The evolution of Chinese diasporic food writing has been a fascinating journey, with a rich history dating back to the early 20th century in the United States and the UK. Cookbooks have played a crucial role in documenting and promoting Chinese cuisine in the West, with each generation of writers adding their own unique perspective to the culinary landscape.
One of the pioneers in Chinese-American cookbook writing was Buwei Yang Chao, whose book „How to Cook and Eat in Chinese“ coined phrases like „stir fry“ and „pot sticker“ and is considered one of the most influential English-language Chinese cookbooks. Chao’s technical recipes, including fermented soy sauce and traditional duck preparations, provided a glimpse into the rich culinary traditions of China.
Fast forward to the present day, and we see a new wave of Chinese diasporic cookbook authors who are not only sharing recipes but also delving into their personal identities and cultural heritage. Authors like Jon Kung, Hetty Lui McKinnon, and Kevin Pang are using food as a way to explore their relationship to their Chineseness and challenge traditional notions of authenticity in Chinese cuisine.
McKinnon, for example, infuses traditional Chinese home cooking with twists inspired by her Australian childhood in her cookbook „To Asia, With Love.“ She includes family favorites like ketchup fried rice arancini and cacio e pepe udon, showcasing the fusion of flavors that define her culinary identity.
Similarly, Kung describes his dishes as „third culture“ food that represents inclusivity and endless possibilities. In his book „Kung Food,“ he challenges the notion of fusion food, pointing out that third-culture cooking is always a fusion of different culinary traditions.
The recent surge in cookbook sales during the Covid-19 pandemic has also brought new voices to the forefront, such as TikTok star George Lee, whose book „A-Gong’s Table: Vegan Recipes from a Taiwanese Home“ pays homage to his grandfather’s cooking. These authors are pushing against a monolithic view of Chinese food and celebrating the diversity of Chinese cuisine.
However, challenges still exist in the food-writing industry, with authors like Su Scott highlighting the difficulty for „ethnic“ writers to broaden their repertoires beyond their specific cuisine. McKinnon also points out the inequality that exists, where a white person can write about Asian food but an Asian person is often limited in their subject matter.
As we look towards the future of Chinese diasporic food writing, it is clear that there is a growing appetite for diverse voices and perspectives. By embracing their cultural heritage and exploring the intersections of identity through food, these authors are reshaping the narrative around Chinese cuisine and paving the way for a more inclusive and nuanced understanding of what it means to be Chinese in the diaspora.