Demonstrating Feminist Metic Intelligence Through the Embodied Rhetorical Practices of Julia Child

The concept of metis reinserts the body and its intelligences into the ways in which rhetoric is understood, harnessed, and performed. Originating from the wisdom of Greek goddess Metis, the concept of metis is commonly understood as cunning intelligence that is deployed in order to escape an adversary, trick an opponent, or dupe its victim. When metic intelligence is read through the helping acts of Metis and her daughter, goddess Athena, however, an expanded version of its ways of operating begins to emerge. Through her efforts to debunk French cuisine using rule-based approaches meant to empower home chefs in their own kitchens, Julia Child, cookbook author, television educator, and chef, embodies metis with practices that represent feminist metic intelligence. In archival collections that reveal prolific correspondence, manuscript drafts, and television production material, Child deploys rhetorical strategies meant to teach and stimulate physical movements of cooking, and she does so by positioning the rules of cuisine as the gateway to culinary agency. For Child, structured rules allowed a home chef to respond to and recover from mistakes, and the rules also, consequently, fostered creativity and culinary freedom in the kitchen. Child’s own wielding of cunning and embodied intelligence helps us understand how metis is cultivated by a rhetorical body, and, in turn, Child’s metis may allow us to better understand how embodied rhetorics are invented and deployed.

iii ACKNOWLEDGEMENTS First and foremost, I have a world of gratitude for the mentorship and friendship I received from my University of Rhode Island (URI) dissertation advisor, Dr. Nedra Reynolds. From the very first day I hinted at the idea of using the archival collections of Julia Child for dissertation research, Nedra was in my corner, and I never felt alone because of her. Over the course of the few years that I worked with Nedra, she offered wise criticisms of my work and she patiently listened as I talked through ideas both aloud and in email correspondence. She also wrote two letters in support of my applications for funding from the URI Graduate School, without which I would not have been able to freely travel between Providence and Boston to complete my research. Nedra became the kind of mentor who I could confide in when my personal life was in crisis as well as one who reviewed my writing quickly and returned it to me, full of encouraging yeses and nos. Even when she commented, "No! Do not add more here or anywhere!" I knew I was in a safe space.
I am also very grateful that the URI Graduate School provids students like me the opportunity to receive funding for dissertation research. In being awarded an Enhancement of Graduate Research Award in spring 2015 as well as the Graduate School Dissertation Fellowship for academic year 2017-2018, I was able to take the time and travel I needed in order to successfully start and finish this dissertation.
I also want to acknowledge the expertise and patience I received from The Schlesinger Library staff and reference librarians. In December of 2011, I walked in as a rookie archival scholar and staff members were very patient with me. When I later started conducting more research there-this time with much more frequency (and iv more questions)-they helped me come to understand how to use two different finding aids that are meant to categorize what seems like an unending amount of archived material. And always with a hint of excitement about my project, they guided me as I looked for specific materials or even as I came in and out of the reading room, often in search of a particular artifact (or the closest water fountain). Archival research can be a lonely venture, but the Schlesinger staff made my visits such an enjoyable experience. I encourage anyone seeking historical work related to women's materials to just go there and see what you find. I couldn't possibly finish my doctoral study and not acknowledge the opportunity I received from Richard Miller at Suffolk University. Sometime during the summer before September of 2008, Rich was unexpectedly looking for more welltrained and available instructors to teach the Freshman English 101/102 sequence.
After offering me a section of Suffolk's ENG 101, Rich patiently explained the curriculum to me, and he went over the genres I could teach, books I could use, and various assignments I might try. It was a moment in my life that ultimately changed my entire career path. I taught for four years at Suffolk, and even since then, the excitement of teaching my first college-level writing class has not subsided. I absolutely would not be here if it weren't for the trust that Rich and the Suffolk English Department had in me as a new teacher. I would also like to acknowledge the friendships I developed within my URI teaching-cohort. We developed a friendship that has grown stronger since August 2013 when we started together, and without these friendships I wouldn't have survived this journey. Barbara Farnworth, Beth Leonardo, and especially Ashton Foley who v helped me pick up all the pieces whenever they fell, were paramount in my success and my survival. Over pot-luck style get-togethers, we spent hours rummaging through all the details we'd missed out on during the months we hadn't seen each other. Thank you to the three of you for making me feel a little less insane and a little less alone in this process.
I also owe-quite literally-a lifetime of gratitude to a mentor who knew my writing as an insecure seventeen year old and who has continued to be an inspiration to me for the past twenty years. Rich Kent was my high school English teacher and I wouldn't have earned any success as a graduate student or teacher without the experiences I had in his Writing Center class all those years ago. The determination, perseverance, and passion for teaching that I witnessed in Rich always struck me as phenomenal. And I think, in a sense, I wanted to emulate that on my own path and in my own work. To this day there is no single doubt in my mind: time in his classroom as a teenager, followed by his lifelong mentorship as an adult, contributed to the successful completion of this dissertation. As I learned from Rich and as I will show others, "The word for teaching is learning." vi DEDICATION To women everywhere who are hoping to find "the courage of their convictions." vii  Though it would take a few more steps than I anticipated, I found-and held in my own two hands-the documents I was looking for. The letter was handwritten and I had to read it slowly in order to decipher the handwriting (see Fig. 1). The letter opens with Child's nickname for Paul, "Dear Paulski," and her words to him are sensual and endearing. The other document, the recipe, was precisely typed and organized, and it included revisions from previous drafts that seemed much more involved than I expected. I also immediately noticed a difference between the tone with which Child addressed Paul, a man she had started to fall in love with, and the tone she employed as she delivered the steps involved in making preparations for a "New England Potluck Supper." I witnessed an emotional version of Child displaying a soft vulnerability of a woman in love with an older man, and I witnessed a more logical Child who, in her technical descriptions, outlines the straightforward details for preparing "New England Fresh Fish Chowder." 1 In her note to Paul, she expresses the sweet anticipation of waiting for his letters and a "pleasurable warmth and delight" that she admits, "glows in me" ("Dear Paulski," Jan. 1945). Reading the necessary preparations for a "New England Potluck," on the other hand, I saw lists of ingredients precisely outlined with precise amounts as well as helpful clarifications such as the need for cornmeal to be "stone ground" and "bottled or canned clam juice" to be added to the stock ("Marketing and Storage-New England Potluck" Jan. 1978).
I remember the excitement and awe that came along with witnessing a more holistic version of a culinary celebrity I had really only seen on television. Feeling the sensation of the aged paper on my fingertips, I sat there with a pile of other artifacts in front of me, and I felt a sense of wonderment. I might even say that I felt Julia-she was right there with me, revealing to me her life's work. A new version of Julia Child was coming alive before my eyes and it seemed as though I was holding her life in my hands. So often our rhetorical scholarship has a tendency to reduce our subjects to their texts, artifacts, and objects in way "that erases the human bodies involved in their makings" (Powell et al.), and though I, of course, engaged with Child's texts and with Child's rhetorical choices, I also felt like I could interact with Child as a woman. I sensed her guiding me; it was a moment I will never forget because it was an emotional moment-a felt and embodied sensation-that would eventually lead me to this dissertation study. After being exposed to historical documents that, in my eyes, animated Julia Later that year, as I finished a course on Rare Books and Manuscripts as a part of a graduate program at UMass-Boston, I finally got a chance to visit Child's archive.
As I embarked on the hunt to find the two documents I reference above, the fun began when I went into the library and learned how do-or how to conduct-archival research for the first time. Since each archival library typically has different methods for how a researcher must look for and request materials, a librarian had to show me how to read and understand the finding aid. 6 The finding aid for the Papers of Julia Child collection, for example, consists of a thirty-page single-spaced list of nearly 1,400 folders of materials. (That's 1,400 folders, not 1,400 individual documentsand they are folders that nearly always contain multiple documents.) I soon realized that learning how to both interpret and utilize this genre for research purposes would take some practice.
The research librarian also had to show me how to properly request the material I wanted to look at. There were different finding aids for each of the collections I wanted to request documents from, and the two finding aids were not organized in the same way. The finding aid dedicated to one of Child's collections, for example, categorizes the boxes and folders by number and description, and the other finding aid for the second collection organizes the documents only by numbers, which then need to be matched with box and folder information elsewhere. (It sounds 6 The finding aid is a document that categorizes the holdings of the collection and allows researchers to locate what they want to look at. Since their structure varies, and since the ways collections are organized also varies, it can be a challenge adjusting to using a finding aid. confusing because, especially at first, it is.) Eventually I got the hang of how to request materials from each of Child's collections, but what I didn't realize is that, even if I knew the document I wanted to look at, I had to request the box it was located in (see Fig. 2). After requesting the boxes I needed, I would then have to look through the folders (in the box) that corresponded with what I requested from the library staff.
Only then could I sift through the materials to find what I was looking for. It was an involved process, and I enjoyed every minute of it.
I say more about this later in my study, but based on my own calculations, I estimate that there are more than 100,000 paper and ephemera documents that make up Child's two paper collections. I knew I would be overwhelmed with the amount of material I would find throughout Child's utterly prolific collection of work, but despite that fact, it certainly was an exciting start to what became this project and case study. and at the same time, she approached cooking and teaching with earnestness, curiosity, and discipline as though it were her academic field of research. She was thirty-seven when she enrolled at Le Cordon Bleu in Paris in 1949, and she was over forty when she first began teaching for the cooking school she founded with her two Mastering the Art of French Cooking co-authors, Simone Beck and Louisette Bertholle. And, by the time Mastering was finally published in March of 1961, Child was nearly fifty.
Even with the late start to her career, Child put her entire heart and soul into testing every recipe she could get her hands on, and she wholeheartedly wanted to make cooking easier for others.
I also have admiration for Child because, no matter her circumstances, she made the most of her life and passions. No matter the setback and no matter her age, she always kept going. At a time in America when feminists like Betty Friedan and Gloria Steinem were making waves with the women's movement, 11 perhaps it would have seemed like the way Child lived her life would set an example; however, to be unmarried and without a career by the age of thirty or forty was still a bit unordinary.
And though, like many of her peers, Child wanted to marry just after college, she somehow ended up in a category of her own. She didn't let her age or her undying sense of adventure-opting to work on another continent, travel to foreign cities, and relish in life's indulgences rather than start a family-stop her from working hard and making a life for herself. Her sense of adventure, in fact, only seemed to enhance the work she put into a lifetime of teaching. She lived by sentiments like, one should 11 Coincidentally, both Betty Friedan and Gloria Steinem also went to Smith. Friedan's book, The Feminine Mystique, was published in 1963, just two years after Mastering the Art of French Cooking.
'never apologize' for their cooking, 12 and home cooks must always "have the courage of [their] convictions." 13 At fifty, her life was just beginning its ascent into gastronomical stardom and it didn't slow until her death on August 13, 2004, just two days before her 92 nd birthday.
To borrow from famed biographer, Bob Spitz, Julia Child truly was "larger than life" (xx). She set out to teach the nation how to master French cuisine, and over the course of nearly five decades, she became a respected and world-renowned culinary icon.

Working with Rhetorical Metis and The Metis Myths
When I first decided to use Julia Child's archival collections as source material for my dissertation data, I knew only that I wanted to write about how the body influences rhetorical production and pedagogy. Child seemed to be the epitome of an embodied teacher. She wielded knives, she flipped omelets, and she transferred hot soufflé pans from the oven to the kitchen counter without flinching. 14 She also gave hints about how to use the body in certain ways so as to make the cooking or preparation process go smoother. Flick the wrist in this way or carefully "fold" the cake batter that way, she would suggest. And she advocated so often for people to train their hands for working with certain sensations and textures such as when 12 "I don't believe in twisting yourself into knots of excuses and explanations over the food you make" (My Life in France 77). 13 See The French Chef, "The Potato Show" June 29, 1963; Child misses the pan when flipping a potato pancake. 14 She did this once on an episode of The French Chef. She grabbed a pot from the oven without a potholder, burned her hands, and kept filming.
touching hot foods or shaping pastry dough. For Child, her body was her rhetoricthere is no doubt about it.
When I started reading about the Greek goddess Metis and the powers we associate with her, I felt a pull to try on something else that, for me, was (and still is) mind-bogglingly theoretical. I first read about metis as cunning intelligence in a course on rhetorical theory with Nedra Reynolds, my major professor at the University of Rhode Island. We read "Metis, Mêtis, Mestiza, Medusa: Rhetorical Bodies Across Rhetorical Traditions," an article by Jay Dolmage that appeared in Rhetoric Review in 2009. This article introduced me to concepts that I use often throughout this study.
Nedra presented us with the topic of embodied rhetorics and noted that it was somewhat of an elusive idea in the field. After reading how Dolmage used the narratives of Greek goddess and god, Metis and Hephaestus, to show that "the extraordinary body can be the body of rhetoric" ("Rhetorical Bodies/Rhetorical Traditions" 5 emphasis added), I was hooked on the concept of bodies and rhetorics, and I wanted to know more about the wily Metis. As a life-long athlete and fitness fanatic, positioning the body as central to the ways in which people negotiate means of communicating made complete sense to me; embodied rhetoric didn't seem very elusive, although I didn't then have the capacity for talking about it as I do now. Over the course of just a few weeks, the idea of bringing attention to how our bodies, on a daily basis, contribute to our lived experiences and methods of communication seemed to become something of an obsession. I saw no other option than to make metis a part of my dissertation work-somehow.
After two years trying to learn about the goddess Metis as well as the concept of the same name that scholars use to refer to cunning intelligence, I feel as though I have a well-rounded handle on how to talk about metis. I can say for certain that Metis was as the most wise of all Greek gods and goddesses, and the powers that represent her are clever and smart and wily, and they are held in the body and applied to highly contextual situations. At the same time, however, I have only begun to scratch the surface on the idea of metis. It's a strange contradiction, I know. The goddess Metis was raped, impregnated, and swallowed by Zeus, only to become a wise counsel for him to take advantage of while trapped inside of his head; these circumstances result in the fact that there isn't as much detail available about her life as there is for other gods and goddesses in the mythology narratives. Information about Zeus and Athena, for example, is in overwhelming abundance in books, on websites, and in photographs of ancient art. It's almost as if the goddess Metis and the role she played in the lives of Zeus and Athena disappears altogether. She is often mentioned though not with as much surrounding detail as other deities. And yet, we have a concept that we try to reconcile and use in our scholarship, but the woman from which the concept originates has been nearly erased.
Another reason why I feel as though there is much more to learn about Metis is because I have kept my focus relatively close to the way rhetorical metis, and Metis herself, has been examined in the field of rhetoric and writing studies. I anticipate that since Metis's powers and the voice of her wisdom were coopted by Zeus, the original patriarch, I may have more to learn from discussions that are happening (or have happened) in the field of feminism and women's studies. 15 A quick scan of the October 2017 Feminisms and Rhetorics Conference schedule shows that Metis is becoming a meaningful framework with which to study the deployment and performance of rhetoric; 16 however, across the scholarship as whole, Metis isn't making very much of a splash. At least, not yet. There were many times I wanted to examine how Metis has been positioned in both feminism and women's studies, but due to time constraints I did not gain the ground I hoped for.
My hope for Metis's place in the field of rhetoric is that she is eventually rightly seen and heard, and that her embodied wisdom takes our scholarship to a place where bodies and rhetoric cannot be separated.

