Bar, in Venice, where the likes of Marcel Proust, Sinclair Lewis, Somerset Maugham, Ernest Hemingway, and Truman Capote have all enjoyed a drink (195) or The Eagle and Child, in Oxford, which hosted the regular meetings of the Inklings––a group which included C.S. Lewis and J.R.R. Tolkien––in the wood-panelled Rabbit Room (203). A number of eateries have developed their own literary themes such as the Peacocks Tearooms, in Cambridgeshire, which blends their own teas. Readers who are also tea drinkers can indulge in the Sherlock Holmes (Earl Grey with Lapsang Souchong) and the Doctor Watson (Keemun and Darjeeling with Lapsang Souchong). Alternatively, readers may prefer to side with the criminal mind and indulge in the Moriarty (Black Chai with Star Anise, Pepper, Cinnamon, and Fennel) (Peacocks). The Moat Bar and Café, in Melbourne, situated in the basement of the State Library of Victoria, caters “to the whimsy and fantasy of the fiction housed above” and even runs a book exchange program (The Moat). For those readers who are unable, or unwilling, to travel the globe in search of such savoury and sweet treats there is a wide variety of locally-based literary lunches and other meals, that bring together popular authors and wonderful food, routinely organised by book sellers, literature societies, and publishing houses. There are also many cookbooks now easily obtainable that make it possible to re-create fictional food at home. One of the many examples available is The Book Lover’s Cookbook (2003) by Shaunda Kennedy Wenger and Janet Kay Jensen, a work containing over three hundred pages of: Breakfasts; Main & Side Dishes; Soups; Salads; Appetizers, Breads & Other Finger Foods; Desserts; and Cookies & Other Sweets based on the pages of children’s books, literary classics, popular fiction, plays, poetry, and proverbs. If crime fiction is your preferred genre then you can turn to Jean Evans’s The Crime Lover’s Cookbook (2007), which features short stories in between the pages of recipes. There is also Estérelle Payany’s Recipe for Murder (2010) a beautifully illustrated volume that presents detailed instructions for Pigs in a Blanket based on the Big Bad Wolf’s appearance in The Three Little Pigs (44–7), and Roast Beef with Truffled Mashed Potatoes, which acknowledges Patrick Bateman’s fondness for fine dining in Bret Easton Ellis’s American Psycho (124–7). Conclusion Cookbooks and many popular fiction novels are reflections of each other in terms of creativity, function, and structure. In some instances the two forms are so closely entwined that a single volume will concurrently share a narrative while providing information about, and instruction, on cookery. Indeed, cooking in books is becoming so popular that the line that traditionally separated cookbooks from other types of books, such as romance or crime novels, is becoming increasingly distorted. The separation between food and fiction is further blurred by food tourism and how people strive to experience some of the foods found within fictional works at bars, cafés, and restaurants around the world or, create such experiences in their own homes using fiction-themed recipe books. Food has always been acknowledged as essential for life; books have long been acknowledged as food for thought and food for the soul. 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