A Food Writer to Remember: The Legendary M.F.K. Fisher
Photo by Christine Alicino
A FOOD WRITER TO REMEMBER
THE LEGENDARY M.F.K. FISHER
Heidi Yorkshire
For Summer 2008
July 3, 2008, marks the 100th anniversary of the birth of writer M.F.K. Fisher, whose vivid, impeccably detailed memoirs and essays are among the treasures of American letters. Her first book, Serve It Forth, was published in 1937, yet for decades her works were cherished by a relatively small number of readers. W.H. Auden once called Fisher “the best prose writer in America,” but she remained, in her own words, “a secret little cult figure,” largely because much of her writing is about the transcendent pleasures of eating.
When much of Fisher’s work first appeared, she was relegated by many to the menial category of food writer. Being female and beautiful didn’t help her get taken seriously, either; a 1942 Newsweek review of one of her books describes her as “a blonde gorgeous enough to eat.” Even so, a staunch group of admirers, including editors at The New Yorker and The Atlantic Monthly, continued to recognize the value of her work. Eventually cuisine was elevated to high art, women’s voices were allowed to be heard, and M.F.K. Fisher was unofficially appointed patron saint of the foodie generation. She became — though she shuddered to hear it — famous.
Fisher died in 1992, just shy of her 84th birthday. Appreciation for her work has continued to grow, proving that many readers see the truth of her observation: “There is a communion of more than our bodies when bread is broken and wine is drunk.”
I discovered Fisher’s work in the early 1970s, thanks to my first mother-in-law, a librarian, who also introduced me to the pleasures of A.J. Liebling and Craig Claiborne, among others. (I’m still grateful to Connie for sharing her love of food and books, though my marriage to her son has been history for close to 30 years.) This profile, which has been updated, came about when my editor at a now-defunct magazine suggested that I ask Fisher for an interview. I was shy about phoning someone I admired so much, but when I finally got up the nerve, the great lady could not have been more cordial. “Sure, honey,” Fisher said, “Come on over!”
I showed up at her house on August 15, 1989, accompanied by the man who would become my husband. Though Joe was also a journalist, we had never worked together; still, when he heard who I was going to interview, he refused to be left behind. It was lucky he was there: Fisher, a passionate character even in her eighties, clearly loved men, and flirted like crazy with Joe throughout the interview. I suspect it was a much livelier conversation than we would have had if I’d come alone.
KEEP OUT. CROSS FIRE. RIFLE RANGES.
The sign was unequivocal, but no one, it seems, kept out. During the last years of M.F.K. Fisher’s life, an increasing number of the reverent and the curious ignored the warning, bouncing down a rutted one-lane road to a little pink-and-white stucco house with a shingled roof. There, they shuffled respectfully into the presence of a reed-thin, gray-haired woman with a crackly voice and piercing wit, recording her words, noting her thoughts, and making her thoroughly uncomfortable with their praise.
On the eve of her 82nd birthday, Mary Frances Kennedy Fisher had become, much to her surprise, an institution. But the greatest food writer of all was not a food writer at all. Her books are filled with stories, not recipes; her ingredients are people and emotions, not flour and sugar. Food is a metaphor for human passion, and writing about meals a way to illuminate relationships, hopes, and desires. “Her subject matter matters not at all,” said Jack Shoemaker, former editor-in-chief of North Point Press, the Berkeley firm that re-published many of her books during the 1980s. “North Point was interested in her as a literary stylist. She writes exquisitely well, and only secondarily about food.”
From 1970, Fisher lived in the Valley of the Moon, a few miles north of the town of Sonoma, on a ranch owned by her friend David Pleydell-Bouverie, an architect who designed and built her house. When I rang her bell, we were ushered into her bedroom office, a long, narrow room with a wood stove at the center of one wall. Red-painted bookshelves, crammed full, lined the alcove around the stove. The shiny black vinyl tile covering the floor imitated Spanish ceramic. Near the door stood a nondescript wooden desk, heaped with papers; at the other end of the room was a hospital-type bed, with two mobiles slowly twisting above it. The brown summer pastures radiated heat, but the room was cool.
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