A Rhetorical Mise-En-Place 17
In the following chapter, I first introduce the ways in which Julia Child is often contextualized within historical perspectives as well as popular culture. In an effort to recontextualize Child as a skilled writer and performer of rhetorical texts, I then present Child's life's work as having embodied rhetorical qualities that are worthy of examination within the feminist rhetorical tradition. I also discuss some of the scholarship that surrounds bodies and rhetorics as well as the ways in which the concept of rhetorical metis is becoming more useful to the field of rhetoric and composition. I build on current instantiations of metis in order to establish a rhetorical 15 The work of feminist scholar Amber Jacobs, used throughout this study, is one example. 16 In addition to my own conference presentation on Child's "Embodied Metic Intelligence as Feminist Demystification," there were three other presentations about metis or its intelligence. One session focused on metis that I chose to attend did not get any other attendees besides me. 17 Mise-en-place is a French term meaning "put in place." As it pertains to culinary skill, it means to gather and arrange the ingredients and tools needed for cooking (see Charna on NPR's The Salt, "For A More Ordered Life, Organize Like A Chef").
framework through which to read the embodied practices that make up Child's pedagogy. I also discuss some of the controversies that surround isolating metis in order to interrogate the way it has previously been interpreted.
In an effort to demonstrate the sheer volume of data that I reviewed and In Chapter Three, I take a critical eye toward the Metis myths, including the myths surrounding her daughter Athena, and I try to contend with the fact that Metis, perhaps undeservingly, is characterized as a threatening trickster. I recount the popular narratives where this goddess of wisdom helps defeat the Titans, saves Zeus's siblings from the belly of their father, Kronus, and does all she can to escape the eventual rape and capture by her husband Zeus, and I do so in order to complicate her reputation as a "threat to any established order" (Detienne and Vernant 108). I further discuss the myths that surround Metis as well as the intelligence we've come to associate with her, and, following Dolmage's lead of considering why she has been overlooked (Disability 193)    Though Child is unequivocally an historical figure, she is also an embodied one. Writers and historians are quick to classify Child and her body as "larger than life" (Polan 2; Spitz xx), a "mighty oak" (Fitch 26), "a leggy, hulking figure" (Spitz 379), and "super-sized, long-lasting, high-definition, fast-acting, over-ready, and built to last" (Carlin in N. Barr xv). Early in her television career, writers for the Oakland Tribune likened her as a "zaney Amazon" ("New Food Column"), and noted food writer James Beard claimed that she had an "all-embracing quality" that "sweeps everyone up and carries them away" (Beard in Tomkins). With the way Child handled ingredients, kitchen utensils, and culinary movements, food historian Laura Shapiro also offers that Child "cooked with mind, body, and spirit-the way dancers dance and musicians play their instruments" (xvi). These characteristics paint Julia Child as both unforgettable and extraordinary. Beyond those particular body-classification terms, however, are also the physicalities of cooking and teaching that reveal a woman with an expert culinary training and ability, and Julia Child's moves suggest a certain embodied knowing that influenced and informed her ability to perform as a teacher.
Julia Child was (and perhaps continues to be) an embodied rhetor who relied on habits of practice, somatic knowledge, and a keen ability to develop discourse that allowed for the teaching of such practice and knowledge for the sake of others. And, throughout her preparation, writing, and embodied performances, Child envisioned others-those "servantless" 21 American cooks in her audience-also gaining habits of practice and somatic knowing within their own kitchens.
In the field of rhetoric and composition, feminist rhetorical scholars have recently called for projects that position the body as a site of rhetoric. Scholars insist that such projects are necessary in order to expand our notions of rhetoric by considering "the human body and the material conditions and practices associated with it" (Crowley 357) as well as recognizing that bodies are sites of rhetorical power (Dolmage,Disability 204 greatly inspire tourists who had returned from Europe ("Kitchen"). After the boom, Americans' tastes became "broadened and sharpened" by what they had eaten abroad ("Kitchen"). Judith Jones hypothesized, in fact, that it was Julia Child herself who brought to the US a newfound respect for food and wine (Prud'Homme, Second Act 68). Jones further claimed, too, that once a home cook became "awakened" by the new and interesting tastes of other cultures, "it was hard to turn back" (Prud'Homme, Second Act 68). Child's demystifying approach to French cuisine suddenly became a "refreshing remedy to an industrialized American foodscape" as she began to introduce Americans to "the sophisticated joys of a cuisine that they did not yet even know they were missing" (King 16

Bodies, Rhetorics, and Recontextualizing Julia Child
This case study presents a historiography so as to contribute to the feminist rhetorical tradition, and I wish to frame Child's rhetorical work as a type of "culture making" (Glenn 9); her entry into the public sphere and, especially with the ways in which she taught the nation to cook, she influenced various aspects of the world of gastronomy for generations to come. 28 My attempt to align embodied rhetorics with the pedagogical methods of Julia Child sheds light on the kinds of rhetorical production and embodied rhetorical strategies that facilitated the more public performances that first made Child such a successful teacher and that catapulted her into life-long celebrity status. Evoking Glenn, I use this study to "see what is familiar in a different way...as well as to see beyond the familiar to the unfamiliar, to the unseen" (7). Child herself is certainly not a historical figure who has been rendered "unseen," nor has she been silenced; however, the rhetorical work that existed behind the scenes of her cookbookery or that, quite literally, facilitated the filming of more than two hundred episodes of The French Chef, has yet to be rendered visible, and consequently, has yet to be examined through a rhetorical lens. Furthermore, while some claim that Child's own persona and her "inimitable manner and culinary confidence" played more of a role in her success than "any specific culinary skills or 27  Recognizing that the body's experiences often play a role in rhetorical invention, particularly when it comes to emotion, I also explore the body as "integral to rhetorical processes of knowledge-generation [and] invention" (Spoel 201).
Considering feminist approaches for reintegrating "bodily, emotional ways of knowing into the process of invention," we often overlook the fact that reason is intertwined with emotion and passion (Sayers qtd. in . Philippa Spoel evokes Donna Haraway and Nicole Brossard in order to pose a feminist epistemology that emphasizes "the act of inventing or generating knowledge as always situated and embodied," which she claims then "places the body at the center rather than in the margins of rational, persuasive discourse" (205). In order for a culinary educator like Julia Child to prepare lessons related to how the body must physically perform cooking methods, she engaged in her own training as a chef. Doing so positioned Child's body at the center of her meaning-making, which then became a crucial part of her pedagogy. Child often claimed that she wasn't very sentimental, 29 but artifacts documenting decades of teaching reveal an undying energy and passion for showing others how easy cooking could be. As she did many times in Mastering the Art of French Cooking, Child advocated for the ongoing practice of certain bodied movements that were necessary to master in order to successfully flip an omelet for example, or to chop onions thoroughly as well as in a timely manner. Necessary for the delivery of this information was Child's initial invention, which stemmed from the body's interaction with ingredients and culinary tools. Furthermore, translating these lessons into performances presented in front of a television audience also forced Child to position the body-and its physiological movements-at the center of her invention.
29 Upon "relinquishing" the house she and Paul had built in La Pitchounce, Child comments: "People seemed surprised when I told them that it wasn't an especially difficult or emotional decision. But I have never been very sentimental" (see L. Barr 279). Jay Dolmage and Debra Hawhee, through their treatments of rhetorical metis (which I more thoroughly address below), take an historical approach to positioning bodies as always already sites of rhetorical power. Other approaches that consider the body as a site of rhetorical power encompass the body's capacity to produce language that is different from text or spoken language (M. Johnson at el.; Selzer). Moreover, positioning the body as a site of agency helps scholars consider a body's ability to harness and rely on different sets of available means (Fleitz) as well as a body's ability to command an audience through rhetorical performance and engagement in citizenship (Eberly; Jarratt). Other scholarship explores how embodied rhetorics position scholars and researchers as bodies at work as well as the materialities that emerge from the work they produce through research. Acknowledging our own material conditions contributes to attempts to name what embodied rhetorics do or are.
Celeste Condit argues that the questions rhetorical critics and scholars choose are "always a product of their embodied positions" (370), thus demonstrating the role of the body in our research. She further offers that there are "codes outside of the human language"-"codes of the body"-that must be accounted for within the "broader ecologies in which we swim" (370). Jane Hindman, with a focus on advocating for an acceptance of scholars' use of their embodied selves, proposes, "conventional academic discourse works to entextualize an abstract body of knowledge and disembody the individual writer…" (100 emphasis added). She encourages scholars to take a "less-familiar" approach to scholarship and research-one that recognizes more material practices of our professional group as well as our own individual, and material, experiences as writers (103). Karyn Hollis examines. She theorizes a "body motif" that emerges from the poetry written by the women who attended the summer school, and claims that within their poetry, the women came to "textualize their bodies in a rhetoric that exposed the oppressive relationships of power, economics, gender, race, and class that plagued their lives" (102).

Establishing a Framework of Rhetorical Metis
This study uses the specific details that emerge from Julia Child's embodied training and teaching methods to expand on our perspectives of how acts of metis help us understand embodied rhetoric. Scholar Jay Dolmage states that part of his aim, in his book Disability Rhetoric, is to use the rhetoric of non-normative bodies to "create a more expansive machinery for understanding rhetorical embodiment" (150), and he argues more generally that "metis demands a focus on embodied rhetoric" (5). For Dolmage, metis becomes a means for describing how we operate rhetorically and for demonstrating what "rhetorical bodies can do" ("Rhetorical Bodies/Rhetorical Traditions" 22). As such, metis becomes a powerful representation of how bodies play a role in all aspects of rhetorical awareness and rhetorical performance. In a related study of how embodiment has been situated throughout ancient Greek history, Debra Hawhee claims that metis is "a tacit style of movement running through most kinds of action…" (47). Metis then becomes a type of knowledge production that fosters a sense of habit and readiness within the body. With previous scholarship providing language for considering how bodies perform rhetoric, I can, as Dolmage suggests, make rhetoric "significantly bodied" by allowing for the extraordinary body to be "the body of rhetoric" (Disability 88). I make an attempt to do so by demonstrating the embodied and metic acts that are present throughout the philosophies and artifacts related the pedagogies of Julia Child.
The type of embodied knowing that facilitates an act of metis is one that is linked through an interweaving relationship between the mind and the body. The rhetorical strategies that went into Child's "pedagogical performance" (Bartlett 4 Hermes, Zeus, and Prometheus, their study "encompasses the whole extent of the cultural world of the Greeks from its most ancient technical traditions to the structure of its pantheon" (2). The scholars further note that while metis played a significant role in the "adaptable cunning" that the Greeks often relied on throughout their social and spiritual life, the concept had not yet become the subject of "conceptual analysis or of any coherent theoretical examination" (3). In fact, by the time Detienne and Vernant were completing their own treatment of the concept, a treatise on metis hadn't yet been written. They also point out that there weren't "any philosophical systems based on the principles of wily intelligence" even though it may have existed at the "heart of the Greek mental world in the interplay of social and intellectual customs…" (3). Metis seemed to be everywhere in Greek mythology and it was greatly valued as a necessary characteristic; yet, simultaneously, official documentation of its importance was absent. 33 One of the themes that often surfaces throughout Detienne and Vernant's study on metis is that of trickery and disguise. They seek to offer how metis operated on 33 I explore the background of this phenomenon and discuss such disappearances in Chapter Three. many levels as the Greeks "represented a particular type of intelligence at grips with objects which must be dominated by cunning if success is to be won in the most diverse fields of action" (2). There are various representations of metis as deception (3; 51), disguise (21), masks, (21), special weapons (41), wily and deceitful exploitation (43-48), a web of words (22), a world of traps (28), and a "threat to any established order" (108). They also characterize metis by the varying abilities that allow one to shift from a position of weakness or submission to a position of winning or domination. They claim, "cunning, tricks, and the ability to seize an opportunity to give the weaker competitor the means of triumphing over the stronger, enabling the inferior to out the superior rival " (27). The connotations of these terms allude to dishonesty or tricks and illusions as a foundation of metic intelligence. While the text also reveals a focus on movement, flexibility, and embodied adaptation as characteristics of metis, the authors nonetheless claim that "[m]etis is itself a power of cunning and deceit" and add that it "operates through disguise" in order to "dupe its victims" using a masked version of "its true being" (21).
These are not, however, the characteristics of metis that I wish to use to examine the embodied pedagogies of a respected culinary teacher, and from my reading, these are not the only characteristics of metis that we available for analysis.
The perception of metis that I wish to use relies on rather nuanced expressions that emerge from Detienne and Vernant, and which I support by looking closer at the wisdom and actions of Metis herself as well as her daughter Athena. By resurrecting a metis that offers the means for "making things turn out for the better rather than the worse" (Detienne and Vernant 108), I confront the concept of metis as the deployment of deceitful disguises and claim, instead, that an always already feminized version of metis 34 is one that reveals the mask or that demystifies the disguise. Julia Child's undying commitment to her audience's understanding and practice exists as an exact opposite of disguising, trapping, and tricking; through acts of a feminized version of metis, Child wanted to make something that may have seemed "hidden" or "disguised"-French cooking-as absolutely clear, practical, and succinct as possible.
Going back to the source of metis-to Metis herself-and reading Child's work in light of Metis's resurrection is itself an enactment of my own rhetorical metis.
Borrowing from Jay Dolmage's use of metis an "an inversion" ("Rhetorical Bodies/Rhetorical Traditions" 8) of accepted canonical views of rhetoric, for me, a "cunning" take on metis as a rhetorical framework allows me to claim Julia Child as an embodied rhetor whose metic intelligence, rather than being a disguise, debunks the disguises for others, just as Metis and Athena enacted a helping style of metis.
Furthermore, Child's pedagogies, having their own aspects of metis, also cultivatedand perhaps continue to cultivate-the metis of home cooks whom she specifically addressed. With this approach, I claim Julia Child as an "extraordinary body" that thus becomes a part of a feminist and embodied rhetorical tradition. More specifically, I attempt to answer the call by Dolmage to "tell new stories" of metis as rhetoric (Dolmage,"Breathe" 119) in order to show how a metis allied with femininity (Dolmage,"Rhetorical Bodies/Rhetorical Traditions" 13) can-and does-operate.
This approach allows me to challenge the versions of metis that have been masculinized and removed from its origin, the goddess Metis. This approach also 34 I address this fully in Chapter Three. See also Dolmage, "Rhetorical Bodies/Rhetorical Traditions" 13. allows me to resurrect an invisible Metis as well as a symbolically " motherless" 35 daughter, Athena. In this way a "feminist metic intelligence," a term I use throughout this study, becomes an act with the wily knack for pulling back the veil on a disguise and demystifies whatever information was hidden in the first place.
A closer examination of the Metis/Athena myths may help to generate further links between metis and embodied, feminist rhetorics. As we read the physical and rhetorical moves of Metis and Athena more closely, I believe our notions of this form of intelligence will shift and change in a way that illustrates why metis is a helpful concept for thinking about how our contextual and material lives contribute to our learning and the ways in which we actively approach our rhetorical labor. I especially believe that notions of an adaptable and resilient metis help us articulate the reflexivity and creative invention that are required of archival research as well as the rhetorical flexibility we attempt to teach in our writing classrooms. As I consider the work of culinary pioneer Julia Child, I am thus able to "give rhetoric a body" (Dolmage,Disability 193) to further demonstrate some of these always already links between rhetoric and bodied practices and knowledges.

