The term was introduced by food scholar Annie Hauck-Lawson in 1995. She recognized that our relationships with food communicate far more than individual preferences. What we cook for guests can express hospitality. What we refuse to eat may signal belief or belonging. A treasured recipe can carry a family history that nobody has ever written down. Even an argument over the proper way to prepare dinner can reveal how fiercely people protect their identities.

Gold recalls traveling through Sicily and discovering that neighboring towns defended strikingly different versions of supposedly traditional dishes. One community favored fennel with roasted lamb, while another insisted on mint. Tomato sauces also changed from place to place. These differences were more than culinary details. Each recipe represented a claim about heritage, authenticity and home.

Our food voices begin developing long before we can explain them. Gold describes an Indian custom in which a grandmother traces a sacred symbol on a child’s tongue with honey. The sweetness becomes inseparable from touch, affection and ceremony. The moment suggests that eating is never merely a transaction between the mouth and the stomach. It can also be an introduction to love, community and meaning.

Smell plays an especially powerful part in this process. An aroma can summon memories that seemed lost, sometimes before we understand what has happened. Gold revisits the famous literary scene in which Marcel Proust tastes a madeleine dipped in tea and is overwhelmed by recollection. She proposes that the fragrant linden tea, as much as the cake itself, may have unlocked his past.

Anyone who has caught the scent of a familiar meal in an unfamiliar city knows the feeling. Suddenly, the present loosens its grip. A childhood kitchen appears. A relative who has died seems close again. The memory may be joyful, painful or both.

Yet the food voice is about more than nostalgia. It also reveals experiences that people struggle to discuss openly. A holiday meal might evoke warmth and security for one person, but conflict or loneliness for another. Memories of hunger and punishment can shape relationships with food for years. Listening carefully to such stories can tell us something essential about another person’s life.

Such is the story of cabbage and noodles: A three-ingredient recipe of pure comfort handed down by five generations of Hungarian women. A dish that extended way beyond the Holocaust into an unknown future.  A single forkful continues to be the transmission of love that transcends experience.

The same plate, then, can hold entirely different meanings for different people. To understand why, we must listen beyond the ingredients. A meal is never just a collection of flavors. It is also a record of who prepared it, who shared it, what was celebrated, and what remained unspoken around the table.

But how do we put these experiences into words? Describing food is surprisingly difficult. We can identify sweetness, saltiness, sourness, bitterness and umami, yet those five basic tastes hardly capture the experience of eating a ripe peach or freshly baked bread. Aroma, texture, temperature and memory all contribute. When ordinary vocabulary fails, we borrow language from elsewhere, describing flavors as bright, earthy, comforting or mysterious.

Gold offers an amusing example from a restaurant visit. A blue cocktail carried an unfamiliar aftertaste that reminded her of something from a garden. Eventually, she settled on catnip. Another drinker might have detected pine, almonds or flowers. Neither description would necessarily be wrong. Each person brings a different collection of memories to the glass. Our food voices are as individual as fingerprints.

Writers have long understood this expressive power. A carefully chosen detail about a meal can illuminate an entire character or relationship. The scent of bitter almonds can suggest longing. A grandmother tending strawberry jam can become a portrait of family life. Food gives stories texture, allowing readers to recognize feelings that might otherwise remain abstract.

Sometimes, however, the most moving food stories emerge from displacement. Gold describes a Nigerian writer who reconnects with childhood through dishes missed after leaving home. She also considers an Iranian immigrant for whom an American fast food restaurant becomes an unexpected refuge. Neither story is simply about appetite. Familiar meals and unfamiliar eating places help people negotiate the difficult distance between where they came from and where they now belong.

One especially poignant example involves Jewish women imprisoned in Terezin during the Holocaust. They assembled recipes while enduring hunger, preserving memories of meals they could no longer prepare. Their imagined kitchens offered a connection to families, celebrations and ordinary lives violently interrupted. In this setting, a recipe became more than instructions. It was an act of remembrance and a declaration that their identities extended beyond their suffering.

Yet listening to food voices also demands humility. Our own traditions can feel so natural that we mistake them for universal standards. We may dismiss another community’s dishes as strange, or treat someone else’s culinary heritage as a novelty to borrow without understanding. Gold warns that food language can reveal prejudice as easily as affection. Respect begins with recognizing that every cuisine carries histories and meanings we may not immediately grasp.

This matters particularly in societies shaped by migration and changing expectations about family, gender and identity. The people preparing our meals, sharing their recipes and introducing new ingredients bring experiences that deserve attention. A richer conversation about food makes room for those voices without insisting that everyone tell the same story.

We can begin with simple curiosity. Ask someone who taught them to cook. Find out why a particular dish appears at celebrations, or why an ingredient reminds them of home. Listen when the answer includes grief, pride, disagreement or joy. Such conversations can deepen relationships in ways that polished dinner party chatter rarely does.

Ultimately, the food voice reminds us that eating is both deeply personal and profoundly social. Every mouthful connects the body to a wider world of people, places and experiences. When we pay attention to those connections, a meal becomes an invitation to understand one another. The next time a familiar aroma stops you in your tracks, follow the memory. It may have a story worth telling.

And now, an example of the food voice in a poem by Rozanne Gold called Kitchen Work

Instead of jewels, I gather gooseberries—

the taste of jade.  Or mince the flesh of tomatillos

to moisten them with fresh lime, coarse salt,

and Virgin Oil.  Note to self: Take notice.

At my birth, tickling my ear with her gorgeous finger,

she said I will never forget you.  Cherries, grapes,

eggs, we were born from imagination.  

