Abstract
Climate cuisine is about eating the future you want into being. In this article, I examine how seaweed recipes can be forms of climate fiction through the way that the reader is invited to participate in sustainable foodways. I examine several popularizations of seaweed aquaculture that imagine practices of eating and growing seaweeds. Their formal similarities center on participation: they include the direct address of the reader through the second person voice, and position themselves as instructional models. Bren Smith’s Eat Like a Fish (Smith, Eat like a fish: My adventures as a fisherman turned restorative ocean farmer, Penguin, 2019) interpellates the reader as eater, invited to cultivate eating habits that, on a societal scale, would produce a more materially sustainable relation with the planet. The vignette “Ghost Bar,” which appears in Holly Jean Buck’s After Geoengineering: Climate Tragedy, Repair, and Restoration (Buck, After geoengineering: Climate tragedy, repair, and restoration, Verso, 2019), sensorily emplaces the reader in a future seaweed farm as a window into the kinds of livelihoods and forms of work that could be part of mitigating global warming. I trace the similarities between Smith’s recipes and Buck’s interpellation of a reader, both of which use the second-person mode addressing an unmarked “you,” inviting this “you” to imagine and actualize the future dish or future scenario they sketch. While these texts have their own limitations at the level of the social imagination, such popularizations of seaweed aquaculture model an important way of understanding the intimacies of climate fiction and recipes. Recipes not only popularize the sustainable eating of seaweeds, but actively constitute a form of climate fiction through their intention to actualize more seaweedy futures.
Abstract
Climate cuisine is about eating the future you want into being. In this article, I examine how seaweed recipes can be forms of climate fiction through the way that the reader is invited to participate in sustainable foodways. I examine several popularizations of seaweed aquaculture that imagine practices of eating and growing seaweeds. Their formal similarities center on participation: they include the direct address of the reader through the second person voice, and position themselves as instructional models. Bren Smith’s Eat Like a Fish (Smith, Eat like a fish: My adventures as a fisherman turned restorative ocean farmer, Penguin, 2019) interpellates the reader as eater, invited to cultivate eating habits that, on a societal scale, would produce a more materially sustainable relation with the planet. The vignette “Ghost Bar,” which appears in Holly Jean Buck’s After Geoengineering: Climate Tragedy, Repair, and Restoration (Buck, After geoengineering: Climate tragedy, repair, and restoration, Verso, 2019), sensorily emplaces the reader in a future seaweed farm as a window into the kinds of livelihoods and forms of work that could be part of mitigating global warming. I trace the similarities between Smith’s recipes and Buck’s interpellation of a reader, both of which use the second-person mode addressing an unmarked “you,” inviting this “you” to imagine and actualize the future dish or future scenario they sketch. While these texts have their own limitations at the level of the social imagination, such popularizations of seaweed aquaculture model an important way of understanding the intimacies of climate fiction and recipes. Recipes not only popularize the sustainable eating of seaweeds, but actively constitute a form of climate fiction through their intention to actualize more seaweedy futures. Leer más
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