Isolating Metis
By exploring some of inherent paradoxes of metis as well as its contemporary applications, I am attempting to isolate the concept in order to confront and interrogate it. Metis and narratives revealing the deployment of metic intelligence allow scholars to further explore, and even complicate, the body's role in everyday rhetorical and 35 Athena as motherless-as born directly from Zeus himself-is further discussed in Chapter Three.
communicative acts. Isolating and interrogating the term, however, isn't without debate. The wiliness of metis has been characterized as rather easy to detect, but "impossible to isolate" (Hawhee 47). Furthermore, myths such as the one I am attempting to recover may even "belie arguments about reality" (Dolmage, Disability   11). Dolmage argues, too, that even amongst the varying definitions of the concept that have been theorized, there have yet to be any "comfortable ways to pin down metis" (Disability 164). He admits, however, that "is sort of the point…" and contends that the "discomfort" is "essential to the power of the concept" (Disability 164). The power of the concept, in fact, is precisely what I myself am trying to harness. I believe there is more we can say about the ways in which metis is deployed throughout acts of embodied learning and teaching, and doing so can help us further conceptualize the complex negotiations that are present in embodied rhetorics.
As I noted, the concept of metis was omnipresent in that it held "an important position within the Greek system of values," yet nowhere are there attempts to straightforwardly define its characteristics or origins (Detienne and Vernant 2-3).
Metis is portrayed as a wise power or cunning intelligence, though as Detienne and Vernant discuss, it "always appears more or less below the surface, immersed as it were in practical operations which…show no concern to make its nature explicit or to justify its procedures" (3). As a result of its importance being more or less overlooked by modern Greek scholars as well as being "displaced and devalued" as a key element in Greek learning, metis is then made more conspicuous "by its absence" (Detienne and Vernant 3). This study renders metis visible again; rather than metis existing below the surface, I bring it right up to the surface in order to examine the ways in which it is deployed throughout Julia Child's physical acts of teaching others to cook.
Again, this doesn't come without possible disagreement. Letiche and Statler claim that because witnessing metis always requires that a story of its deployment be told by a subjective author, "metis never produces objective truth or theory" (11). In their study related to rhetorical metis and organizational theory, Letiche and Statler conclude that cunning intelligence, in order to "remain loyal to itself, must remain indissociable from the time of its experiencing" (11), thus making its presence, as it is applied during a situation, fleeting and immeasurable. They are adamant in their argument that "stories of metis" are appropriate; however, "metis must not be strategized into a principle or concept," therefore "theories of metis are entirely inappropriate" (11 emphasis added).

The Arthur and Elizabeth Schlesinger Library
Erected in 1908 with half the funding coming from Andrew Carnegie, the building that is now home to The Schlesinger Library was originally considered a Carnegie Library and initially served the students of Radcliffe College ("About"). library's then-growing holdings: "The field of women's history has grown so dramatically that the library is collecting not only materials of that history but is also documenting the history of that history" (28). After Arthur Schlesinger's death in 1965, a mere five years into the career of Julia Child, the library, with its vast collections of women's materials, was renamed The Arthur and Elizabeth Schlesinger Library on the History of Women in America, a name that still exists today.
The Schlesinger Library "documents from the past and present for the future," and is known as " Lucky for researchers and historians, Julia and Paul Child kept everything, including paper records and collections of everything they did, achieved, or encountered throughout their lifetime: letters, receipts, plans, itineraries, recipes, drafts of cookbooks, television programming items, books and pamphlets, ticket stubs, personal calendars, napkins, awards, event flyers, photographs, speech drafts, and ephemeral items with handwritten notes and marks. And all of it is housed in their personal collections at Schlesinger. Today, the "The Papers of Julia Child" and "The Additional Papers of Julia Child" are two individual collections that are part of a larger collection housed at The Schlesinger Library. In addition to the two collections that specifically consist of the Childs' ephemera and paper artifacts, there is also a video collection as well as an audio collection. 37 Every single piece of material within the Childs' collection-in all mediums-is available to the pubic for research or information gathering. Together, the two paper and ephemera collections that I used for this study's data collection contain 248 file boxes, each of which contain, on average, about ten to twelve file folders. Each of the individual folders contain anywhere between fifteen to forty individual paper documents and artifacts. There is no time-efficient way to count the actual number of materials contained within the 248 file boxes, but based on my own evaluation of what's been made available by The Schlesinger Library, I estimate that there are anywhere between 90,000 and 120,000 paper artifacts within the two collections.

Preserving and Inventing the Historical Records of Julia Child
Avis DeVoto, lifelong friend of Julia and Paul Child, was the first to suggest the possibility that the Childs' letters and journals could to be put into an archive for DeVoto witnessed Julia and Paul's life together, but she also had a different kind of exposure to their story. In the late 1960s, the couple gave DeVoto permission to read through the letters they'd sent to each other in the late 1940s and early 1950s.
DeVoto was adamant that the letters were much too intimate to be made into a book, 39 but she nevertheless stressed the utmost importance of preserving them. DeVoto insists: …I should add that I feel strongly as ever, if not more strongly, that with this collection in an archive where it will be held safe, under seal for as many years as you see fit, the time will come, in 25 years, 50 years or whenever, the papers will be an absolute gold mine to the lucky historian or literary man who gets there first. (DeVoto to J. & P. Child, Jan. 1, 1969) 38 See Joan Reardon's As Always, Julia: The Letters of Julia Child and Avis DeVoto. 39 DeVoto adds, "The material is magnificent, the writing is excellent, clear, dramatic. But the whole thing is too intimate for publication, while you are alive, indeed while the next generation is alive…I sometimes feel like a peeping Tom" (DeVoto to J. & P. Child, Jan. 1, 1969).
In a subsequent letter that opens with "Dear ones," DeVoto again emphasizes, "Of course the whole business must be preserved for the historical record, and out in safe keeping at Smith under seal for a certain length of time" (DeVoto to J. & P. Child, Jan. 8, 1969 Owen Shenton, 40 by organizing and cataloging the initial collection of letters, facilitated the process of acquisition in the first place. Schlesinger Library reference staff members have also spent time processing three decades worth of the Child's artifacts. As I note the careful steps I took to engage in my research processes, I must remember that my processes come to fruition only because they were facilitated by those prior moments of invention-moments that have been processed and curated over the course of nearly four decades. I might point out that the archive of Julia Child also consists of a doubled invention: invention that resulted in the establishment of the archive itself as well as invention that has stemmed from how others have utilized its contents. These layers demonstrate Barbara Biesecker's claim that an archive "always already is the 40 Shenton was Assistant Director of The Schlesinger Library in December 1969 and was tasked with cataloging a collection of letters between DeVoto and the Childs. She remarks in a letter to Child, "…I really don't think Radcliffe should pay me for cataloging this collection since reading it is a pure joy. I am purposefully moving slowly just to savor every bit, but in due course you will receive a copy of the inventory" (Shenton to Child, Dec. 1969).
provisionally settled scene of our collective invention, our collective invention of us and of it" (124). Even after the initial archival collections were formed in late 1969, throughout the following years Child herself made distinct decisions about the existence of the archive as well as how to organize work materials, both for her own sake and specifically for the sake of her growing collections. Schlesinger staff members began processing the materials in 1969, and they continued to process and organize a bulk of other materials that were donated around 1976. And even later, staff members made changes and updates until 2014 when the Julia Child Foundation donated other award and memorabilia materials. 41 In addition to the ways in which Child and her personal and professional circle of friends contributed to her materials, there are other ways in which the archive has been invented, that is to say, ways in which the archive has been created as it is used. Services, and Luke Barr's Provence, 1970: M.F.K. Fisher, Julia Child, James Beard, and The Reinvention of American Taste brings together the lives and influence of Child and her culinary contemporaries. The histories created by these writers then mediate the approach that others, myself especially, take upon starting their own work in the archive. Laurie Grobman would remind us, in fact, that any history depends a great deal on the rhetorical performances of others (300). 43 We may therefore consider the invention of and within Julia Child's archive as a collective, and, to borrow from Biesecker, the archive "may best be understood as the scene of a doubled invention" (124). All of this is to directly acknowledge that, no matter the approach I took on any given day, what I found was initially mediated by the organization or the research acts of others who came before me.

Reading the Historical Records of Julia Child
As I began my journey into the collections of Julia Child, I was guided by a curiosity that lead me to documents and artifacts that represented the historical and material life experiences (Royster and Kirsch; Kirsch and Rohan) of a woman who influenced our ways of knowing and ways of being in the world of cooking. In "Dreams and Play," Bob Connors calls it-the Archive with a capital "A"-the meeting of storage and dreams, and the resulting compilation is "history" (17 awareness to the "emotions and experiences" that help to define "one's relationship to one's research" (13). Though my approach to finding and utilizing her archival material for this case study followed a somewhat logical path of academic rigor, my connection to her humanity as a woman also contributed to my drive-and curiosityas a researcher. I wanted to enter the conversation "respectfully and caringly," as Spoel helps me understand, with the intention of observing the "embodied world" of Julia Child-a world I sought to know and understand rather than control (Spoel 206 (21). Our work is both provisional and partial in the sense that as researchers, we must continually make sense of our findings and our progress, and though I felt a 44 Spoel borrows from Haraway's use of the conversational metaphor here, claiming that the "ideal feminist knower" converses with the world she seeks to know but does not control (206).
connection, I also wanted to see and learn more about how Child approached her work or how she prepared for performances. I didn't see my work as documenting a history; on the contrary, I enlisted a process that helped me make new sense-in a rhetorical context-of whatever was already there. I felt a pull to make sense of Julia Child's life as it related to such prolific rhetorical production. Furthermore, the physicality of the documents I held in my hands, while exciting, also inspired a new context for my own thinking. Not only was it a context grounded in evidence from Child's own life (Royster and Kirsch 20), but it was also one that would allow me to re-contextualize Child as a skilled teacher and performer-and as a rhetor (Royster and Kirsch; M. Johnson et al.).

Methods: Decision Making in the Archive
During my early start to each research day, I prepared notes regarding what I intended to search for but I never made a final decision until I arrived at The Schlesinger Library. During my commute, I reviewed all of the notes I'd taken thus far, then around 9:05 a.m., just a few minutes after I arrived, I closely reviewed my notes from the last visit while simultaneously scanning the archive's finding aid for specific and related materials. In essence, the handwritten notes I used to help me come to the first decisions of the day also become a type of data, and I called this a system of looking at one set of notes and then looking at another set of notes "toggling." I toggled between my notes from previous visits as well as lists of sub-sets of materials within the collection I wanted to look at. As it relates to grounded theory methodology, Strauss and Corbin might call it a "back-and-forth interplay with data" (in Neff 125). I toggled this way, in a "back-and-forth" manner, because from week to week, I hoped that connections would emerge organically and somewhat on their own from my iterative processes. Though I did attempt to plan my research in a linear way, I purposefully engaged in the research in a less linear way; my ongoing negotiation became a type of mechanism for "listening deeply, reflexively, and multisensibly" (Royster and Kirsch 20). I went back and forth and back again between my notes the historical content I had available to me. Connors might call this process "play," though it was never a "random stroll" (23) Chef; Series I"), by artifact category/genre ("Correspondence, 'Cookery'"), by timeframe ("Cooking Classes 1951, and by alphabetical order were: "practice," "language," "tools," "body/senses," "audience, " "delivery," and "JCrhetoric." 49,50 When I was met with a new folder full of artifacts, I engaged in more toggling or more "back-and-forth interplay" (Strauss and Corbin in Neff 125 • "Correspondence," with subcategories of "Cookery 1951-1992," "Publishers 1952-1989 and "personal and business" -categories from both "Papers" and "Additional Papers" collections • "Teaching," with subcategories of "Cooking Classes 1951," "TV Programs 1962-1983," and "Demonstrations, etc. 1961-1993 -categories from "Papers" collection only 52 Bolded headings are categories that fall within a larger series, which then is also further broken down by theme. A number of headings (such as "correspondence" and "writings") appear in both of the paper collections. The collections mostly contain different sets of materials; however, Child herself purposefully duplicated some of the same materials so that they'd exist within both collections.

• "Writings 1952-1989," and "Television and Writings 1935-2001"
-from "Papers" and "Additional Papers" collections • "Recipes 1954-1997" -from "Additional Papers" collection only Child's teaching notes include the teaching agenda and menu for any given cooking class as well as handwritten notes, which she presumably made after the lesson, addressing how successful each part of the cooking lesson was. There are notes such as "Good menu," "not good menu," "leave out braised fish," or "too much, leave off soup, otherwise ok" that are spread throughout teaching menus (see Fig. 3).
As a group of teachers and students, they cooked together following what  which sauce, but more so, she wanted to train her students to physically engage in culinary practices just as she learned to do at Le Cordon Bleu. upon the start of filming. 58 One action script, the "Action Cue" script, was a simplified sketch of action-steps Child would perform during her at-home run-through of all the recipes and methods within each segment of one episode (see Fig. 4.1). Child used this loosely written script to practice the episode in her own kitchen, sometimes up to two or three times. 59 Once Child gained a feel for the actions and processes that would best deliver the episode, the action-cue script then informed the next script, which more completely reflected plans for the filming of the show. The "Action & Talk" script is what Child created and then used to confirm and perform the "order of battle" for each episode (see Fig. 4.2). 60 58 The process of using a detailed layout depicting where everything should be placed on set before filming would later become a regular practice in television production known as "blocking" (see N. Barr 33). 59 Many of these Action-Cue scripts are handwritten and reveal varying layers of handwriting. The actions for each step along with the time allotted for each are listed, and sometimes there are a few notes written in another color. 60 The "Action & Talk" script is usually typed and is comprised of three columns of information: actions to be performed, talking points that would accompany the actions, and set-ups that denoted specific utensils or instruments needed to perform each action.   Farkas and Haas) are: "letter," "Vol I," "script," "schedule," "Ecole Gourmandes" (short for L'Ecole Des Trois Gourmandes), and "The French Chef." 65 I also used the names of other food celebrities or friends whom Child regularly corresponded with: for example, "Avis," "Judith Jones," "Simca," "Louisette," and "Putnam." 66 I also created recipe-related tags; however, I found that I used them much less often than some of the others. 67  that emerged from the data (Neff 129), but it was also crucial I be able to go back and look at the curated collections that I'd marked with specific terms.
Being able to search for terms and explore categories allowed me to examine patterns within Child's life as well as prolific writing practices that contributed to her rhetorical work, namely patterns of her own learning strategies, teaching philosophies, and television performances. Farkas and Haas refer to this process within grounded theory as dimensionalizing and selective coding, and integration. Dimensionalizing is a process through which a researcher codes data for certain categories and properties, which is followed by selective coding where patterns within a category or with particular properties can be studied more closely (88-89). Integration, then, allows "core categories and their attendant data" to be integrated "into a tentative, substantive theory" (Farkas and Hass 90 Because many of the documents in Child's archive require close reading or a close examination as to its context, reading through the documents took a substantial amount of time. The process did, however, allow me to become more familiar with the collection and notice emerging patterns. It was time consuming; though, it was not time wasted.