A recipe holds the future.  A bit of my mother’s

knuckle grated into the latkes we made together.

I bury the cleaver in the carving board

to forget that she had to die one day.

We laughed and sucked the mangoes

dry over the sink, the cabbage shrinking

in the dish as I cradle her face

between my hands.

Beneath the lavender in the window box

I find dead birds, such perfume in

loneliness, the holiness of that place.

And so many mouths to feed—

Now the clinking of an ice-cold kitchen—

the room exhales its sheer white curtains

Walls, the color of custard peel away.

Paint, potato, skin.  One lives a full life

to tell a simple story.

I slit the onion, and watch it weep. 

The researchers begin with what might seem like a small technical question: do two particular tablet fragments belong to the Song of Release? The answer matters because both had been associated with the later Hittite Empire period. If either identification were secure, it would show that the composition continued to be copied long after the surviving Middle Hittite manuscripts were produced.

One fragment, known to specialists as ABoT 2.247, initially looked promising because it contains the names Megi and Zazalla. Both names are familiar from the bilingual tradition surrounding the city of Ebla. Megi appears there as a king of Ebla, while Zazalla is his opponent in a dispute concerning the release of people. On names alone, the connection seemed plausible.

Yet ancient texts can be deceptive when only scraps survive. Görke and Lorenz examine the fragment’s language and formulae more closely and reach a very different conclusion. Rather than preserving part of an epic narrative, ABoT 2.247 appears to be a cadastral text, essentially a record describing fields. Its surviving lines refer to measurements, the dimensions of land and seed grain. Zazalla, in this context, is therefore not the character from the Song of Release but probably a person who appears in other land records.

This reinterpretation is a useful reminder of how scholarship on the ancient world actually works. A familiar name can suggest an exciting connection, but context is more important than resemblance. A few signs impressed into clay can change the history of an entire literary tradition when they are read differently.

The second fragment, KBo. 57.180, presents a subtler problem. A damaged line has been reconstructed as possibly referring to the “Song of Release,” which would make the tablet exceptionally important. But the broken passage permits other readings, including a possible reference to a lullaby, or perhaps to an entirely different song of release. Dr. Susanne Görke and Dr. Jürgen Lorenz therefore argue that its classification remains uncertain. Once these two pieces of evidence are reconsidered, the larger historical picture changes: no securely identified later Hittite copy of the bilingual Song of Release remains.

That absence is more than a gap in a catalogue, and raises a larger question about cultural memory. The Hittites were active copyists, translators and collectors, yet not every work enjoyed the same afterlife. To understand why this particular composition seems to disappear, the researchers turn from individual fragments to the places where the tablets were found and to the other texts stored beside them.

The archaeological setting makes the mystery even more intriguing. Most fragments of the bilingual work were discovered in or around Temples XV and XVI in the Upper City of Ḫattuša. In Temple XVI, numerous pieces were found near a large storage vessel in a basement area, suggesting that tablets may once have been kept there together. Other fragments emerged from disturbed debris, making it difficult to reconstruct exactly how the collection was organized.

These surviving tablets nevertheless share a striking feature: they belong to the Middle Hittite period. This makes the Song of Release unusual, but not unique. The researchers point to another famous work found in Temple XVI, the Epic of Gilgamesh. Eight fragments of an Akkadian version were discovered there, apparently copied in Anatolia from older Mesopotamian models. Like the Song of Release, this particular version seems to have left no later descendants at the Hittite capital.

The comparison suggests that ancient libraries did not preserve literature in the systematic way modern readers might imagine. Texts could arrive from abroad, attract the attention of scholars, be copied or translated, and then disappear from the written record. Some compositions became lasting parts of a scribal tradition. Others apparently did not.

This possibility transforms the Song of Release into evidence for something larger than one forgotten story. The tablets reveal Ḫattuša as a place of intellectual exchange, where scribes encountered traditions from Hurrian-speaking regions, Mesopotamia and Anatolia. Temples XV and XVI contained not only bilingual literature and Gilgamesh fragments but also ritual, mythological, religious, historical and administrative texts. Their contents suggest a scholarly environment in which very different kinds of knowledge could meet.

Why, then, did some of that knowledge vanish? Görke and Lorenz resist an easy answer. Perhaps the temples lost importance. Perhaps texts associated with them circulated only among a limited group of learned specialists. Changing royal interests might have reduced enthusiasm for foreign literary traditions. It is also possible that stories continued to circulate without further copies being made, or that later tablets simply have not survived. Archaeological disturbance makes certainty even harder.

These possibilities remind us that cultural memory is shaped as much by neglect as by preservation. Every ancient work available today survived a chain of choices and accidents. Someone had to value it enough to copy it, store it and sometimes translate it. Buildings had to endure long enough for tablets to remain recoverable. Modern excavators then had to find the fragments, while scholars had to recognize which pieces belonged together.

That is why reconsidering two unassuming fragments matters. By showing that one is a land record and that another cannot securely be assigned to the Song of Release, Dr. Susanne Görke and Dr. Jürgen Lorenz narrow the known life of this remarkable bilingual tradition. In doing so, they make its disappearance more historically significant.

The unanswered questions are part of the discovery. Future work on individual scribes, archives and connections with later Hittite texts may reveal more about who read these compositions and why they stopped copying them. For now, the Song of Release offers a haunting glimpse of an ancient intellectual world: curious, multilingual and connected, but also fragile. Its broken tablets remind us that history is more than what people once knew. It is what, against enormous odds, they managed not to forget.