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<v Speaker 1>Welcome. This is Rebecca Shore for Radio Eye and to

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<v Speaker 1>day I will be reading from a special edition of

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<v Speaker 1>Smithsonian Magazine America at two fifty the Revolutionary Spark. As

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<v Speaker 1>a reminder, Radio I is a reading service intended for

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<v Speaker 1>people who are blind or have other disabilities that make

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<v Speaker 1>it difficult to read printed material. Please join me now

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<v Speaker 1>for the first article, titled Harriet beecher Stowe wrote a

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<v Speaker 1>work of fiction that seemed so real that it changed

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<v Speaker 1>the history of the country. To fight against slavery, the

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<v Speaker 1>author collected true stories, then picked up a pen and

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<v Speaker 1>distilled them into Uncle Tom's cabin. By Geraldine Brooks, no

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<v Speaker 1>one can have this system of slavery brought before him

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<v Speaker 1>without an irrepressible desire to do something, and what is

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<v Speaker 1>there to be done? Harriet Beecher Stowe was twenty six

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<v Speaker 1>when she posed that frustrated question and a letter to

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<v Speaker 1>her husband. She had been married only a had just

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<v Speaker 1>given birth to twins, and didn't care much for the

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<v Speaker 1>abolitionists she'd encountered, calling them unfashionable persons and moral monomaniacs.

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<v Speaker 1>But if she could not join their movement, what could

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<v Speaker 1>she do? Fifteen years later, she gave her answer. Her

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<v Speaker 1>debut novel, Uncle Tom's Cabin or Life among the Lowly,

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<v Speaker 1>was published in March eighteen fifty two. In its first week,

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<v Speaker 1>it sold ten thousand copies in the United States. By

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<v Speaker 1>year's end, three hundred thousand in the US and more

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<v Speaker 1>than a million in Britain. It was the best selling

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<v Speaker 1>book released in the nineteenth century, second only to The Bible,

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<v Speaker 1>and the first American novel translated into Chinese. It was

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<v Speaker 1>a radical, innovative book. Stowe had diligently gathered shards of

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<v Speaker 1>factual evidence from multiple sources and painstakingly forged her fictional

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<v Speaker 1>account from them. What she created was a story that

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<v Speaker 1>moved people more profoundly than bare fact alone had. Its

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<v Speaker 1>impact was enormous, galvanizing anti slavery sentiment in the North,

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<v Speaker 1>infuriating the South, priming public opinion for the election of

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<v Speaker 1>an anti slavery Republican president, and widening the divisions that

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<v Speaker 1>brought about the Civil War. The novel made this Connecticut

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<v Speaker 1>born preacher's daughter and minister's wife and mother of seven,

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<v Speaker 1>previously a little known author of short stories and educational tracts,

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<v Speaker 1>the most famous and influential woman in America is this

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<v Speaker 1>the little woman who made this great war. Abraham Lincoln

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<v Speaker 1>is reported to have said on meeting the five foot

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<v Speaker 1>tall author at the White House in eighteen sixty two,

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<v Speaker 1>where she had come to lobby for the Emancipation Proclamation.

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<v Speaker 1>Stowe had grown up in a family disinclined toward orthodoxy.

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<v Speaker 1>Her father, the preacher Lyman Beecher, had discarded the angry

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<v Speaker 1>God of New England Calvinism in favor of a more

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<v Speaker 1>inclusive faith, and Harriet's brother, Henry Ward Beecher, refined this

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<v Speaker 1>further into the Gospel of Love, a term he coined

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<v Speaker 1>in a series of lectures at Yale University. Uncle Tom's

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<v Speaker 1>cabin is suffused with Henry's ideal of loving kindness. Tom

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<v Speaker 1>himself is a christ like figure who dies to protect

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<v Speaker 1>others and forgives the overseers ordered to lash him to

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<v Speaker 1>death for refusing to divulge the whereabouts of two escaped women.

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<v Speaker 1>Stowe's anti slavery passions intensified when she moved from Connecticut

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<v Speaker 1>to Cincinnati, where her father had been appointed president of

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<v Speaker 1>the New Lane Theological Seminary. There, she witnessed slave catchers

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<v Speaker 1>enabled by the eighteen fifty fugitive slave Act, requiring northerners

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<v Speaker 1>to aid in capturing and returning enslaved people to their enslavers,

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<v Speaker 1>actively hunting escapees who'd made it across the Ohio River.