Pursuing and Expanding Theories of Metis
The myth of Metis herself, as well as the powers of cunning of intelligence that we associate with her, stand to become powerful symbols for the ways in which we might answer the calls to "choreograph new rhetorical possibilities for an alternative, embodied tradition" (Dolmage,"Rhetorical Bodies/Rhetorical Traditions" 2 158). In this way, feminist metic intelligence may involve not only wisdom that allows for agility and mobility, but also the capacity to negotiate between multiple contexts that also include stability and linearity. As much as metis represents movement, response, or adaptability, metis also demands a readiness that stems from foundations of structure, from the still contemplation of "vigilant premeditation" (Detienne and Vernant 14), or from "thought that is dense, rich and compressed" (Detienne and Vernant 15). As the rhetorical practices of Julia Child demonstrate (as I explore more fully in the next chapter), this more full version of metis included valuing "the structural logic of French cuisine, where the complex is built up out of the simple and codified elements and procedures" (Polan 192) as well as her ability to respond to real-life blunders and "on-air mistakes" in the kitchen (Polan 256).
To be clear, I do not wish to challenge previous perspectives of metis as an intelligence that is wily or cunning, or one that relies on tricky disguises, nor do I aim to systematize or categorize metis in the same ways the ancient Greek philosophers have-thus rendering a metis with "the cunning wrung out" (Dolmage,Disability 200). More so, I "stress the depth, the strength, and the practicality of metis" (Dolmage,Disability 202) so as to reveal its application to even more complicated, nuanced, and contextual situations and spaces, particularly those that exist in everyday life. I specifically invoke James C. Scott's notion that metis should be more broadly understood as a wider array of the practicality and intelligence necessary for responding to a "constantly changing natural and human environment" (qtd. in

Metis, Greek Goddess of Wisdom
In the Greek mythological narratives, Metis is the daughter of Okeanos and Tethys, both associated with divination through water (Detienne and Vernant 107), and she is the sister of Tuche, goddess of chance (Ballif 223). Metis, a patroness of wisdom, good counsel, and prudence, is considered to be "the personification of cunning intelligence" (Hard 41) and is "beyond all the gods and beyond all mortal the beginning of the world  and, with her powers, she aided the Olympic Gods in their defeat of the Titans (Dolmage,Disability 197). Metis is also known for tricking Zeus's father, Kronus, into taking an emetic drug so that he would unwillingly disgorge his swallowed offspring, all of whom he attempted to eat into order to avoid being overthrown by their potential reign (Hard 69; "Titanomachy"; Appolodorus).
Since Metis helped Zeus avoid being eaten by his own father, he therefore courted her with much determination. The union was considered to be dangerous, however, because the goddess "was fated to bear two exceptional children, first a daughter, Athena, who would be almost as wise and strong as her father, and then a son who would displace him as ruler of gods and mortals" (Hard 77). Zeus realizes Metis's wisdom of forethought when she helped the defeat the Titans, but when he learns that his powerful rule will be challenged by a child whom she is destined to give birth to, he attempts to eat her as a pre-emptive strike. He eats Metis her in order to ingest her power of premonition and wisdom as well as to avoid being overthrown by his first son; by the time he eats her, though, she is already pregnant with Athena (Hard 181 She advises what should be done so that things may turn out one way rather than another; she tells of the future not as something already fixed but as holding possible good or evil fortunes and her crafty knowledge reveals the means of making things turn out for the better rather than for the worse. (107-108) This description seemingly positions Metis's powers as creating solutions or managing situations in ways that allow the outcomes to benefit all involved. We might imagine Metis as a Titaness who becomes a wise counsel, offering assistance during moments that were initially grim. Detienne and Vernant further clarify their characterization, however: The cunning Metis constitutes a threat to any established order; her intelligence operates in the realm of what is shifting and unexpected in order to better or reverse situations and overturn hierarchies which appear unassailable: all this is expressed in the myths concerning the dangers in her progeny. (108) The contrast that I highlight here is meant to illustrate the elusiveness of Metis, most known for her cunning, her sense of practicality, and her all-knowing wisdom.
She is somehow characterized as one who "advises what should be done" so that circumstances turn out for the better (Detienne and Vernant 107 emphasis added), though, she has yet to be positioned as a helpful advisor or as one who offers trusted counsel. It is not until she is trapped within Zeus that she is made into one who advises. From this narrative, Metis is somehow symbolized as a trickster; yet, according to the myths, her tricks either lead to the saved lives of others or, because of their failure, they lead to her own rape and capture by husband Zeus. These contradictions may play a role in the elusiveness of her character throughout Greek mythology, but also, they perpetuate the sense of obscurity that is assigned to metis as wisdom or as embodied intelligence. The skill of metis is often praised or admired; however, it is still rather misunderstood and, as a result, perhaps its significance disappears.

Metis as Cunning Intelligence
From the wisdom and actions of the Metis is further characterized as the ability to seize opportunities in order to make informed decisions by "comparing the future with the past," and as having enough physical and mental agility to "accommodate the unexpected so as to implement the plan in mind more successfully" . Other characteristics that contribute to this kind of forethought include "cunning and deceit" as well as elements of "disguise" that are used to "dupe its victim [by assuming] a form which masks…its true being" (Detienne and Vernant 21). The concept of metis is also represented as tricky ploys, which are harnessed for the act of dominating or escaping through a "way out that is hidden" (Detienne and Vernant 21). Metis is an intelligence directly involved with the difficulties of "practical life with all its risks" as well as a "world of hostile forces," and, when operating in a world that is always in flux, metis often "takes the form of an ability to deal with whatever comes up" (Detienne and Vernant 44). In direct opposition to what is straight, direct, or rigid, metis is associated with the curve, with pliability, and with oblique ambiguity (Detienne and Vernant 47). Characterized as a means for managing uncertain circumstances, metis is also represented as a weapon of disguise harnessed for escaping those uncertainties: There are many activities in which man must learn to manipulate hostile forces too powerful to be controlled directly but which can be exploited despite themselves, without ever being confronted head on, to implement the plan in mind by some unexpected, devious means-they include the sleights of hand and the trade secrets which give craftsmen the control over material which is always more or less intractable to the designs… (Detienne and Vernant 48) Through these particular lenses, metis becomes a "devious" disguise used in order to escape an unwelcoming situation or to take control of the materials with which the craftsman manipulates. i.e., metis, becomes the intelligence that makes intervention and invention possible (96).
Interrogations of the rhetorical tradition, much like the ones we get from Hawhee, Dolmage, Ballif, and Atwill, lead the way for other scholars to link the contextualized and embodied intelligence of metis with more contemporary practices.
In Feminist Rhetorical Resilience, for example, Flynn, Sotirin, and Brady directly link metis with the concept of resilience. They characterize metis as a reliance on inductive knowledge that harnesses a capacity for one to reshape herself in order to "remain in motion" (8-9). Seen through a lens of resilience, one with metic intelligence finds herself persevering because she is able to search for and find meaning despite a possible lack of logic or rationale. In this light, metis becomes useful for looking at engagement without confrontation and helps to confront power dynamics in a way that relies on intuition, curiosity, and creativity. Interestingly, metis as resiliency draws the idea of cunning intelligence away from only existing in the body and positions it as more of a holistic concept that is harnessed through a mind/body awareness and an ability to "reshape" circumstances of unexpected situations in everyday life.
In an essay often cited by scholars in the fields of education and leadership, and which also contributes to Dolmage's discussion of metis in his book Disability Rhetoric, Letiche and Statler link metis to the "intelligent action" that often occurs in contemporary organizations (1). Similar to Hawhee, who with one instantiation of metis links its readiness with the physical training of a wrestler, Letiche and Statler consider the ways in which "practical metic intelligence" becomes necessary for acknowledging and responding to change (3). The body still plays a role in practical responsiveness to change; however, Letiche and Statler do not explicitly discuss the direct link between metis and embodiment. This perspective of metis, then, becomes more like rhetorical resilience in that it fosters a mode of intelligence that allows for appropriate responsiveness to "real-time events by powerfully grasping opportunity and embracing possibility" (Letiche and Statler 14).
There are only a handful of studies that deliberately link metis to pedagogy and classroom learning, but with Julia Child's student-centered values as a cooking instructor as well as her life-long dedication to teaching, 71 these studies are increasingly important for the field to consider. Scholars Karen Kopelson and Rebecca Pope-Ruark both consider how metis helps us rethink approaches to teaching. Arguing that critical pedagogies seem inattentive to differences among classroom rhetorical contexts and among teacher subject positions within those contexts, Kopelson outlines a "cunning pedagogy" that relies on "cunning performative reappropriation of traditional academic postures such as authority, objectivity, and neutrality" (118).
Rather than a teacher aligning herself with a particular subjectivity, Kopelson suggests she may "sneakily" perform from a place of neutrality (115-118). Kopelson therefore asks, "as whom might we speak" so students will listen? (142 emphasis in original).
Pope-Ruark links metis to the ways in which teachers might foster the metic intelligence of students, namely in their understanding of uncertainties that arise within the field professional and technical communication. Using metis to counter the field's continued reliance on "technē, praxis, and phronesis," which she claims undergird "efforts to prepare students for the workplace," she advocates using the concept of metis as a better way to empower students (324).
For Pope-Ruark, metis becomes a means to help students "embrace the often chaotic, changeable nature of professional knowledge work as well as develop adaptable strategies for addressing the challenges associated with managing this work" Furthermore, though Metis frees Zeus's siblings from the belly of their father Kronus, rather than become a protector, she earns the reputation of trickster.
There is a clear contradiction between the ways in which Metis and metis are each characterized. On one hand, the goddess of wisdom represents a prudent "worker of right actions" ("Metis") and reveals "the means for making things turn out for the better rather than for the worse" (Detienne and Vernant 107 …all these gods of the sea share with Metis not only the gift of polymorphism but also a wily intelligence and knowledge of an oracular kind. All those who confront them must, with a stratagem, trick, ambush or disguise, take by surprise a being which is extremely cunning and suspicious and always on its guard. They must seize it in a stranglehold which cannot be loosened whatever happens. Once it's magic has been disarmed by the bond which grips it and it has exhausted the entire cycle of its metamorphoses, the monster must surrender to its conqueror. (Detienne and Vernant 111) The scholars claim that in order to confront and ultimately conquer a deity who is endowed with wily and polymorphic intelligences, one must conjure up a tricky ambush of his own. Note the irony: the absolute defeat of Metis requires deceitful acts of ambush, disguise, and taking by surprise, but somehow those same acts are the ones scholars now associate with Metis herself. It seems contradictory to characterize M/metis as deceitful when, as it is illustrated here, it is Metis's conqueror who mustwith a "stranglehold" to disarm the magic-deploy an even more ultimate surprise attack. Furthermore, with the last phrase of this passage, Detienne and Vernant quite literally turn those who're born with "the gift of polymorphism," i.e., metis, into monsters. In an instant, Metis, along with her metic intelligence, is not only imprisoned but bastardized.
Detienne and Vernant comment even further on what results from overtaking a shape-shifter: "So the cunning one meets more than its match…the creature which had the power to run through an entire cycle of forms finds itself, in its turn, encircled and enclosed" (112)

Metis Under Erasure
At one point in their discussion, Detienne and Vernant note the peculiarity of the fact that metis "was of abiding importance in Greek culture over a period of a thousand years," and yet, "the historians of ancient thought do not appear to have paid sufficient attention to it" (47). Karen Kopelson acknowledges, too, that metis "has a significant but largely erased history within classical rhetoric" (130). She claims that metis has "a history and concomitant erasure that deserves our renewed attention" (130 emphasis added). Kopelson's use of the word "erasure" deserves much attention here; she touches on the fact that metis becomes a concept that surfaces only as a result of its simultaneous disappearance. Feminist theorist Amber Jacobs also hints at this erased history as she verifies metis as "a transformative practice that creates alternative logics and patterns of thought" that could be considered "an agency under erasure" ("Life of Metis" 1 emphasis added). I also have to put forth the possibility that Detienne and Vernant, because they interpret so many aspects of cunning intelligence as masculine, also perpetuate Metis's disappearance. In their introduction to Cunning Intelligence in Greek Society and Culture, they allude to the long list of characters and characteristics they attribute with metis. Beginning to define this type of intelligence, they claim, means categorizing how it operates on "many levels" (2) Female goddesses Athena and Aphrodite are mentioned by name, though Metis (presumably) gets merely an unnamed nod as the marine deity, and even then, the emphasis in the phrasing seems to be on the metamorphoses of the marine deity, not on the marine deity itself. Detienne and Vernant further categorize "the individual who is endowed with metis" with "be he god or man," and they overtly emphasize this point using mostly masculine pronouns: 76 "…he can only dominate…" the changing reality, and only if "he proves himself to be more multiple…than his adversary" (5 emphasis added). And they continue: "…in order to reach his goal directly, to pursue his way…he must himself adopt an oblique course…so that he can be ready to go in any direction" (5-6 emphasis added). As the scholars clarify their own work surrounding metis, however, they introduce somewhat of a contradiction: "…we have

The Metis of Athena
For Athena bears an obvious affinity to Metis as a goddess who is noted for her practical wisdom (metis) and presides over all manner of crafts.

