M.F.K. FISHER essentially invented the genre of American food writing and when Consider the Oyster was brought out in 1941 to commercial and critical success, the career of one of our best nonfiction prose stylists was set on its course. Over the course of more than 25 books, Fisher shared her stories of food, love, and the sensuous life. Born in Albion, Michigan in 1908, she died in Glen Ellen, CA in the summer of 1992.
“[This book] will give you more insight into and compassion for a difficult life… You will, never fear, keep intact your memories of Fisher as a confident, seductive stylist. The story she constructed, set in the summer of 1938, keeps you wanting to know more… most of it has the unflinching spareness Fisher’s admirers rely on, along with the essential eruptions of sensuality. The book is strongly of its period…” —New York Times Book Review
“Mary Frances Kennedy Fisher is not just the greatest American food writer who’s ever played the game, she’s one of our greatest writers, period… Admirably, The Theoretical Foot deals with both poles — the perfect nothingness, lightness and frivolity of the days before tragedy, and the squirming aftermath.” —National Public Radio
“Fisher is as sensuous and wise as we expect her to be. Her writing gives hunger a luminous exactness.” —Harper’s
“This previously unpublished autobiographical first novel by the acclaimed food writer presents a snapshot of a certain slice of American expat life in Switzerland in the late 1930s, all sumptuous feasts and sun-dappled terraces.” —National Geographic Traveler
“M.F.K. Fisher is a rara avis among great American writers, not only because she primarily wrote nonfiction, but because she all but invented the genre that she continues to dominate almost 25 years after her death… The novel is a breezy evocation of a time and place just before the world tumbled into a devastating war.” —BookPage
“The legendary and incantatory powers of description that earned Fisher her fame as one of the 20th century’s best prose writers are fully at work in this intricate novel, the discovery of which is almost as romantic a story as the couple at its center… Readers longing for the clever banter of Hemingway’s characters or the indolent gloss of a Fitzgerald story will adore the book’s modernist style, in which the action focuses on each passing thought, each turn of emotion, each detail of drink or cigarette with an extraordinary attention that makes the ordinary seem simultaneously bewildering, mysterious, and absurd. This is a worthy addition to the Fisher canon.” —Publishers Weekly
“Fisher’s novel has exquisite moments…” —Kirkus