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<v Speaker 1>She was appalled when a pro slavery mob sacked the

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<v Speaker 1>premises of an abolitionist newspaper and vandalized the homes of

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<v Speaker 1>free black people in the city. A year later, Elijah P. Lovejoy,

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<v Speaker 1>another anti slavery editor and a friend of the Beechers,

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<v Speaker 1>was murdered by a riotous mob in Alton, Illinois. In

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<v Speaker 1>her novel's concluding remarks, Stowe discloses that for many years

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<v Speaker 1>she considered the subject of enslavement quote too painful to

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<v Speaker 1>be inquired into end quote. In fact, the passage of

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<v Speaker 1>the Fugitive Slave Act impelled her. She was appalled by

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<v Speaker 1>the cowed complicity she witnessed among her neighbors and friends,

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<v Speaker 1>But a more personal loss pervades her novel too. When

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<v Speaker 1>her son Charlie died of cholera at eighteen months in

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<v Speaker 1>eighteen forty nine, she wrote, it was at his dying

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<v Speaker 1>bed and at his grave, that I learned what a

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<v Speaker 1>poor slave mother may feel when her child is torn

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<v Speaker 1>away from her thereafter, she decided she would work to

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<v Speaker 1>show slavery quote in living dramatic reality end quote. Uncle

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<v Speaker 1>Tom's Cabin is a deeply researched book. Its fictional plot

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<v Speaker 1>lines draw directly from narratives of escapees, as well as

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<v Speaker 1>from Henry's accounts of his encounters in slave states, from

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<v Speaker 1>reporting in the abolitionist press, and from interviews with black

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<v Speaker 1>people Stowe employed as domestic servants and those she met

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<v Speaker 1>in academic and religious circles. She credits the inspiration for

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<v Speaker 1>Tom's character to the experience of her cook, a free

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<v Speaker 1>black woman whose enslaved husband in Kentucky quote with such

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<v Speaker 1>a Christian I could not get him to run away

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<v Speaker 1>in quote, even when his enslaver sent him on errands

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<v Speaker 1>to Ohio. The character of Tom's wife, Chloe, is modeled

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<v Speaker 1>on Stowe's housekeeper aunt Frankie, whom she admired for her

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<v Speaker 1>resourcefulness and good humor. The Stowe family's own anti slavery acts,

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<v Speaker 1>including transporting runaways in the dark of night, find their

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<v Speaker 1>way into the novel's account of the flight of one

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<v Speaker 1>enslaved person, Eliza. Eliza's tale is also inspired by the

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<v Speaker 1>experiences of the abolitionist John Rankin, who gave sanctuary to

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<v Speaker 1>a woman and her two year old who had crossed

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<v Speaker 1>the Ohio River on planks and ice floes. When Southerners,

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<v Speaker 1>appalled by the book's impact decried it as libelous exaggerations

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<v Speaker 1>and sensationalized falsehoods, Stowe in eighteen fifty three published a

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<v Speaker 1>Key to Uncle Tom's Cabin, in which she set out

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<v Speaker 1>these and other sources she had drawn on, including slave

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<v Speaker 1>narratives such as the life of Josiah Henson, formerly a

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<v Speaker 1>slave now an inhabitant of Canada, as narrated by himself. Henson,

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<v Speaker 1>who escaped grueling conditions in Maryland, called himself the real

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<v Speaker 1>Uncle Tom and took pride in his association with Stowe's book.

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<v Speaker 1>Stowe took these first person testimonies as her scaffolding, then

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<v Speaker 1>built upon them an imaginative edifice of intense emotion. While

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<v Speaker 1>writers such as James Baldwin have blasted the stereotypes and

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<v Speaker 1>minstrelsy in Stowe's novels, scholars such as Henry Lewis Gates

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<v Speaker 1>Junior and David S. Reynolds's author of Mightier Than the Sword,

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<v Speaker 1>which charts the novel's huge impact, have praised the book.