Robin Hard in The Routledge Handbook of Greek Mythology
While the myths surrounding Metis are useful for demonstrating the ways in which she and her powers were coopted by the domination of Zeus, Athena's deployment of metis is also worthy of attention. Athena, born with the powers of both her mother and father, was a virgin war-goddess, a protector of cities, and the divine patroness of arts and crafts (Hard 78; " Athena"). As an "elusive figure" throughout Greek mythology (  Metis also becomes the ability to consider a wealth of information when making decisions in moments of ambiguity. The scholars make it clear that metis is not harnessed for or within situations which might require precision, structure, or logic. Later in their book, however, they offer a narrative related to the metic intelligence of Athena that complicates their earlier instantiation: "Athena's activity is more complex than we first imagined: it is not restricted to driving the chariot and horses but extends to the building of the carriage and the putting together of the various pieces of wood from which the chariot as a whole is composed" (234).
Athena was a skilled craftsperson, graced with the ability to build war-chariots and sailing vessels, and she encompassed the "double role" of having "the art of building as well as that of driving" ( which represented a builder's ability to trace out a path "without deviating to right or left…" (237). Furthermore, "ithúnein is used to refer to the ship's course which the pilot, thanks to his metis, can steer straight across the sea, through winds and tides" (Detienne and Vernant 237). So while metis may entail harnessing mobility and swiftness to engage in seeing without being seen (Deteinne and Vernant 30-32), metis seems to also entail: "a procedure which holds a place of considerable importance in the technology of wood-work," which is "the use of the 'line' which makes it possible to cut beams and planks absolutely straight" (Detienne and Vernant 237 emphasis added).
The contradiction emerging from the metis of Athena, I believe, helps us consider a more complete reading of metis itself. Metis now includes agility, mobility, and responsive movements, thus making one capable of facing unexpected circumstances or escaping capture, and metis also includes the ability to follow a straight line or path, a necessity in executing the fundamental steps associated with certain crafts. The paradox becomes useful for seeing a fuller and more holistic version of metis that relies on aspects of multiple intelligences-flexibility and structure, mobility and stability. This contradiction may further emerge as scholars Detienne and Vernant argue, for instance, that the "scheming intelligence" of metis is applied to situations that are "transient, shifting, disconcerting, and ambiguous" where the acts of "precise measurement, exact calculation or rigorous logic" do not apply (4).
The characterization, though, challenges the metis that Athena harnesses when using the "straight line" to precisely cut the wood needed for building ships and chariots.
The motivation I have for attempting to extend perceptions of metis in this way stems directly from the following passage in Detienne and Vernant's introduction to

Cunning Intelligence in Greek Society and Culture:
In the intellectual world of the Greek philosopher, in contrast to the thinkers of China or India, there is a radical dichotomy between being and becoming, between the intelligible and the sensible. It is not simply that a series of oppositions between antithetical terms is set up. These  considering metis as more of a complex and highly contextualized intelligence that allows rhetors to negotiate between states of being and becoming, as stated by Detienne and Vernant. 79 To further illustrate what I mean, an artist applies fundamental knowledge of color, lines, and perspective to create new worlds with brush strokes on a canvas. A musician learns the scales then creates new melodies from within the structure of those fundamentals. And, a chef who knows the fundamentals of cooking not only uses those straightforward fundamentals to create delicious recipes of her own, but she can also respond, as Julia Child so often did, to unexpected mistakes. These examples present an exploration of the possibility that the stable and the straightforward are always, in some way, acting in tandem with that which is mobile and agile. Surely, our notion of how rhetoric is deployed within complex situations has much to gain from the possibility that knowledge of a skill, as a stable and structured aspect of intelligence, facilitates the active and embodied deployment of that skill. Said another way, bodied knowledge makes possible, through regimented training, the practice that inevitably makes metic intelligence possible in the first place. 77 I use Detienne and Vernant's precise terms, "intelligible, " "unchanging," "unstable," and "changing," very  In order to extend upon those perspectives, I demonstrate through the metic intelligence of culinarian Julia Child that metis is multifaceted-and more wise.
Keeping in mind the always already feminine acts of Metis and daughter Athena, I argue that metis works not as "two mutually exclusive spheres of reality," as Detienne and Vernant claim, but precisely as an ongoing negotiation between positions that are fixed and situations that are fluid and changing. Metis is thus more complex than an isolation of one state or another. I believe the two spheres of reality actively operate together in tandem, and they influence our constant deployment of rhetoric. In other words, metis operates within one holistically broad, ever-changing, ever-multiple sphere of reality. In this light, metis becomes an available means for negotiating within-and between-life's continually uncertain and ambiguous circumstances.
And, metis, therefore, can rely on both stability and mobility. It becomes an intelligence that allows one to be mobile and polymorphic when necessary as well as an intelligence that, while still and stable, can lie in waiting, calculating from within a fixed state of premeditation or calculation.

Serving Up Feminist Metic Intelligence
The paradox I illustrate above reveals an expanded version of metis, one that incorporates both agile movement and foundational structure as well as one that, rather than hide its powers from others, reveals specialized skills for the sake of others' development. To demonstrate the operationalization of a more holistic perception of metis, I look specifically at the ways in which Julia Child pulled back the veils on French cooking as well as the way she, as a highly-trained expert chef, fearlessly recovered from mistakes in hopes to empower her audience to do the same. Child saw French cooking as "particularly teachable" because it was "codifiable" (Polan 107 advises what should be done so that things may turn out one way rather than another; she tells of the future not as something already fixed but as holding possible good or evil fortunes and her crafty knowledge reveals the means of making things turn out for the better rather than the worse. (107-108) In order to curate a divine rule that would make him wise with both prudence as well as stability, Zeus needed the powers of both goddesses. To be clear, I am not advocating for the coopting or silencing of others; instead, I suggest we might take from this a symbolization of the fact that more than one type of intelligence is needed to negotiate the complexities of our rhetorical situations.
Building on the helping metis of Athena, I also wish to portray feminist metic intelligence as cunning and practical acts performed for the sake of others. Metis is previously translated and presented as a master of tricks and disguises, but if metis "takes the form of an ability to deal with whatever comes up, drawing on certain intellectual qualities [such as] acuteness of understanding" , what happens when we consider Athena's acts of teaching and assisting others?
With the problem-solving and helping acts of Metis and Athena, I propose a feminized metis as rhetorical and embodied performances that demystify and inform using keen forethought applied to a "multiple, changing reality" (Detienne and Vernant 5). In my attempt to "write a new mythology" (Dolmage,Disability 204) of an always already feminized metis, I propose metis as an act that specifically demystifies the tricks of the traps through an unveiling process which thus reveals what might have been hidden in the first place. Furthermore, metis exists as an act that, through embodied practices and performances, empowers others. In short, a feminized metis reveals, informs, and empowers.

Julia Child and Feminist Metic Intelligence: Two Points
Throughout the rest of this study, I demonstrate acts of feminist metic intelligence using the teaching methods of Julia Child. Her references to the body's role in the practices of cooking become crucial to both her own culinary methods as well as her teaching process.
Specifically, rather than rely on definitions that portray tricks, traps, and deception, I instead demonstrate a feminized metis as one that aims to reveal and inform-as one that pulls back the veil in order to reveal that which is hidden-just as the Athena of the sea does for Jason and his Argonauts. Additionally, I portray metis as embodied performances, not aimed at dominating in order to create an illusion, but as acts intended to empower others. In sum, a feminist metis reveals, informs, and empowers. And, as I will demonstrate in the next chapter, cookbook author, public television teacher, and culinary icon Julia Child, in her efforts to demystify and provide detailed information about proper French cooking methods, displays similar acts of metis that reveal, inform, and empower.
I also demonstrate the paradox of metis as acts that stem from positions that are both fixed and flexible. In her training and teaching practices, Julia Child displays this holistic version of metis; she teaches French cooking techniques which she insists are "scientific" and "straight-forward," and yet, she herself, through her own regimented training and readiness, not only acknowledges that unexpected occurrences will arise, but is able to respond to those unexpected moments and teach others how to respond to them as well. These practices demonstrate feminist metic intelligence as an ongoing negotiation between positions that are structured as well as situations that require flexibility. I specifically refer to the particular ways in which Julia Child relied on foundational rules of cooking while at the same time advocating for a readiness in order to fix mistakes. I will also use examples where Child portrayed the use of rules as the gateway to creative cooking practices.

Demonstrating the Feminist Metic Intelligence of Julia Child
It is not enough that the "how" be explained. One should know the "why," the pitfalls, the remedies, the keeping, the serving, etc.  (Child to Putnam, Nov. 1952). In continued correspondence a month later, Child went on to further explain, "This book…is not an attempt to embrace all the recipes that exist. It is designed to provide anyone with a good practical knowledge of how to cook, so that any recipe, no matter how complicated, whether or not it is a French recipe, can be attacked with confidence and familiarity…" (Child to Putnam, Dec. 1952 (Child to DeVoto, Dec. 1952). "We are not trying to be an encyclopedia," Child clarifies, "only a good book on fundamentals…with the object of making cooking make sense" (Child to DeVoto, Dec. 1952). Here there is an assumption that cooking, at least at the time, didn't make sense to all who attempted it, and Child wanted to debunk the difficulties for everyone. Child was also quick to evaluate the cookbooks of others, which only continued to motivate her own agenda of "reducing everything down to the bones" (Child to DeVoto, Dec. 1952). Criticizing Bouquet de France, a French cookbook that was popular in the 1950s, Child reasoned to DeVoto, "The tragedy is, young brides will try out the recipes and conclude that only a genius can cook" (Child to DeVoto, Jan. 5, 1953). 81 Child hated how unclear many of the recipe directions were, and she often chided many other cookbook authors for not explaining things thoroughly. Later in this same letter to DeVoto, Child also ranted about how other cookbooks didn't offer the same details that she had envisioned for Mastering: "I find a lot of this stuff is taken for granted, and it took me a long while to find out. All of it doesn't seem to be written down anywhere… They are fascinating recipes, and good ideas. But for the novice, there just is not enough explanation…" (Child to DeVoto, Jan. 5, 1953). Child wholeheartedly believed that as long as every single minute detail could be explained, 81 This letter is actually dated Jan. 5, 1952; however, when this series of letters are read in succession, it is easy to see that it was written at the start of 1953, not 1952, as it is labeled. I am choosing to point the mislabeling of the date; however, it should be noted that others using Child's materials do not always acknowledge this inconsistency (see Reardon's As Always, Julia 31). and as long as explanations were "painfully exact" (My Life 137), the glories of French cuisine were available to anyone willing to try.
In response to the lack of detail in other cookbooks, and in light of an overall sense that gourmet cooking was being portrayed as unattainable by the average American-and with food movement of the time moving toward quick microwave meals or canned food, which she abhorred-Child wanted to reinvent a way for home cooks to get involved in cooking.

The Pedagogical Paradox of "Bon Appétit!"
A decade before its publication, Child expressed the initial scope of Mastering and how it would be different from other cookbooks: This is a book on fundamentals of good French cooking, not an attempt to embrace all the recipes that exist. It is designed to provide anyone with a good practical knowledge of how to cook, so that any recipe, no matter how complicated, whether or not it is a French recipe, can be attacked with confidence and familiarity, for the primary techniques of cooking are the same in any language. (Child to Putnam, Dec. 1952) Child envisioned "French Home Cooking" walking readers through a painfully exact process of each culinary method; the cookbook would be "clear and informative and accurate" (My Life 144) no matter how complicated French methods appeared to the average American. And she claimed that by learning a number of methods in order to gain confidence, home cooks would be able to apply them to unlimited variations.
Interestingly, in addition to the "whys" and the "hows," which Child stressed in letters to Sumner Putnam, Avis DeVoto and other food professionals, she also stressed that she wanted to deliver "remedies" to her readers. With an aim to include fundamentals as well as tips on how to perform remedies, Child suggests that "a good practical knowledge of how to cook" might have been a bit more complex than a simple recipe with a list of basic ingredients.
For as long as Child was a teacher of French cuisine, she held strong to the philosophy that French cooking could be taught by revealing the basics of culinary methods along with guidelines for how to manage mistakes, whenever they occurred. Child's confident presence and "larger-than-life" personality combined with "the quite visible tensions she embodied between control and chaos…" (2). Polan cites that the 1960s symbolized "a period in which prudishness underwent change" and hypothesizes that part of Child's success stemmed from a "willingness to get physical with food" (15). Child allowed viewers to witness, through the visceral experience of television, that just because French food itself was refined did not mean "its preparation had to be done in a dainty fashion" (Polan 15). 82 Published by "can-opener queen" (Fitch 295) Poppy Cannon, who, in a letter to friend James Beard, Child deemed, "great fun…a tough old pro, with a twinkle" (Child to Beard, 1967).
Throughout the 1960s, Child not only became a culinary instructor, but she also morphed into an entertainer with the cultural wherewithal to inspire "women and men to think differently about one aspect of activity in the home"-namely, cooking (Polan 19). Through Child's playful and physical cooking pedagogy, she changed the way her viewing public perceived the space where cooking occurred. In "Rendering Miracles," Nach Waxman 83 insists that Child "demonstrated the value of French cooking and its discipline as a means of doing everything better in the kitchen," and adds that she gave her audience pleasure in the "act of rendering a miracle with [their] pots and pans and knives and flames" (94). Because of Child's performances, the kitchen was no longer "a site of non-adventurous domestic conformity" (Polan 19). At a time when home cooks were enticed with increasingly fancy canned goods and quick microwave meals, Child's straight-forward and highly influential cooking practices were actively turning the American kitchen into "the most scientific, colorful and savory" room in the house ("Kitchen").
With motivation to establish all of her recipes as "foolproof" and "painfully exact" through a process she called "scientific workability" (Child,, Child approached her subject of cooking with "straightforward simplicity" ("Kitchen"). She believed wholeheartedly that French cooking started with "perfectly direct principles" ("Kitchen"). In an interview for a Time Magazine profile, Child stresses, "It's so important that there are reasons for doing things. It's a tradition with rules-very simple ones. If you know them, then you can do any kind of cooking" ("Kitchen"). In a speech delivered to the Choate Club at Harvard Law School in 83 Cookbook collector and owner of Cooking Arts and Letters, a bookstore in New York City (see "Q&A with Nach Waxman," New York Times, 2008).
October 1968, Child further emphasized this perspective of the importance of rules.
She declares, a "cook knows the RULES" (caps in original), and she stressed, too, that French cooking had rules with a "framework" (Harvard Choate Club speech, 1968).
Later in the speech, Child insists, "Rules are the know how," which she specifies could apply to how to brown meat using a very hot pan or when to use butter and why.
Child also playfully adds that rules were involved in "Egg yolk lore" as well as "Roux In almost the same breath, Child transitions to a thread about finding pleasure in the act of cooking; she illustrates the sense of "pleasure and pride" that can be gained in producing "one of the great classic dishes such as Sole Normande, fish cooked just, sauce reduced just right" (Harvard Choate Club speech, 1968). She also stressed that pride can make a home cook confident in that one will feel like she can do anything; in a twist related to other aspects of culinary rules, however, Child adds, a cook learns "why dishes are bad" and eventually finds "pleasure in fixing turned holandaise [sic]" (Harvard Choate Club speech, 1968). Child further emphasizes, "knowing rules and having know-how also gives you the freedom to create, to tackle new dishes," and she suggests to her audience, "Why not try a cut up goose with the skin off" or "invent your own cakes" (Harvard Choate Club speech, 1968). Child seems to acknowledge that rules are the most important aspect of cooking, though she admits that rules lead to two other culinary occurrences: they facilitate an ability to know why things go wrong, and they foster creativity and the courage to try new things.
The telling what calamity may confront her" ("Kitchen"). Suspense and unexpected events emerge as the norm for Child's performance on The French Chef, which presents a clear contradiction to the straightforward rules she advocated for. Adding even further to this emerging paradox is the fact that Child became rather famous for her capability to recover from any sticky situation she faced on her show; she became so famous for her abilities, in fact, that Time writers conclude: "Even her failures and faux pas are classic" ("Kitchen"). Polan insists, too, that her home viewers rather enjoyed the suspense because they somehow appreciated "the fact that mistakes occurred" and that Child always admitted her mistakes (32). Child's mistakes often became a regular part of the show further contributing to the ongoing-and enjoyable-drama (Polan 32).
Somehow Child's methods became associated with a scientific approach and a suspenseful calamity, or as Polan emphasizes, "control and chaos" (2) along with "always…the potential for disaster" (32). But, how exactly would "straightforward" 84 In a speech about her Emmy award, delivered in Boston on June 15, 1979, Child also writes: "Ruth Lockwood used to say that [The French Chef] was the only suspense cooking show on air." and "scientific" approaches to rule-based cooking result in suspenseful television programming?
The inherent contradictions illustrate the paradox within Julia Child's approach to cooking and to teaching. There were clear and strict rules to be followed: she thrived on "reducing everything down to the bones" (Child to DeVoto, Jan. 8, 1953) and she relied heavily on an approach similar to a "scientific method" (Prud'Homme, Second Act 40) in an effort to put "the seemingly complex rules of French cooking [into] their logical sequences" (Child,My Life 150). At the same time, however, she knew and would be the first to acknowledge that the process of cooking often led to mistakes and seemingly tricky situations that, when they happened at home, made American cooks cringe. Child's own rather nuanced definition of what it meant to be a good cook guided her pedagogy; "a good cook," she once wrote, would be "consistently good," and "can adapt herself to conditions, and has enough exp. to change a failure into a success" (qtd. in Shapiro 64). A perspective of cooking that involves both rules and preparedness is what makes Child's approach to teaching that much more complete. Her thorough lessons involve a linear breakdown of French cuisine, but, in order to build a complete lesson, she added "the hows" and "the whys" of ingredient combinations and reactions along with remedies for how to fix a moment that went array. Child could not have predicted every mishap that would occur, but often throughout her own training she made many mistakes on purpose. In effect, she made every effort to anticipate mistakes with the sole purpose of relaying possible remedies to audiences across the nation. For Child's entire career, basic culinary techniques followed a set of linear rules and she, in cookbooks and on television, taught those rules as such. She herself also admitted, however, that anything at anytime could set those rules off-course.
Child herself even embodied the paradox. She knew the rules of cooking, yet she wasn't immune to experiencing embarrassing mistakes-even on film. Luke Barr insists that this paradox is what makes Child such a unique celebrity: "She was a woman in her fifties, and she played herself on television. She made mistakes…" which Barr claims allowed her to create a teaching moment (52). Child rolled with the punches, all the while explaining, " Here's what you should do if this happens" (L. Barr 52 emphasis in original). It's important to note, however, that when mistakes happened and Child quickly recovered and offered a remedy, they further added to her likability. One fan called Child's ability to recover "entrancing," and claimed, " [I] loved watching her catch the frying pan as it almost went off the counter; loved her looking for the cover of the casserole" (Irene Hogue to Child, Aug. 1962 show]…it's the only real suspense on television" ("Good Cooking").
Once again, the concept of "suspense" is used to describe how Child taught culinary processes that she herself identified as scientific and rule-based. Further supporting The French Chef as "suspenseful" television, Prud'homme offers that Child loved "explicit rules," which allowed her to follow a "scientific method" of sorts what we called 'operational proof': that is, it's all theory until you see for yourself whether or not something works" (My Life 145). A recipe exists as a theory, as a logical and set sequence of actions applied to ingredients; Child wouldn't know the material ins and outs of those recipes, however, until they were performed during the bodied acts of cooking.
In the next section I further illuminate the paradox of Child's pedagogy through an aspect of feminist metic intelligence related to negotiating between positions of linearity and fluid, unstable situations.

