新奥尔良焦糖花生糖：路易斯安那甘蔗，路易斯安那山核桃和南部怀旧的营销

English | October 8th, 2024 | ISBN: 0807182486 | 249 pages | True PDF | 2.75 MB

The Creole praline arrived in New Orleans with the migration of formerly enslaved people fleeing Louisiana plantations after the Civil War. Black women street vendors made a livelihood by selling a range of homemade foods, including pralines, to Black dockworkers and passersby. The praline offered a path to financial independence, and even its ingredients spoke of a history of Black ingenuity: an enslaved horticulturist played a key role in domesticating the pecan and creating the grafted tree that would form the basis of Louisiana's pecan orchards.

By the 1880s, however, white New Orleans writers such as Grace King and Henry Castellanos had begun to recast the history of the praline in a nostalgic mode that harkened back to the prewar South. In their telling, the praline was brought to New Orleans by an aristocratic refugee of the French Revolution. Black street vendors were depicted not as innovative entrepreneurs but as loyal servants still faithful to their former enslavers. The rise of cultivated, shelled, and cheaply bought pecans—as opposed to the foraged pecans that early praline sellers had depended on—allowed better-resourced white women to move into the praline-selling market, especially as tourism emerged as a key New Orleans industry after the 1910s.

Indeed, the praline became central to the marketing of New Orleans. Conventions often hired Black women to play the "praline mammy" role for out-of-towners, while stores sold pralines with mammy imagery, in boxes designed to look like cotton bales. After World War II, pralines went national with items like praline-flavored ice cream (1950s) and praline liqueur (1980s). Yet as the civil rights struggle persisted, the imagery of the praline mammy was recognized as an offensive caricature.

As it uncovers the history of a sweet dessert made of sugar and pecans, New Orleans Pralines tells a fascinating story of Black entrepreneurship, toxic white nostalgia, and the rise of tourism in the Crescent City.

在美国内战后，随着曾经被奴役的人们逃离路易斯安那州的种植园来到新奥尔良，可可糖栗子糖饼也来到了这座城市。黑人妇女街头小贩靠卖自家做的各种食物为生，包括栗子糖饼，卖给码头工人和行人。栗子糖饼为寻求财务独立的黑人提供了途径，甚至连它的成分也讲述了黑人的智慧历史：一位曾经被奴役的园艺家在种植园里驯化了山核桃并创造了形成路易斯安那州山核桃林的基础嫁接树。

然而，在19世纪80年代，白人新奥尔良作家如格蕾丝·金和亨利·卡萨托纳将糖饼的历史改编成一种怀旧的叙事方式。在他们的叙述中，糖饼是由法国革命时期的贵族流亡者带到新奥尔良的。街头小贩被描绘为不创新的企业主人而不是忠诚的仆人，仍然忠于自己的前主子。精美的、穿孔的，并且可以通过廉价购买获得山核桃的到来——与早期糖饼销售商依赖觅食到的山核桃相比——使资源充足且地位较高的白人女性能够进入糖饼市场，尤其是在20世纪10年代新奥尔良旅游业成为关键产业后。

确实，糖饼成为新奥尔良市场营销的核心。常常雇佣黑人妇女扮演“糖饼妈妈”的角色来迎接外地游客，商店也出售印有糖饼形象的糖饼，并设计成看起来像棉花包的盒子。二战之后，糖饼进入了全国市场，如糖饼味冰淇淋（1950年代）和糖饼利口酒（1980年代）。然而，在民权运动持续进行的同时，“糖饼妈妈”形象被认作是一种具有侮辱性的刻板印象。

通过揭示一个以糖和山核桃为主要成分的甜点的历史，新奥尔良糖饼讲述了一个有关黑人创业、有毒白人怀旧以及这座城市崛起旅游业的迷人故事。

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