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<v Speaker 1>There are moments of sharp wit and passages of great

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<v Speaker 1>power throughout the dramatic, sometimes melodramatic action. Consider the response

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<v Speaker 1>of an escapee, George, when chastised by a white business

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<v Speaker 1>man for breaking the quote laws of his country. My

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<v Speaker 1>country again, mister Wilson, you have a country? But what

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<v Speaker 1>country have I or any one like me born of

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<v Speaker 1>slave mothers? What laws are there for us? We don't

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<v Speaker 1>make them, we don't cons sent to them, We have

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<v Speaker 1>nothing to do with them. All they do for us

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<v Speaker 1>is to crush us and keep us down. Heaven, I

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<v Speaker 1>heard your Fourth of July speeches. Don't you tell us

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<v Speaker 1>all once a year that governments derive their just power

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<v Speaker 1>from the consent of the governed. Can't a fellow think

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<v Speaker 1>that hears such things? Can he put this and that

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<v Speaker 1>together and see what it comes to? Four months after

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<v Speaker 1>Uncle Tom's Cabin was published, Frederick Douglas, who had praised

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<v Speaker 1>the novel, delivered his famous oration What to the Slave

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<v Speaker 1>is the fourth of July. The address contains powerful echoes

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<v Speaker 1>of the arguments Stow created for George. Though thousands of

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<v Speaker 1>Americans read the book, many more thousands saw theatrical adaptations

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<v Speaker 1>of the story performed on stages across America long after

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<v Speaker 1>the Civil War. In Lexington, Kentucky, in the early nineteen hundreds,

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<v Speaker 1>the United Daughters of the Confederacy lobbied in Opera House,

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<v Speaker 1>unsuccessfully to have the wildly popular play shut down. The

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<v Speaker 1>group then turned to the state legislature, which in nineteen

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<v Speaker 1>o six passed the Uncle Tom's Cabin Law, allowing censorship

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<v Speaker 1>of any production depicting past race relations in a bad light.

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<v Speaker 1>The daughters had argued that such depictions were injurious, especially

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<v Speaker 1>to the quote plastic minds of children and quote unjust

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<v Speaker 1>to the memories of their fathers. Harriet Beecher Stowe would

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<v Speaker 1>not have agreed. In her novel's concluding remarks, she wrote,

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<v Speaker 1>nothing of tragedy can be written, can be spoken, can

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<v Speaker 1>be conceived that equals the frightful reality of the scenes,

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<v Speaker 1>daily and hourly acting on our shores beneath the shadow

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<v Speaker 1>of American law and the shadow of the Cross of Christ.

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<v Speaker 1>And now, men and women of America, is this a

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<v Speaker 1>thing to be trifled with, apologized for, and passed over

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<v Speaker 1>in silence? And with this article? Did you know? The

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<v Speaker 1>prolific mind of Stowe, though most famous for Uncle Tom's Cabin.

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<v Speaker 1>Stowe wrote thirty odd books over the course of a

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<v Speaker 1>five decade career. Her novels included Dread, A Tale of

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<v Speaker 1>the Great Dismal Swamp eighteen fifty six, The Minister's Wooing

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<v Speaker 1>eighteen fifty nine, and more. Her travel and memoir writing

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<v Speaker 1>included Sunny Memories of Foreign Lands eighteen fifty four and

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<v Speaker 1>Palmettow Leaves eighteen seventy three. She also wrote short stories,

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<v Speaker 1>including The Mayflower or Tales and Pencilings eighteen forty three

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<v Speaker 1>and Old Town Fireside Stories eighteen seventy two, as well

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<v Speaker 1>as instructive books for children, such as Primary Geography for

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<v Speaker 1>Children eighteen thirty three, and also with this article how

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<v Speaker 1>America found its literary voice. It didn't take long for

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<v Speaker 1>the young country to achieve a controlling interest in bookish

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<v Speaker 1>innovation by Ted Scheinman. When did America seize English from

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<v Speaker 1>the English? It's a leading question, yet it can be

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<v Speaker 1>answered simply and truthfully. America began to reinvent anglophone literature

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<v Speaker 1>some time between Anne Bradstreet's arrival in the Colonies and

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<v Speaker 1>Benjamin Franklin's first pamphlet, long before Ralph Waldo Emerson declared

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<v Speaker 1>in eighteen thirty seven that we will work with our

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<v Speaker 1>own hands, we will speak our own minds. A new

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<v Speaker 1>artist had emerged, the American speaker a radically self authorizing eye,

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<v Speaker 1>unlike other peoples. The British critic Christopher Dawson wrote, the

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<v Speaker 1>United States found their origin in a deliberate act of

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<v Speaker 1>corporate self assertion, and ever since the Revolution, every little

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<v Speaker 1>American has been taught to associate himself personally with this

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<v Speaker 1>creative act. Between the eighteenth century and modernism, America produced

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<v Speaker 1>many of the most revolutionary innovations in Anglophone letters. The

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<v Speaker 1>continent was new, at least to Europeans. It was a

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<v Speaker 1>time to make literature new as well. So American authors

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<v Speaker 1>reinvented tradition based on long ago sources, theologian Jonathan Edwards

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<v Speaker 1>rediscovering the Wrath of the Hebrew God, or T. S.