Fixity and Fluidity of Cooking
What impressed me most was how hard she worked, how devoted she was to the "rules" of la cuisine française while keeping herself open to creative exploration, and how determined she was to persevere in the face of setbacks. and Metis herself, symbolizes acts that sit within a negotiation between or among the stable and the unstable, the linear and the crooked, the structured and the creative. In this way, the embodied rhetorical acts that are present in Child's teaching methods, along with the paradoxes that emerge from them, demonstrate this balance between positions that are static and moments that changing.

Mastering The Art of Rhetorical and Physical Adaptability-An Approach to Culinary
Pedagogy Julia Child was a culinary teacher who relied on the structured "rules" of what I hope to demonstrate via feminist metic intelligence. This intelligence becomes one that is in constant negotiation between the stability of culinary methods that are "foolproof" and the unexpected realities of collapsed soufflés, curdled hollandaise, or beef tips that simply will not brown. Borrowing from the metis of Athena, a metis which relies on both the importance of the straight line  and stealthy, agile "modes of intervention" (Detienne and Vernant 180), we witness a skill that is also present in materials prepared for the publication of

Mastering the Art of French Cooking.
In the series of letters prepared for Sumner Putman of Ives Washburn, referenced above, Child explains that instead of being a collection of French recipes, the proposed cookbook will be "an introduction to French cooking methods plus recipes" (Child to Putnam, Nov. 1952 underline in original). Child adds that in order to teach the home cook "how to cook well," she has devised a "system of 'themes and variations'" where "the fundamentals are the themes, or basic recipes, fully explained for the novice" and "the variations are the recipes which stem from these basic themes" (Child to Putnam, Nov. 1952). Child's use of the word "system" suggests linearity as an importance piece of the methods that fall within the themes and variations she presents to readers. Child further adds, "This type of presentation, that of reducing the art of French cooking in its logical sequences, has not been attempted in any of the principle books of French cooking published in English…" (Child to Putnam, Dec. 1952). Emerging here is Child's continued focus on the structure and logic of cooking. In Child's mind, the book that would eventually become Mastering the Art of French Cooking would be an "everyday book" focused on teaching cooking "fundamentals." In the December 1952 letter to Sumner Putnam, Child continues to stress the importance of the structured "fundamentals," though she additionally clarifies how Mastering will be different from other cookbooks in which chefs were doing "encyclopedic work" and trying to "list everything that is known" (Child to Putnam, Dec. 1952). Mastering, instead, was meant to be "a text-book" with an emphasis on "fundamental tools," and Child emphasizes, "…and how to use and vary them so you are ready for anything" (Child to Putnam, Dec. 1952 emphasis added).
Embodying the ongoing paradox, in these two letters that were prepared nearly a decade before Mastering would be published in 1961, Child's pedagogy stresses both the importance of the structured fundamentals as well as-and with equal emphasis-the capacity to be "ready for anything." She hints at this, too, when she argues that, for the home cook, the hows and the whys of cooking matter just as much as understanding the remedies and potential pitfalls (Child to Putnam, Nov. 1952).
Like other arts relying on a foundation of knowledge from which to respond to everchanging, contextual situations, Child's approach to cooking requires a delicate balance between the fundamental knowledge of 'how' combined with an ability to respond to surprises as needed. Hawhee's notion of response, as it exists within the sophistic process of pedagogy that combines response with rhythm and repetition, also comes into play here. Child claims that once a home cook "learns her fundamentals," she not only can access any recipes that require similar methods, but she can also "be ready" for pitfalls. In other words, through the embodied practice of, and ultimately knowing, Child's "system" of fundamentals, the home cook learns the capacity to respond to unexpected moments that arise during the cooking process.
Within Child's pedagogy, the idea of regimented repetition is inextricably linked to response (Hawhee 150) and thus reveals a feminist metic intelligence that relies on positions of stability as well as situations that are fluid. With this mind, we cannot claim metis to be an act solely of the state of becoming, as Detienne and Vernant point out, without at least acknowledging how what they call "the intelligible," or the state of being (5) is involved. For Child, the acts of responding, or of having the capacity to respond, may represent a state of becoming, but those responses only become possible from within linear practices that also play an influential role.
Within the situations that arise from Child's approach to culinary pedagogy lies a sense of agency that she is striving to give over to her readers. The inside-cover of a 1961 first-edition Mastering the Art of French Cooking assures, "This beautiful book…is revolutionary" because: 1) It leads the cook infallibly from the buying and handling of raw ingredients, through each essential step of a recipe, to the final creation of a delicate confection.
2) It breaks down the classic cuisine into a logical sequence of themes and variations rather than presenting an endless and diffuse catalogue of recipes; the focus is on key recipes which form the backbone of French cookery and which lend themselves to an infinite number of elaborations, bound to increase anyone's culinary repertoire.
(Mastering front-cover jacket) 86 Child's philosophy includes straightforward means related to activities that go into the preparation of cooking as well as an idea that those steps will ultimately lead to "infinite elaborations" thus expanding readers' own cooking repertoire. As Child demonstrates, learning the basics, which in a sense remain as static methods with a set of rules, allows for eventual "elaborations," which represent expanded opportunities and available means within the kitchen. To illustrate, an embodied physical practice such as learning to wield a knife properly, along with knowing which vegetables necessitate which individual knife skill, will lead to quicker preparation of all dishes and thus a greater ease in overall preparation .
This progression of learning demonstrates the presence of response in that Child's students will practice the bodied movements in order to "bring their notions in closer touch with the occasions" (Isocrates qtd. in Hawhee 147)-in this case, culinary occasions. In other words, the combination of movements, which are practiced and which become habitual, are then enacted in response to particular situations (Hahwee 147). Child advocates for both the regimented practice as well as the point at which a home chef can, herself, create new elaborations within her own repertoire. Over time, it is the negotiation between the two types of practices that will enable the home chef to enter her kitchen with more confidence. Hence, both a state of understanding the micro-motions as well as a state of embodying them in order to improve and therefore move quicker or be more creative are in play.

The "Foreword" that introduces readers to the concepts they will encounter in
Mastering the Art of French Cooking includes other examples related to states of structure and fluidity that are both used to cultivate readers' own agency. Child starts, "…the recipes are as detailed as we have felt they should be so the reader will know exactly what is involved and how to go about it…Anyone can cook in the French manner anywhere, with the right instruction" (Child et al. vii). Child stresses the exactness of the recipes along with the belief that anyone can utilize that exactness to cook in the "French manner." Readers of Mastering are promised fundamental techniques such as "how to sauté a piece of meat so that it browns without losing its juices, how to fold beaten egg whites into cake batter to retain their maximum volume…and how to add egg yolks to a hot sauce so they will not curdle" (Child et al. vii-viii). Child is also quick to stress: Although you will perform with different ingredients for different dishes, the same general processes are repeated over and over again. As you enlarge your repertoire, you will find that the seemingly endless babble of recipes begins to fall neatly into groups of theme and variation…Eventually you will rarely need recipes at all… " (vii-viii) Here, elements of an unchanging approach to culinary methods are balanced and even applied to the changing situations of cooking; as readers gain the ability of one culinary method, a method that remains as a static set of physical moves and chemical reactions, they also build a repertoire of recipes and skills from which to call upon when facing any number of future culinary situations. Readers' agency is thus gained from the negotiation between the two states of cooking that work in tandem, and, concomitantly, Child's feminist metic intelligence becomes one that relies on that negotiation for her own sake as well as for the sake of her audience.

A number of years after Child published Mastering the Art of French Cooking
and began teaching on public television on The French Chef, she delivered a speech about her profession and "food and eating" to students at Radcliffe College in Cambridge, Massachusetts. In the speech, titled "Gastronomie as an Art Form," 87 Child stresses that her profession "is the relatively new aspect of food as an art form" ("Gastronomie"). Child claims, "…it has always existed as such to a small extent among a small number of people here, [but] the art form side has only fairly recently begun to emerge" ("Gastronomie"). Later in the speech, Child continues aligning her profession of gastronomy with forms of art; she emphasizes, "I think Gastronomy and Music or [sic] most closely allied, in that with both they are of the moment -although they exist on paper, they only live as they are performed" ("Gastronomie"). 87 Child discusses that the field of gastronomy is new and hadn't yet been given a name. She claims in the speech, "I shall use the French term LA GASTRONOMIE. Of course it has existed for centuries in Europe…" She uses two spellings of this term in her speech, Gastronomie and Gastronomy-one is French, one is English.
Child's notion of gastronomy existing on paper but coming to life when performed illustrates an example of how, when it comes to living and performing the art of anything, there are rules we may rely on, yet there is also a balance of agile response to be negotiated while in the moment. For Child, the rules of cooking that she so intently coveted exist as a fixed set of procedures; however, performing those rules in the moment of cooking may require adaptability or flexibility. The practice of cooking necessitates the two ways of being in the moment as they are enacted together. In early letters to friends and colleagues, speeches, manuscripts, and production scripts, Child insists that there are strict rules involved in cooking, and, when those rules are mastered, anyone can successfully execute wonderful meals. On the other hand, while Child credits successful cooking to knowing its sets of rules, she also maintains that things will always go wrong, just as she told Radcliffe students in 1968.
But, as she stated to students at Harvard Choate Club just three months prior, "…if know rules, can fix failures" (Harvard Choate Club speech, 1968). This was Child's aim: to empower home cooks by helping them develop a culinary confidence based on using fixed rules that would then facilitate adaptability when faced with uncertain situations. And Child does so by advocating for a delicate balance that allows for the unchanging basics to feed into the capacity to respond to any culinary situation, including a chef's desire to be creative.
The above examples are meant to illustrate that while metis does exist within a state of becoming that occurs in reactions to fluid situations, I also believe that, at times, the capacity to respond with metis only exists because of straightforward or foundational rules that, because of their stability, enables the facilitation of those calculated reactions to begin with.

