Anthony Bourdain on the Life and Legacy of a Truly Infamous Cook: Typhoid Mary

Historically, to be a cook, to prepare food for others, was always to identify oneself with the degraded and the debauched. As far back as ancient Rome, and as recently as pre-Civil War America, cooks were slaves. Untrustworthy, unpleasant, and more often than not, unhealthy, cooks in early twentieth-century Europe and America worked in hot, unventilated spaces for long hours. They were underpaid, underfed, and underappreciated—and their cruel masters despotic, megalomaniacal tyrants, parsimonious desk-jockeys, and brutish warders.

Cooks tended—as they still do—to drink. And they died, usually at a young age, with their livers bloated by booze, their feet flattened, hands gnarled, faces ravaged, their lungs coated with the sediment of years of inhaling smoke, airborne grease, and bad air. Their brains were fried by the heat and the pressure and the difficulty of suppressing mammoth surges of rage and frustration, their nervous systems frazzled by mood swings which peaked and crashed with each incoming rush of business. They sweated and toiled in obscurity, cursed their customers, one another, their underlings, and their evil overlords. They cursed the world outside their kitchen doors for making them work like animals, for making them bend always to another’s will. For existing.

And yet they were almost always proud. Cooks knew then, as they know now, that the people “out there,”—the ones who lived outside those swinging kitchen doors, the ones who owned homes, who went out to dinner or to the theater on weekend nights, the ones who had holidays off and who saw their loved ones for more than a few fleeting hours a week, were different. The world of the nine-to-five worker, the property owner, the regular restaurant goer, the boss, is completely and maddeningly incomprehensible to those who’ve spent most of their lives bent over a hot range.

For a cook, the well-ordered safety and certainty of the kitchen, however hot, cramped, and occasionally crazed, is a place of absolutes. The chef is the Absolute Leader. Food is always served on time. Cold food is served cold. Hot food is served hot. No one is late. No one calls in sick.

Let me repeat that: No one calls in sick.

The world outside the kitchen doors, to the mind of the cook, is imperfect—a constant source of disappointment, a place of thousands of tiny betrayals which threatens at all times to intrude into their own territory.

Mary Mallon, the woman who came (to her everlasting displeasure) to be known as Typhoid Mary, was a cook. Much has been written about Ms. Mallon over the years. There have been sensational newspaper accounts, plays, works of fiction, the predictable feminist reevaluations depicting her as the sad victim of an unfeeling, racist, sexist society bent on bringing a good woman down—her persecution and incarceration the result of some gender-insensitive Neanderthals looking for a quick fix to an embarrassing public health problem. And there is an element of truth in almost all these characterizations. She was a woman. She was Irish. She was poor. None of these, listed on a resume in 1906, was going to put you on the fast track to the White House or a corporate boardroom or even a box seat at the opera.

Because, first and foremost, Mary Mallon was a cook.

And her story, first and foremost, is the story of a cook. While that may not explain everything about some of the troubling aspects of her life, it explains a hell of a lot. Her tale has not yet, to my knowledge, been told from that point of view.

Little historical record of Mary’s life can be depended on—and there are few recorded words or utterances from her own mouth. The accounts of the time, from others involved, directly or indirectly, with her case, are all too often self-serving, incomplete, sensationalistic, or plain wrong. Few, if any, take into account the worldview of the career cook.

I’m a chef, and what interests me is the story of a proud cook—a reasonably capable one by all accounts—who at the outset, at least, found herself utterly screwed by forces she neither understood nor had the ability to control. I’m interested in a tormented loner, a woman in a male world, in hostile territory, frequently on the run. And I’m interested in denial—the ways that Mary, and many of us, find to avoid the obvious, the lies we tell ourselves to get through the day, the things we do and say so that we can go on, drag our aching carcasses out of bed each day, climb into our clothes and once again set out for work, often in kitchens where the smell, the surroundings, the ruling regime oppress us.

Going in, I knew only that she was a cook with a problem. Few, it seemed, knew her real name. “Typhoid Mary,” the moniker she’s come to be remembered by, is now an all-purpose pejorative, an epithet implying evil intent, willful contagion; shorthand for a woman so foul, so unpleasant, so infectious as to destroy all she touches. If you were to ask a passerby who Typhoid Mary was, you might hear that she was a plague carrier, someone responsible for infecting and killing thousands.

In fact, as I soon discovered, Mary’s total body count—for all her career—as tabulated by her most fervent and least forgiving pursuer—came to thirty-three persons infected, with confirmed deaths of only three. Although, in all likelihood, there probably were a few more uncounted, undiscovered cases associated with Mary. God bless her, she often worked off the books.