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<v Speaker 1>Eliot drawing on Hindu scriptures and Dante. They also surpassed

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<v Speaker 1>tradition entirely. Hermann Melville expanded the Maritime Romance into an

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<v Speaker 1>epic metaphysical odyssey, and Tony Morrison used enslavement narratives and

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<v Speaker 1>African folklore to create an entirely new form of historical consciousness.

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<v Speaker 1>By nineteen fifty five, the American critic R. W. B.

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<v Speaker 1>Lewis could sketch and critique the singular progress of the

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<v Speaker 1>authentic American, poised at the start of a new history,

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<v Speaker 1>whose sense of newness made possible a series of original

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<v Speaker 1>inquiries and discoveries about human nature, art, and history. The

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<v Speaker 1>American voice thus reoriented the language toward psychological immediacy, conceptual immensity,

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<v Speaker 1>and ceaseless self reinvention, toward the frontier within as well

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<v Speaker 1>as without. Next, there was no American regional cuisine until

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<v Speaker 1>one Virginia housewife thought to compile a diverse collection of recipes.

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<v Speaker 1>Mary Randolph, an in law of the Jefferson family who

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<v Speaker 1>was influenced by enslaved cooks and traditions of European immigrants,

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<v Speaker 1>didn't change Southern cooking with her eighteen twenty four cookbook.

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<v Speaker 1>She originated it by Michael W. Twiddy. There was no

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<v Speaker 1>instruction manual for Mary Randolph to refer to during the

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<v Speaker 1>thirteen years she spent running Richmond, Virginia boarding house a wife, mother,

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<v Speaker 1>and entrepreneur in the early eighteen hundreds, she had to

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<v Speaker 1>figure out the most efficient ways to complete her many

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<v Speaker 1>tasks in the kitchen. Once she discovered what worked, Randolph

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<v Speaker 1>compiled her refined cooking techniques and recipes into eighteen twenty fours,

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<v Speaker 1>The Virginia Housewife. Widely recognized as the seminole Southern Cookbook,

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<v Speaker 1>Randolph's work inevitably represents the melding of traditions, without which

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<v Speaker 1>Southern cooking could not be what it is to day.

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<v Speaker 1>The book's nearly five hundred recipes, many originating and plantation kitchens,

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<v Speaker 1>not only speak to the South's unique culinary heritage, but

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<v Speaker 1>also tell the story of Transatlantic nations. Born in seventeen

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<v Speaker 1>sixty two on her family's plantation in what is known

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<v Speaker 1>today as the Black Belt of Virginia, where some fifty

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<v Speaker 1>to seventy percent of the population were of African descent,

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<v Speaker 1>Randolph was exposed to the first cuisines early on. The

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<v Speaker 1>enslaved cooks who prepared meals for her family upheld West

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<v Speaker 1>African cooking traditions, using the ingredients that were most similar

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<v Speaker 1>to those of their homeland. When visiting her brother Thomas

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<v Speaker 1>and his wife, Martha, Thomas Jefferson's daughter at Monticello, Randolph

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<v Speaker 1>would likely have enjoyed the cuisine prepared by enslaved cooks

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<v Speaker 1>Edith Fawcett and Fanny Hearn, who had been taught by

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<v Speaker 1>White House culinarian Honore Julien at Monticello. The women continued

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<v Speaker 1>the work of formerly enslaved French trained master chef James Hemmings,

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<v Speaker 1>who became the first to prepare macaroni and cheese in

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<v Speaker 1>the United States. The Virginia Housewife is said to be

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<v Speaker 1>the first U s cookbook to include a recipe for it.