Informing, and Empowering
Julia cared about furthering her cooking, she cared about educating, and she cared about demystifying the wonder of the soufflé. Susan Regis on Julia Child, "The Everyday Goddess, " in Gastronomica (2005) In this section, I examine Child's embodied methods of demystification in order to demonstrate: Feminist metic intelligence becomes an act that reveals, informs, and empowers others. In preparation for writing and teaching, Child "checked every recipe…on the stove and on the page" (My Life 145). As French ingredients and measurements were often slightly different than in America, Child never taught or published a recipe she hadn't checked and double-checked in her own kitchen. Child notes, in fact, that she often times tested recipes up to fifteen or twenty times, if necessary (Fitch 343). In letters to potential publishers of Mastering the Art of French Cooking, Child herself claimed, "Every recipe has been tested and retested by us in our kitchens" (Child to Putnam, Nov. 1952). Child was motivated to learn as much about French methods as possible and, in cookbooks and on television, she turned that learning into a teaching philosophy that relied not only on demystifying French cooking for others, but also aiming to create a sense of empowerment in the everyday lives of others whom she taught.
Child's distinct philosophy emerges from the following story where she addresses a fan's question about a particularly tricky recipe: In March of 1964, Julia Child received a letter from a curious viewer asking for details related to how to prepare the paste for a dessert called Baba, or Pâte à Baba (a spongy, rum soaked cake/pastry). In a return letter, Child starts, "Must be telepathy to get your letter about Baba paste, because I am just preparing a TV cooking show on that very recipe […] and all the time I was slapping up the paste this afternoon I was thinking of you, and what was going wrong" (Child to Mrs. De Paulo, Mar. 1964). Child, insistent on making certain that the inquiry received an appropriate solution for Baba paste calamities, offers details related to a wide variety of possible remedies. A few lines later in her letter, Child asks: "Are you sure that your yeast, sugar, and salt have really turned into a wet paste before you add the eggs? It takes a minute or two, after you've mixed them up." With suggestions that accompany even further clarifications or culinary tidbits, Child goes on to comment on the yeast ("dry" vs. "fresh"), the temperature of the water ("warm water"), timing for yeast prep ("5 to 8 minutes"), flour measuring techniques (to which she suggests, "See page 17" [presumably in Mastering]), and butter consistency. Then, even after offering these possible solutions, Child proposes, "…if you find the paste is too stiff, add a bit of beaten egg. If too sticky, add a bit more flour." And, to wrap up her already-thorough Pâte à Baba advice, Child concludes, "A cooked baba is not supposed to be soft and spongy; it must be somewhat firm, and must be somewhat porous. Otherwise it will fall apart when it is soaked in the syrup" (Child to Mrs. De Paulo, Mar. 1964).
In an effort to be painstakingly clear, concise, and thorough, and in order to ensure that the home viewer of The French Chef received details pertaining to whichever remedy she needed most, Child responded in a manner that seemed to leave nothing out of a vast array of culinary remedies for making Baba paste. Even though, in this particular example, we do not visually witness Child moving to and fro within her own kitchen, attempting herself to figure out where the paste went wrong in an effort to save it, we do get the impression that she knows this recipe in both a material and an intellectual sense, especially as she prepared it for an episode of The French Chef. With her own hands, Child physically performed this recipe on more than one occasion, as she did with all recipes in Mastering the Art of French Cooking, which is why she was able to offer so many options in her return letter. And due to that culinary preparation she physically engaged in, testing all recipes over and over and over, when a fan wrote about a recipe going astray, Child could easily guess at any number of reasons why. We might say that in response to the home viewer who hit a culinary roadblock, Child did everything she could to not only debunk the Pâte à Baba, but she also revealed every single last piece of information she could and she empowered the home cook to get it right.
The rationale outlined above demonstrates Child's unrelenting aims to debunk French cuisine, and she does so as thoroughly as possible. In a sense, Child's exhaustive approach to this culinary problem represents an example of Isocrates' claim that a teacher "must so expound the principles of [her] art with the utmost possible exactness as to leave out noting that can be taught… " (qtd. in Bizzell and Hertzberg 74). For Child, the exactness of everything that can be taught includes pulling back the veil on seemingly mysterious classic French cuisine. Child first learned everything possible that could be taught so that she could turn around to teach-and empower-others.
Throughout Child's lessons on French cooking, and especially in the response to a fan's inquiries, the idea of metis as a "corporeal category" (Hawhee 46) is invoked; however, the deceptive and masked disguises of metis are put to a challenge.
Instead, the informing and helping behaviors of both Metis and her daughter Athena come into play. The powers of Metis, goddess of wisdom, help us understand Child's metic intelligence as a harnessing of the means "related to the future seen from the point of view of its uncertainties" (Detienne and Vernant 107). Child knew that even with rule-based fundamentals, a home cook would still face uncertain circumstances in her own kitchen, and she emphasized the importance of this awareness as she taught the methods of French cooking. Furthermore, the goddess Metis also came to be known as an advisor who could identify "what should be done so that things may turn out one way rather than another [thus] making things turn out for the better rather than the worse" . This symbolizes a type of knowledge or intelligence that is similar to the motivation behind Child's pedagogy. Athena, additionally, with "a giving assistance of the most practical kind" (Detienne and Vernant 187), comes to represent Child's efforts to continually demystify French methods. Rather than emulate the fox, "with its thousand tricks [to] find a way out" (Hawhee 55), Child had already discovered and practiced a way in: she discovered and learned to remedy the tricks herself, then she translated the tricks needed to confront the problems home cooks faced in their own kitchens (Jones). Quite literally, Child used her embodied knowledge in order to reveal the secrets of French cooking. In a few instances, Child does, ironically, refer directly to the "secrets" of French cuisine, but her teaching philosophy always remains that there are no secrets except for knowing the fundamentals, which even ten years before Mastering was published, was a primary, motivating factor in her work. be used-"a large mixing bowl"-as well as the fact that the ingredients should be "very thoroughly mixed." She also adds options that each home cook can consider along with instructions related to how to move forward with different sets of ingredients as well as how to spot and manage certain unexpected occurrences.
Like the goddess Metis, Child is equipped with an attunement to contingencies (Hawhee 49); however, her metis is not in preparation of an escape or devised in order to create a disguise. Instead, Child aims to build the culinary capacities of her students by using her knowledge and instruction in order to "[make] things turn out for the better rather than the worse" (Detienne and Vernant 108). In her own kitchen, having "[explored] in advance all the many avenues" (Detienne and Vernant 16) of making stock, Child then translates those avenues so her students will find themselves successful. Child also embodies the feminist metic characteristics of the goddess Athena; rather than rely on cunning and deceit to escape an opponent or a difficult situation, Child harnesses Athena's interventions of "giving assistance." She uses her own embodied training and knowledge to inform her students of the culinary practices that are necessary to make stock. Child relies on her "knowledge of fine works" (Detienne and Vernant 239) and thus turns that knowledge toward her students-and, eventually, she turned that knowledge toward readers and viewers of educational television.

"The Big Bad Artichoke" and "Meatloaf in a Fancy Dress"
A teaching philosophy emphasizing acts of revealing and informing remained a constant throughout Child's career, especially between 1963 and1973 1964) Attempting to debunk "the big bad artichoke," which she also nicknames "Arties," Child first confesses that she will, quite literally, pull back the veil on all of the mystery. As can be seen in the script, she performs a cheeky version of lifting the gossamer veil in order to expose the artichoke itself; this is meant to hint at what viewers can expect from the episode. In a move meant to demystify the artichoke for her audience, Child acknowledges its reputation as a most mysterious vegetable to work with. Descriptions of other episodes, like the one for "The Big Bad Artichoke" which eventually aired on October 31, 1971, are much more complex. They not only capture a wider realm of methods that Child intends to perform on the show, but they also represent her aims to demystify so much of French cuisine.
The description in Figure 6 hints at Child's aim to, once again, pull back the veil on any mysteries that viewers associate with the artichoke: The Big Bad Artichoke (see Fig. 6).
How to buy them, keep them, trim them for cooking whole, and cooking whole either by steaming or boiling. How to serve them, including the making of a hollandaise sauce. Another cooking method, of trimming them so all is edible, and sautéing with oil, onions, garlic and vinegar -serve hot or cold. How to eat a whole artichoke.
(Proposed episodes, 1971-72) Child's plan for showing her viewers how to work with artichokes is all encompassing. She starts by informing viewers about how to purchase the right artichokes, and continues by including all the methods that can be used to prepare the artichokes. Child even seems to debunk the belief that parts of the artichoke are not edible.
Because Child has taken on the embodied processes of learning how to work with artichokes herself, her own embodied acts of culinary metis make her unequivocally prepared to demystify those methods for her television audience. The description represents the philosophy that she always wanted to uphold: to make cooking make sense for others. Furthermore, rather than duping an adversary by means of metis, Child's metis operates through physical motions of teaching, and she reveals information which would make up the trade secrets of cooking-in this case, the trade secrets of the "big bad" artichoke. Even Child's fans commented on how effective she was in the demystification of the artichoke. After seeing Child's first episode on the artichoke, one fan in particular wrote in to the show and admitted: "You may consider me rather primitive, but I confess artichokes and I were complete strangers until you made the introduction and then we were soon to enjoy them very much" (Arthur Tarr to Child, 1964  draft of the script (see Fig. 7), Child planned to use the first thirty seconds of the episode to debunk the mystery of the dish. The script's lines read: This beautiful object is a Pâté en Croûte/One of the glories of Fr.
civilization/here's its secret gr. meat/But actually it's just a meat loaf in Fancy Dress. We're doing Meat Loaf Masquerade today on the FC" (Meat Loaf Masquerade script).
In this example, Child reveals that the French dish, Pâté en Croûte, is similar to meatloaf and can be achieved through its "secret," which is the use of great meat, which, for her own script, she labels "gr. meat" (Meat Loaf Masquerade script). Child alludes to the fact that the fancy-sounding French dish is quite similar to the mishmash of beef that is baked in the shape of a bread loaf, made popular by thrifty American housewives during the Depression ("Brief History"), and a dish that is still common today. Here, rather than metis being an act that "operates through disguise" in order to "dupe its victims" (Detienne and Vernant 21), metis, relying on a quality of mind focused on forethought and efficacy , becomes a rather deliberate act of revealing. Julia Child demystifies Pâté en Croûte as, quite literally, meatloaf masquerading in a "fancy dress," as something fancier than it has to be-something assumed to be more difficult. 92 92 Child struggled for months to perfect her Pâté en Croûte. In a letter to Avis de Voto on February 2, 1967, Child writes, "…I'm sloundering with recipes. Now working on Pâté en Croûte (in a pastry crust, formed in an oval spring mold, but can also be formed not in a mold, or can be molded in any kind of baking dish). Want to have the perfect crust, and why; the perfect oven timing, meat-thermo reading, etc. etc. Spent a long time on research, and have done 2 which are not quite right" (DeVoto, Feb. 2, 1967"). In a letter written to de Voto on February 27, 1967, Child continues, "Still puttering along with Pâtés en Croûte and feel we are really getting somewhere. Finally have the best crust, think we've ironed out the forming of it, still a question or two about overn [sic] temperatures and exactly when done, and meat thermo readings, questions of juices bubbling out from funnel holes, etc. Have worked out a fine system for same without traditional mold… There is no place where you can find this information, but we shall have it, thank heaven.

Feminist Metis Acts of Demystification in The French Chef Pilots
Child's metic acts of revealing and informing began even in the early stages of the knowledge of how to practice is held within the body, and the body then performs that knowledge. In essence, the meaning Child delivers stems from the discourse she creates and carries with her body (M. Johnson et al. 39), and the highly contextualized discourse is articulated through movement, through verbal cues, and through presentation of the ingredients.
Great fun, but takes some time -but that is what makes it all so really interesting" (DeVoto, Feb. 27, 1967").
By the third page of the script for "Omelettes," Child has already addressed the quickness of time and the trick to learning how to "jerk" the pan properly, and she assures her audience that they will be able to perform the omelet after watching her closely and practicing the physical movements on their own. Toward the end of the script, after making two more versions of omelets for her television audience, Child reiterates: "I hope I've shown you this clearly --because omelettes are easy to do.
When you try it, you'll see " (Omelettes). Hello. I'm Julia Child. This is a really wonderful dish, this unmolded soufflé --ordinary soufflés scare people. The timing is tricky, they fall before you're ready to serve them. With this soufflé you can have it ready and waiting in the oven while you greet your guests, and then serve it when you're ready. We're going to make one of those soufflés now --it takes but a few minutes --and we'll go into all the little details so you can't miss on this, or any other type of soufflé as the general principles are the same for all of them. (Soufflés) Child acknowledges that getting the soufflé just right is tricky, so tricky in fact that she hints at the possibility that many people opt not to attempt soufflés at all because they tend to collapse if not made perfectly. Child is highly motivated, however, by the possibility of debunking what makes the soufflés collapse in the first place, which she suggests by emphasizing "this soufflé" as if to say that others have fallen, yet hers will not (Soufflés, emphasis added). She is hinting, too, that perhaps other soufflés have been "scary," and "tricky," but this soufflé is different. Child also promises to deliver and physically reveal to home viewers "all the little details" that go into a successful soufflé, and she urges that the method will be applicable to all soufflés. Just as Athena, through her metic wisdom, first would have established for herself the means of shipbuilding and then would have been able to teach all the many steps to Jason and his Argonauts, Julia Child promises and delivers all the many steps required of mastering a soufflé that stays upright.
There is a cue here, too, that hints at Child having yet another motivation behind her script for this episode. When she says, "…so you can't miss on this, or any other type of soufflé…" she insinuates to her home audience that they will be able to tackle the soufflé after she's shown them how to do it properly. In case there is any doubt, she assures them here that her methods can be trusted. Child's emphasis with "you can't miss on this" also illustrates a tone of empowerment that is conveyed throughout her lessons. She seems to ensure not only that her cooking methods are foolproof, but she also wants to empower her audience members to become the confident home cooks she believes they all could be. Child herself was convinced that if she could learn and master the methods, anyone could; it is a philosophy she lived by and it has a presence in all of her teachings. And Child's approach to the tricky soufflé embodied her perspective that French recipes "are not so difficult as one might think" (Child to Putnam, Nov. 1952).
Child's philosophies and methods of empowerment contribute to her feminist metic intelligence, and I explain further in the sections below. (Embassy News). Meetings would occur on Tuesdays and Fridays, and the 2,000-franc fee would include "lunch, which is prepared and served by the group" (Embassy News). During that time, ten years before the first volume of Mastering would be published by Knopf, Child predicted that her teachings would go beyond just one recipe or one specific dish-she saw her lessons as potentially leading to long-term results that would be enjoyed by her students.
In a more detailed follow-up announcement highlighting the newly formed cooking school, 93 led by "three experienced instructors, who teach basic recipes, bourgeoise or haute cuisine" (Embassy News), Child claims, "Our aim is to teach you how to cook; we are prepared to show you the basic methods of French cooking, which, when you have mastered them, should enable you to follow a recipe, or invent any "little dish" that you want" ("Petit Discours"). Here, Child and her colleagues acknowledge that once a home chef learns the basics, she will have agency over other recipes as well as have the capacity to invent other dishes that meet her particular liking. "We feel that," the announcement continues, "when one has learned to use one's tools quickly and efficiently, one can then provide one's own short-cuts" ("Petit Discours" emphasis added). Child and her co-authors strongly believed that the basic fundamentals were critical to any cooking practice. On the other hand, they also advocated for the home cook to eventually take the lead once she mastered the basics.
Julia Child knew that teaching people to cook went far beyond just one recipe or one method-she knew that the culinary methods she taught would allow people to enter a whole new world of cooking preparation and enjoyment of food-a world where home chefs were in charge of their own practices in their own kitchens.
About five years after Child started her cooking school in Paris, she outlined plans for traveling to Philadelphia where she would lead a cooking lesson for her 93 This particular artifact doesn't specify whether the document was written in order to be published in an announcement or to be read or given to students before the lesson. It is, however, in a Schlesinger Library folder labeled "L'Ecole des Trois Gourmandes, 1951Gourmandes, -1952 (Child to Almy, Sept. 1957). Child is hinting at a type of comprehensive knowledge that will give the home cook a sense of both agency and empowerment; she aims to convince her audience that a keen and full understanding of the situation is the key to being successful.
In the letter, Child goes on to outline the intended culinary lesson plan and her tone of empowerment continues. Child explains, "It turns out, as you get deeper into it, that the whole business is actually a group of themes and variations with the same processes repeating themselves endlessly, but disguised by different ingredients" (Child to Almy, Sept. 1957). With a phrase used to reveal the newly discovered methods of cooking, Child starts the statement with, "As it turns out," and she hints that her discovery-French cuisine as comprised of themes and variations-may debunk the ways in which French cooking has been perceived. 94 Child then explains what students will learn as well as why she planned the lessons in a specific way:  (Dolmage,Disability 194) and it further reveals how movement becomes a rhetorical tactic beyond language (M. Johnson et al. 40).
In this light, metis becomes a type of embodied and intellectual agency that develops from a greater understanding of the contextual, situational, and relational aspects of everyday human contact and communication. And, through the feminist and embodied rhetorical practices of Child, we can see other aspects of metis coming to the forefront. Moreover, with a more developed understanding of how rhetors rely on their bodies-physically and intellectually-to create responses to highly nuanced and contextual situations, we may also start to understand further uses and implications of the idea of feminist metic intelligence. I also propose that while adding Julia Child to the feminist rhetorical terrain offers a new way to read her place and influence across women's history, more generally, meeting the feminist challenge with any methodology of feminist historiography is itself an act of metis. Attempting to remap a terrain with a "commitment to making connections and seeking possibility" (Royster and Kirsch 19) most certainly requires subtle reflexion, rich and calculated thought, and a belief that the future is not a fixed state of occurrences (Detienne and Vernant). Establishing new directions for the study of rhetorical practices and performances, as well as feministinformed paradigms for research and scholarship (Royster and Kirsch 4), furthermore, requires that scholars perceive the future as uncertain, though simultaneously requires that they not fight against nor submit to that uncertainty. It is perhaps with metis that feminist scholars use uncertainty to their advantage. Through careful premeditation (or cunning premeditation) and "comparing the future with the past" (Detienne and Vernant 17), feminist rhetorical scholars carefully arrive at conclusions. And such conclusions may be ones that, just as Metis herself attempted, are meant to "reverse situations and overturn hierarchies which appear unassailable…" (Detienne and Vernant 108). This is, in effect, what the feminist project tasks itself with in the first place.