So knowing nothing when I began this project, I soon found myself rooting around dusty collections, library stacks and archives. Research was fun, I have to say. I’ve been penned up in various versions of a 25-foot by 10-foot professional kitchen (like Mary) for most of my adult life, so it was a very new experience for me to acquire knowledge in silence, seated. It helped that I was writing about a fellow cook.

The history of my profession has always fascinated me. Years ago, at culinary school, my fellow students and I loved the stories of Vatel, for instance, impaling himself on his sword over a late fish delivery. While we admired the seriousness with which he took his enterprise, we also thought, “What a punk! Who hadda cover for him the next day at work?!”

One of the best parts of being a chef or a cook is exactly that sense of belonging to something, of being made members of a large and secret society. It feels good knowing you are part of a long and glorious tradition of suffering, insanity, and excess. We may not have a secret handshake (though even brushing contact with the callused hand of another cook communicates, in an instant, scads of information) but we have a language, customs, tribal rituals all our own. There is a common structure, a shared understanding of the world, a hierarchy, terminology, and initiation with which we are all intimately familiar, and we take comfort in that too.

If Mary was part of anything, she was part of a very different movement, one forged in hunger, dislocation and social upheaval, a sea-change which pushed millions of women out of their homeland and away from their traditional roles, across the sea and into the lonely business of domestic servitude.

I have known, at various low points in my long and checkered career, what it feels like when one’s pride in what one does—one’s love of cooking, one’s faith in one’s ability—begins to fade, and I know the kind of sloppiness that can follow. Fortunately, in my case, those days are long gone. I got a second chance. Mary never did.

Bouncing from job to job, with lousy pay, no health insurance, no sick days, no vacation, miss one day at work and it’s back on the treadmill . . . find another dirty, badly equipped kitchen . . . and no hope in the world. You endure simply so that you can afford to go on enduring. The small, simple joys of a perfectly made bowl of soup, a rustic stew, a lovely piece of fish cooked just right, disappear, replaced over time by a simmering forced-down resentment, bubbling up and choked down again and again like burning reflux.

That you may have cooked good food in the past, worked in the homes of the rich, in great houses or great kitchens, seen the pyramids or danced naked on the moon, matters not at all. Nobody cares.

Where once you would have turned your head to cough, you turn no longer. Wash your hands after going to the bathroom? Maybe. If you have time, you’re beyond caring. The people eating your food are abstractions now. Cough or no cough, you know they’ll be back tomorrow, maybe for the Early Bird, the All-You-Can-Eat special. Unwashed hands, an errant cigarette ash, a roasted chicken dropped on a dirty kitchen floor and retrieved on the bounce . . . we’ve been there, you and me and Mary.

The central question when examining the career of Mary Mallon, cook, is always, `Why did she go on cooking when she had every reason to believe she was spreading a possibly fatal disease?’ Many of you who’ve worked in greasy spoons, coffee shops, cafeterias, failing, not-very-good restaurants, institutional food services, know the answer already.

Cooks work sick. They always have. Most jobs, you don’t work, you don’t get paid. You wake up with a sniffle and a runny nose, a sore throat? You soldier on. You put in your hours. You wrap a towel around your neck and you do your best to get through. It’s a point of pride, working through pain and illness. And in the paranoid realpolitik world of the kitchen it makes a great deal of sense. If you don’t show up to work, someone else fills in for you—either an already overburdened fellow cook, who takes on additional tasks—or worse, an outsider, an interloper, a stranger who might well be considered to do a better job than you—or be less likely to call in sick in the future. When you are working in a kitchen that serves something less than haute cuisine, the likelihood increases that a strong back and the ability to endure are of the utmost importance, a chef or owner frequently passing over the superior technician for the more reliable one.

Mary, it should be pointed out, felt fine. She was strong. She was tough. She could take it—and she was proud of her endurance. She worked, and she went on—and when after a time they told her to stop, she ignored them and went on working. One finds oneself being defined by one’s job. The job expiates us from sin; it excuses us our excesses and our lapses. That we are tired, or ill, or in extremis and yet persevere is all we have, sometimes, to sustain our image of ourselves.

Mary learned her trade over time, the same way most of us learn. By watching, waiting, working our way slowly up from the bottom. By repeating the same tasks over and over again. It’s a terrible thing—the worst thing, when a good cook, a proud cook goes bad. When pride and proficiency turn to bitterness and sloth. When outside forces corrupt the desire to do a job well and take pleasure in the doing. It’s an awful thing to watch. It’s awful when it happens to you.

It’s what happened to the cook, Mary Mallon.

Try not to hold it against her.

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From Typhoid Mary: An Urban Historical by Anthony Bourdain, on sale in paperback October 15 from Bloomsbury Publishing. Copyright © Anthony M. Bourdain Trust UW, 2024. All rights reserved.