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<v Speaker 1>The enslaved Africans and free people of color working around

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<v Speaker 1>Randolph were central in introducing her to the foods and

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<v Speaker 1>flavors that became the core of Southern cuisine. West Africans

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<v Speaker 1>were fond of layered, spicy one pot stews with various starches,

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<v Speaker 1>deep fried proteins, vegetables and fritters, grilled and barbecued meats,

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<v Speaker 1>and braised leafy greens. They used peppery spices to amplify

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<v Speaker 1>or temper the key ingredients allowed them. For example, a

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<v Speaker 1>muddy flavored catfish became pleasant under the influence of turmeric,

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<v Speaker 1>ginger and cayenne pepper. Randolph drew on other traditions too,

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<v Speaker 1>incorporating oysters, wild games such as rabbit, and indigenous crops

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<v Speaker 1>like squash and pumpkin into her recipes. She included popular

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<v Speaker 1>British dishes such as plum pudding, as well as Spanish

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<v Speaker 1>espacho gumbo, described as a West Indian dish, East Indian curry,

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<v Speaker 1>Scottish collops of veal, and French macarons, offering a glimpse

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<v Speaker 1>at Virginia's distinct demographics. Having closed her boarding house in

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<v Speaker 1>eighteen twenty, Randoff was retired and caring for her ailing

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<v Speaker 1>son when she decided to collect and publish her expertise

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<v Speaker 1>for a new generation of homemakers. The difficulties I encountered

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<v Speaker 1>when I first entered on the duties of a housekeeping

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<v Speaker 1>life from the want of books sufficiently clear and concise,

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<v Speaker 1>compelled me to study the subject, Randolph wrote. Her instructions

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<v Speaker 1>also standardized recipes using proper weights and measures reducing waste.

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<v Speaker 1>For when the ingredients employed were given in just proportions,

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<v Speaker 1>she wrote, the article made was always equally good, some

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<v Speaker 1>recipes had to be modified. She adapted British food staples

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<v Speaker 1>made from cool weather grains to her native environment, substituting

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<v Speaker 1>maize and creating authentic American fair corn Bread and hominy

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<v Speaker 1>replaced quick breads and porridge. Chicken, hogs, catfish, and shad

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<v Speaker 1>were consumed far more than beef and lamb. African dishes

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<v Speaker 1>were modified to Western constraints, and they all learned from

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<v Speaker 1>Native Americans who'd mastered how to best use the resources

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<v Speaker 1>of the land. Other expensive and sometimes difficult to find

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<v Speaker 1>groceries were imported from across the Atlantic. Randolph's Cacophony of

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<v Speaker 1>recipes includes beers, preserves, breads, and desserts. You won't find

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<v Speaker 1>lists of ingredients followed by numbered instructions, the familiar format

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<v Speaker 1>of today's recipes. Randolph wrote as though she were speaking

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<v Speaker 1>to the reader, and some might also hear the voices

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<v Speaker 1>of enslaved cooks, although they were denied in education or

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<v Speaker 1>publishing opportunities of their own. The black chefs who influenced

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<v Speaker 1>Randolph left their imprint on the book. Words with West

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<v Speaker 1>African origins like okra O, c h r A are

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<v Speaker 1>peppered throughout, yet it never explicitly credits those men and

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<v Speaker 1>women of African descent. Although she came from a notable

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<v Speaker 1>slaveholding family, Randolph understood that her business success was dependent

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<v Speaker 1>on the Black Virginians, who had been integrating food ways

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<v Speaker 1>from different lands since sixteen nineteen, when the first enslaved

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<v Speaker 1>Africans arrived. On paper, Randolph emphasized method and order. In reality,

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<v Speaker 1>she allowed her cooks a modicum of freedom in the

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<v Speaker 1>kitchen they shared. The book was a huge success for

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<v Speaker 1>the era, republished nineteen times before the Civil War, and

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<v Speaker 1>it spawned similar efforts from other chefs, including The Carolina

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<v Speaker 1>Housewife Domestic Cookery in fifty years in a Maryland Kitchen,

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<v Speaker 1>Randolph wrote that an extensive circulation of her recipes would

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<v Speaker 1>be satisfying. Should they prove serviceable to the young, inexperienced housekeeper,

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<v Speaker 1>it will add greatly to that gratification, she said. Some

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<v Speaker 1>two hundred years later, new editions of The Virginia Housewife

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<v Speaker 1>are still being being printed, and with this article fun

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<v Speaker 1>facts more family ties. James Hemmings, the chef credited with

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<v Speaker 1>creating the recipe for macaroni and cheese, was enslaved at

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<v Speaker 1>Monticello until he was thirty, along with many other members

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<v Speaker 1>of his family. With some seventy members over five generations,

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<v Speaker 1>the Hemmings were the largest family group living at Monticello,

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<v Speaker 1>cookbook author Mary Randolph was married to David Meade Randolph,

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<v Speaker 1>who was appointed U S. Marshal of Virginia by George

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<v Speaker 1>Washington in seventeen ninety five. Detailed genealogical records suggest Mary

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<v Speaker 1>Randolph was a sixth generation descendant of Indigenous American Pocahontas.