Metic Bodies and Archival Research
The inherent paradox within the cooking practices that came alive on Julia Child's The French Chef-cooking practices that included "painfully exact" recipes that, when performed, created elements of suspense-may, in fact, be the perfect representation of how metis can be harnessed by researchers working in archives.
Archival research scholars stress the importance of entering the archive with research questions as well as a method with which to follow as a guideline (Gaillet; Hayden, "Gifts"; Buehl et al.). Scholars also stress the importance of knowing an archive: where the documents came from, how they arrived, how they are organized and kept (and how they were originally organized and kept), how to read and efficiently utilize the finding aid, and how the collections have been used for prior research (or not). 99 Also of importance is an understanding of the historical lives that surround the creation of the documents themselves. There are various material lives and experiences that inform-or even invent-the archival collection itself, and knowledge of those materialities is crucial for a researcher to consider as part of her meaning, having the capacity to combine the layers of what one already knows with the new knowledge created by those "ah-ha" moments-can be like striking gold.
Negotiating this process requires flexibility, intuition, and creativity, and it requires enough awareness and curiosity to make the most of the unexpected opportunity. And, again, considering metis as resiliency, this moment during archival research requires a realization of "engagement without confrontation" (Flynn et al. 9).
In another sense, operating with a holistic sense of metis within an archive might look like creating opportunity as research happens-it is essentially invention as part of the research process itself-for the self and for others (N. Johnson, "Autobiography" 391; Biesecker 124). Ideally, a researcher with feminist metic intelligence would be familiar with many of the ins and outs of the archive she was working in, and, with or without unpredictable moments, she still creates-and invents-as she goes. With the archive in a state that is presented by the archivists, on any given day the researcher must engage in a delicate negotiation between the stability of what is and what is not in the archive as well as the flexibility of her projects, her ideas, and her agenda. She negotiates between the solid, tangible artifacts that stand in front of her or that pass through her fingertips and the opportunity to engage in meaning-making along the way. Theories of feminist metic intelligence, hence, may even further inform the ways we talk about archival research methods (and experiences).
For me, this type of negotiation occurred early on in my research. I was in the process of completing the proposal for this study, and I had been to Schlesinger to examine Julia Child's archives only twice. Both visits were to explore the collections and familiarize myself with their contents. At first, I looked at correspondence between Child and any number of constituents who played a role in her life and success. There were letters to the people at Uncle Ben's 101 and Pillsbury, 102 to book publishers, to friends across the country, and to Robert Mondavi in Napa, California.
There were also letters to other people in the food business, people like Alice Waters, James Beard, Craig Claiborne, and M.F.K. Fisher. There were even letters to and about writer and producer Nora Ephron. 103 I reveled in catching glimpses of history, some familiar and some unfamiliar, and rather than intently "looking for" ideas, I wanted to simply observe. I felt an undeniable pull to create some direction from that first reading of a The French Chef production script. I felt excited to have come across a document that even in itself demonstrated rhetorical prowess, but that also would have lead to another even more embodied performance.
A few minutes after I sent that email, I studied the hand-drawn layout for Show #14, a document that captured the kitchen setup for the same episode referenced above. The Chicken Breasts layout outlines the placement of everything that would share the counter space with Child (see Fig. 9): parsley sprigs, minced onion and "1c.
rice" in the upper left-hand corner, utensils like a wooden fork, spatulas, large spoons, and forks ready in the lower left-hand corner, and all four burners would be on different settings and ready for different pots and pans to be set on top of them (Chicken Breasts Layout). I remember thinking: "I think I just found my data!" Then my enthusiasm continued as I discovered the typed script that lead to Episode #9, Production #22, featuring Hollandaise sauce, "luscious, velvety, lemony, buttery -one of the glories of French cooking" (Hollandaise script). I noticed that Child called Hollandaise a famous sauce, but admitted that it was "dreaded"-dreaded, she noted, "because many people don't know how it works and why" (Hollandaise script). The subtle ethos validating a difficulty with the "dreaded" sauce caught me by surprise; at that moment, I started to see Child not as a star or celebrity, but as a keenly aware and rhetorically adept teacher. And, I would argue that without being "ready for anything" and mindful of my own position in those archives-ready to create opportunity-I might not have realized that what I had come across was a real treasure.

Metis and the Art of Research
By sharing the story of my own archival journey, I illustrate that metis used as a rhetorical and feminist framework may further our field's conceptualization of how physical emotion works in tandem with other types of knowledge. M. Johnson et al.
evoke Phillipa Spoel on this point; they claim, "a feminist approach to embodied rhetorics opens up the possibilities for re-integrating bodily, emotional ways of knowing…into the process through which rhetors and audiences" generate situated knowledges (qtd. in M. Johnson et al. 35). This is a concept that I believe would benefit nearly all aspects of learning as well as understanding an even more holistic rhetorical situation, but here, I think it may reveal more about how scholars connect with and make progress in an archive.
Feminist metic intelligence may also contribute to the ways we already work in the archives. Considering the concept of a more productive and creative metis, one that uses cunning and intuitive powers to create productivity and forward motion, seems to align specifically with what Royster and Kirsch refer to as Critical Imagination and Strategic Contemplation. As a tool for inquiry, Critical Imagination is "a mechanism for seeing the noticed and the unnoticed, rethinking what is there and not there, and speculating about what could be there instead" (Royster and Kirsch 20).
Furthermore, as Royster notes in Traces of a Stream, this tool for asking questions requires a "commitment to making connections and seeing possibility" (in Royster and Kirsch 19 emphasis added). Strategic Contemplation, similarly, encourages "rigorous contemplation" that requires taking "the time, space, and resources to think about, through, and around our work as an important meditative step…" (Royster and Kirsch 21). It is an approach that encourages imagination applied to lived and embodied experiences so as to, if we're lucky, gain insight, inspiration, and passion for our research subjects and projects . Royster and Kirsch further add that strategic contemplation, too, may allow "new vistas to come into view" or "unexpected leads" to shape scholarship and subsequent research questions (22).
Both of these feminist rhetorical methods of approaching research or data analysis requires careful and keen-maybe even cunning-observations of a greater situational context, a context that perhaps crosses the boundaries of the data itself.
And, in order to seize opportunities that arise from these imaginative and contemplative practices that become infused into our research methods, a researcher must not only be ready for opportunity to strike, but she must also have the cunning wherewithal to respond with appropriate next steps. She absolutely must be ready to enter into a negotiation between the knowledge she already carries in her toolbox and knowing which move or action is the best one to make in response. Hawhee writes about the physical metic responses that one with extensive training, like the wrestler, is always ready to engage in (142); I might additionally argue that a feminized version of metis allows researchers to follow similarly embodied intuition. In conjunction with data sets, feminist researchers may use imagination and contemplation in order to be ready to seize those "unexpected leads" and to even more fully participate in robust research agenda .

Metis From the Kitchen to the Classroom
The idea of a more holistic working definition of metis may allow those of us who teach rhetoric to better understand the highly contextual and often embodied elements that contribute to acts of deploying rhetoric. Understanding a rhetorical situation more fully means knowing how others feel, anticipating how others will react based on those feelings, and knowing the self well enough to assess one's own use of tone, volume, and gestures to get things done with rhetoric. My close study of rhetorical metis-and namely, feminist metic intelligence-may help us see that a rhetor cannot be classified simply as a "master of tricks" or a "magician of words" who weaves a "glittering web of words" (Detienne and Vernant 22). Approaching a rhetorical situation with caring and understanding means accompanying rhetorical tactics with non-confrontational strategies as well as a compassionate and intuitive approach (Flynn et al.). And deploying rhetoric in this way means, perhaps, acting as an advisor like Metis herself might have-as "one who advises what should be done so that things may turn out one way rather than another" (Detienne and Vernant 107).
As instructors of rhetoric and composition, and even feminism, feminist historiography, women's studies, and queer studies, we must also remember that our Hindman; Spoel). A wise and embodied response to our students might include employing a holistic version of metis in order to make space-intellectual, physical, and rhetorical-for "ungovernable forces of nature and fate" (Ballif 190). As Ballif argues, metis allows one to be able to manage these uncertainties with "ways and means to negotiate the flux " (190). If this is the case, then we ought to bring metis into the real lives of our students so that they themselves gain an agency over the situations they face. Dolmage puts it simply: [T]he most important way to understand metis is to recognize that…it is the best way to describe and enact forms of knowledge and tactics in communication in any uncertain situation-and if we approach our world as one of chance and change, then metis becomes the best available means for us to move in hundreds of different rhetorical situations everyday. (Disability 157) like breaking an arm as a baseball pitcher, having a severe peanut allergy, and managing debilitating social anxiety and shyness. Students learned to adjust their available means for communicating-and for thriving-based on these bodied experiences. These moments shape who students are as material beings, and bringing awareness and appreciation to those experiences can foster confidence in how students carry themselves and thus, how they communicate with others. Acknowledging these connections makes students more aware of their own learning as well, and as a result, students become more deliberate rhetors. They become cognizant of their own calculated premeditation as well as their ongoing adaptability and flexibility, and they become aware of the rhetorical moves they've been able to deploy.
To a person who has never been exposed to foundational ideas of rhetoric, the concept itself can be rather mysterious. 105 Reporters and commentators in the media use the term as though it hides the truth or can manipulate how the public perceives an event, person, or news story. A quick search of how rhetoric is used in recent headlines turns up phrases like "Ambiguous Rhetoric," 106 "Controversial Rhetoric," 107 and "Misguided Rhetoric." 108 Even historical periods and events are documented, for example, with categories such as "The Rhetoric of 9-11" (American Rhetoric), "The a layperson, rhetoric may appear to only perpetuate these challenging times we live in by providing us with language to talk about controversy.
Certainly, teachers in the field of rhetoric and composition have been dispelling the above portrayal of rhetoric for decades. I would argue, however, that when we demystify rhetoric by giving students the proper tools to harness it for themselves and in their own everyday situations, we are acting with feminist rhetorical metis. Just as Julia Child aimed to bring methods of French cooking down from nevernever land, 111 teachers can help students understand rhetoric as always already part of their everyday lives and arm them with the ability to harness the best available means for every rhetorical situation. Lessons of everyday rhetoric allow students to earn jobs, to have conversations with other instructors, to write graduate school applications. By helping students understand how to use rhetoric to get things done, per se, we debunk the confusion and offer tools that serve to empower others. Borrowing from Cushman, as agents of social change the in the classroom, we may empower through providing resources in order to achieve goals, or we may help by facilitating action related to specific categories of language and literacy (14). Furthermore, in an historical moment where young people are getting more involved in the political culture of the U.S., rhetoric is poised to provide them with tools for activism.
Bringing archival research practices into the rhetoric and composition classroom also stands to become an act of feminist rhetorical metis. Working with either physical or digital materials requires not only that students develop patience in their close reading skills, but also students learn patience in the research process as 110  well as the many steps required to develop an ongoing research question (Hayden,"Pedagogical Turn" 134). As Wendy Hayden asserts, too, "teachers can enact feminist pedagogy in focusing on local histories," and students can learn "feminist strategies of recovering lost voices, (re)reading the archive as a source of public memory, and creating archives themselves" ("Pedagogical Turn" 134). Archival work often includes an approach similar to the toggling I engaged in for this study; and it demands flexibility and reflexivity. There are often moments where thinking and rethinking is required (Wells 58 emphasis added) in order to make sense of partial fragments in an archive.

Feminist Metic Intelligence, Historiography, and Multiple Culinary Pedagogies
Elevating the rhetorical labor of a celebrity like Julia Child was facilitated by the rich archival collections that are housed at the Schlesinger Library. It's important to note, however, that while many assume she was the first to do so, Child was not the first woman chef to cook and teach on television. As television itself became a household commodity, many local broadcasting stations produced cooking shows meant for both culinary instruction and product advertising. Cinema studies scholar Dana Polan cites various iterations of how, throughout the 1940s and 1950s, television stations across the U.S. designed their sets and approached the topic of cooking (42)(43)(44)(45)(46). Perhaps more important to field of historiography and feminist rhetorics, he also names a number of female chefs who, for various reasons, did not rise to the stardom that Child did. Even before Child entered the public's view, women from all over the country stood behind a kitchen counter at their local television station and taught their local communities how to cook: Consuela Kelly from Schenectady, Marjorie Hume from San Diego, Bettie Tolso from Omaha, and Edith Green from San Francisco . A follow-up to this present study that examines the feminist metic intelligence of Julia Child might include similar surveys of the embodied rhetorical practices of these women-women whose lives and materialities we have yet to place within a rhetorical framework or within their own story.
Added to the collection of television chefs whom Dana Polan brings attention to are other chefs and food writers whose work is available via archival collections. None of the women mentioned here have held a place in the limelight in quite the same as Child, and bringing attention to their practices would further contribute to both a culinary historiography of women as well as the feminist rhetorical tradition.

Future Work with Julia Child's Archival Material
Though the 2,036 items of archival data I collected provided more than enough material for this study, it also stands to sustain a number of future projects. The collection of letters would provide incredibly rich material for a project addressing the rhetorical decision-making that contributed to Mastering the Art of French Cooking. Child consulted with friends, relatives, 115 business owners, and food and cooking experts on the book, and information in the letters outline precisely how decisions were made about wording, formatting, ingredients, and methods. An examination of Child's correspondence would also shed light on her aims to address a particular audience in particular ways, especially with her insistence on using the methods/variations approach to recipes as well as the way they are formatted with the ingredients on the left side of the page and the physical instructions on the right side of the page. 116 A close reading of Child's correspondence will also allow me to study her influence through what Royster and Kirsch call Social Circulation. In Feminist Rhetorical Practices they outline social circulation as looking at connections "among past, present, and future in the sense that the overlapping social circle in which women travel, live, work, and are carried on or modified from one generation to the next can lead to changed rhetorical practices" (23). They further add that feminist projects would be well suited to "get a better hold of how women participated actively in setting, shaping, and deploying rhetorical trends and practices writ large" and call for scholars for "make more visible the social circles within which [women] have functioned and continue to function as rhetorical agents " (23-24). With a wealth of information already at my fingertips, I plan to narrow in on the patterns of rhetorical strategies across space and time within Child's letters as well as the ways in which she harnessed relationships, many of which contributed to her ongoing-and unstoppable-agency as a teacher, cook, or public persona.

APPENDIX A: Coding the Artifacts and Data
Throughout each day that I spent reviewing artifacts within The Schlesinger Library, I used a "thematic" list of terms that helped me make decisions about which artifacts were relevant and which were not relevant. I also used this the thematic terms to code artifacts after I added them to my own curated, digital archive. As I coded each day's collection of artifacts for content, I developed and added to a running list of "content" codes. Both lists are below.