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<v Speaker 1>And with this article Five chefs who changed the way

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<v Speaker 1>we eat. Even if you never ate their food, their

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<v Speaker 1>influence has been a key ingredient in American cuisine by

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<v Speaker 1>Terras Grescoe James Beard. Long before the Food Network turned

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<v Speaker 1>chefs into celebrities, Beard brought the first cooking show to

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<v Speaker 1>National TV with I Love to Eat in nineteen forty six.

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<v Speaker 1>Known for his eccentric persona, Beard published twenty six books,

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<v Speaker 1>championed everything from Sloppy Joe's to Lobster Newburgh, and established

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<v Speaker 1>a culinary brand, a cooking school, a foundation annual awards

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<v Speaker 1>that confers enduring bravitas on U S cookery Leah Chase.

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<v Speaker 1>In the nineteen sixties, Chase turned her in law's restaurant,

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<v Speaker 1>Dukie Chase's and New Orleans Tremet District into a temple

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<v Speaker 1>of Creole cuisine. Jim Crow Laws still banned black diners

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<v Speaker 1>from French quarter restaurants, so Chase fed. Leading lights of

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<v Speaker 1>the civil rights movement, James Baldwin favored her gumbo. Remarkably influential,

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<v Speaker 1>she spread the gospel of shrimp, Clemenceau and each cobbler

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<v Speaker 1>in cookbooks and on TV. Julia Child Child's nineteen sixty

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<v Speaker 1>one Mastering the Art of French Cooking was the first

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<v Speaker 1>cookbook to demystify bechamel and roue for home cooks. After

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<v Speaker 1>a wartime stint for US intelligence, Child followed her husband

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<v Speaker 1>to Paris and graduated from La cordon Bleau Culinary School.

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<v Speaker 1>Her live public TV show The French Chef made her

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<v Speaker 1>a beloved celebrity for her uncompromising approach to casslet and

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<v Speaker 1>cocavet Alice Waters. The enduring buzz around farm to table

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<v Speaker 1>cooking began with New Jersey born Waters, who taught Americans

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<v Speaker 1>to follow the seasons as she'd seen Europeans do. After

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<v Speaker 1>studying at the Sorbonne, Waters opened her organic restaurant Chepanice

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<v Speaker 1>and Berkeley, California, in nineteen seventy one. In the nineteen nineties,

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<v Speaker 1>she pioneered the edible schoolyard which teach middle and high

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<v Speaker 1>school students to grow and cook organic produce, and finally,

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<v Speaker 1>Sean Sherman. In two thousand seven, while living in a

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<v Speaker 1>Mexican fishing village, Sherman met nearby Huichal people who'd never

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<v Speaker 1>stopped using traditional ingredients in Aglala Lakota, who grew up

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<v Speaker 1>in South Dakota, Sherman was inspired to study what his

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<v Speaker 1>people ate before European contact. Starting small in twenty fifteen

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<v Speaker 1>with the Food Truck in Minneapolis, he went on to

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<v Speaker 1>write The Sioux Chef's Indigenous Kitchen twenty seventeen, and his

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<v Speaker 1>Minneapolis restaurant Owomni has won awards for its pre colonial cuisine.

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<v Speaker 1>He's part of a wave of chefs charting the culinary future. Finally,

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<v Speaker 1>when Clarence Bird's Eye tasted the trout that had been

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<v Speaker 1>frozen by Inuit fishermen, it changed the way we buy food.

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<v Speaker 1>The inventive entrepreneur concluded that the faster things were frozen,

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<v Speaker 1>the less damage was done to the structure of the food.

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<v Speaker 1>Once thawed, they were exactly like fresh. By Michelle Stacy,

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<v Speaker 1>It's a Tail Ripe for the Screen in nineteen twelve.

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<v Speaker 1>A twenty five year old Brooklyn native with an adventurous

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<v Speaker 1>streak journeys to the icy reaches of Northeast Canada, where

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<v Speaker 1>he spends the better part of five years learning indigenous ways.

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<v Speaker 1>One particular practice fascinates him Inuit fisherman's method for preserving fish,

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<v Speaker 1>which involves simply pulling a trout out of a hole

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<v Speaker 1>in the ice and letting it freeze almost instantly in

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<v Speaker 1>the minus thirty degree air. When thawed and cooked, the

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<v Speaker 1>fish tastes remarkably fresh. The young man has just learned

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<v Speaker 1>a trick to freezing food in a palatable way, which

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<v Speaker 1>will bring him a fortune in the decades to come.

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<v Speaker 1>His name is Clarence Bird's Eye. The key to maintaining

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<v Speaker 1>freshness Bird's Eye realized was crystallization. When a food freezes slowly,

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<v Speaker 1>the liquid within forms large ice crystals, which d damage

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<v Speaker 1>its cell structure. The result, when thawed a leaky, greeny,

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<v Speaker 1>mushy product, which was the only kind of frozen food

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<v Speaker 1>available in the United States in the early nineteen hundreds.

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<v Speaker 1>Flash freezing, however, results in tiny ice crystals, preserving the

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<v Speaker 1>food's texture and flavor. That discovery led to the creation

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<v Speaker 1>of the Bird's Eye Company in nineteen twenty three, opening

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<v Speaker 1>the door to what is now an almost three hundred

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<v Speaker 1>billion dollar global frozen foods industry and to a larger

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<v Speaker 1>universe of ready made, packaged and processed foods. But Bird's

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<v Speaker 1>Eyes innovations went far beyond simply importing the quick freeze method.

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<v Speaker 1>His ideas were so new that he had to pioneer

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<v Speaker 1>every step of production, inventing machines along the way. The

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<v Speaker 1>first of his more than two hundred patent applications was

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<v Speaker 1>for insulated containers to keep his products cool. He also

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<v Speaker 1>developed new waterproof inks, glues, and cellophane that could withstand

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<v Speaker 1>freezing and thawing. A popular Science monthly headline called Bird's

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<v Speaker 1>Eye products exactly like Fresh in September nineteen thirty. Two

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<v Speaker 1>years later, The New York Times declared his innovations a

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<v Speaker 1>scientific miracle. But Bird's Eye still faced challenges to overcome

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<v Speaker 1>a stigma of frozen goods. He called his first line

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<v Speaker 1>of products frosted foods. Another earlier barrier was infrastructure. Electric

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<v Speaker 1>refrigerators began to replace ice boxes only in the late twenties,

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<v Speaker 1>and the freezer compartment was just a tiny slot for

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<v Speaker 1>ice cube trays. Free Standing home freezers were rare, and

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<v Speaker 1>there were no trucks or train cars equipped to transport

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<v Speaker 1>frozen foods or warehouses cold enough to keep them. It

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<v Speaker 1>took a Second World War for the country to catch

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<v Speaker 1>up to Bird's Eye's vision, when America's armed forces created

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<v Speaker 1>the means to preserve and transport food to troops overseas.

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<v Speaker 1>Items like frozen orange juice concentrate, and prototype frozen meals

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<v Speaker 1>fueled a postwar boom and processed food technology. In nineteen

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<v Speaker 1>forty seven, the two door refrigerator freezer debuted with more

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<v Speaker 1>space for frozen goods. At the same time, more women

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<v Speaker 1>were entering the workforce. According to the Department of Labor,

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<v Speaker 1>by nineteen fifty three, thirty percent of married women had jobs.

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<v Speaker 1>By nineteen sixty, twice as many wives were employed as

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<v Speaker 1>had been a decade before. Food marketers identified a new consumer,

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<v Speaker 1>the harried mom who works but still has to put

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<v Speaker 1>dinner on the table. Frozen and processed foods saved time,

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<v Speaker 1>so the industry advertised speed as the most important concept

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<v Speaker 1>in cooking, says food historian Laura Shapiro, author of Something

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<v Speaker 1>from the Oven, reinventing dinner. In nineteen fifties, America. The

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<v Speaker 1>Swanson brothers attempt to save consumers time came in nineteen

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<v Speaker 1>fifty four when they introduced the brilliantly branded TV Dinner,

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<v Speaker 1>an entire meal in a tray that went straight from

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<v Speaker 1>the freezer to the oven. This concludes readings from the

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<v Speaker 1>Smithsonian Magazine for today. Your reader has been Rebecca Shore.

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<v Speaker 1>Thank you for listening, and have a great day.
