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Distillations magazine

Unexpected Stories from Science’s Past

The Ingenious Arctic Cooking Pot

Rediscovering the clever chemistry behind a ceramic tradition that had all but vanished.

Seated woman pouring liquid from a plastic container onto an upturned pot
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When Karen Harry first saw the artifacts, she snorted and shook her head. She simply did not believe that they were ancient cooking pots—everything about them looked wrong.

Harry, a ceramics archaeologist at the University of Nevada, Las Vegas, works mostly in the desert Southwest of the United States, where Native Americans traditionally made some of the most elegant pottery in the world. But one day in 2003, a colleague at UNLV, Liam Frink, returned from a trip to western Alaska, where he had been excavating sites associated with the Thule people, the ancestors of the modern-day Inuit. Frink showed her the remains of some supposed cooking pots he had collected there. The pieces looked more like chunks of scorched dirt than typical potsherds—blackened and crumbling, like nothing Harry had ever seen.

Cooking pots around the world generally share certain traits. They’re thin-walled, to more easily conduct heat from the fire. They’re large, holding a few gallons of porridge or stew, since they often need to feed a whole family. They’re fired, to seal the walls and prevent water from seeping out. And they’re round-bottomed, for strength.

But the fragments that Frink insisted were old cooking pots lacked all these features. They were small, unfired, thick-walled, and had a cylindrical shape that would have rendered them structurally unsound. (Like most materials, ceramics expand when heated and contract when cooled, and sharp joints—like those on the base of cylindrical flowerpots—often fail and crack when put under such stress.)

Furthermore, according to archaeological theories, the Arctic lifestyle wasn’t compatible with cooking pots. The climate was too cold and damp to make pottery, and the diets up north lacked the grains and starches that would require long, slow simmering. Harry took one look at the remains and dismissed them. They simply could not be cooking pots.

But as Thomas Huxley once said, scientific progress often starts with “the slaying of a beautiful hypothesis by an ugly fact.” Despite Harry’s well-reasoned objections, Frink explained that all available archaeological evidence indicated that people in Alaska have been using these small, squat pots for cooking for at least a thousand years. Harry had to figure out what the heck was going on.


Harry and Frink decided to tackle the mystery together and spent the next few years exploring several avenues: in addition to analyzing the archaeological remains Frink collected, they visited Alaska to interview elders, scoured old ethnographic accounts, and, most importantly of all, conducted several experiments that involved recreating Native pots.

Six black and white photos of small ceramic pots
Cooking pots collected by University of Pennsylvania archaeologist George Gordon, from his “Notes on the Western Eskimo,” Transactions of the Free Museum of Science and Art, 1906–1907.

The interviews with elders captured some poignant history. Traditional clay pottery fell out of favor in Alaska after contact with Russian traders and other groups introduced metal cookware.

Nevertheless, although the memories were fading, Frink and Harry interviewed two brothers in their late 60s who recalled their mother teaching them how to craft such pots. “According to one of the brothers,” Frink and Harry wrote, “she made the cooking pot not because she intended to use it (according to the elders, they never saw her cook in anything other than a metal utensil), but because she wanted them to have the knowledge just in case it was ever needed.”

Even if the practical utility of the pots had seemingly diminished then, they continued to preserve these cultural traditions.

Thankfully, one mystery gave way easily—the pots’ small size. Traditionally, the Thule and other people derived most of their food from hunting seals, walruses, and whales, and they ate most of the flesh raw, as a palliative against scurvy, a chronic lack of vitamin C. Most traditional societies ingested vitamin C through plants, but given the dearth of edible plants in the far north, especially during winter, that wasn’t an option. Animal flesh contains plenty of vitamin C, but only in raw form, since heat destroys the nutrient. Consuming raw flesh, then, was a necessary adaptation to Arctic life.

Still, there is something nice about a warm meal sometimes. Traditional Alaskan cuisine also prizes texture contrasts, including one dish that involved dunking chunks of frozen meat in boiling water. This produced a soft, warm outer shell with a frozen crunch in the middle. Small pots were perfect for dishes like this, since the Thule simply needed to parboil a few bites at a time, not simmer a big kettle of stew. The small size of Alaskan pots, then, was simply a reflection of culinary habits.

But if the pots’ size now made sense to Harry and Frink, other mysteries persisted. Why the thick, unfired walls and sharp, stress-prone joints?

These characteristics, it turns out, were a byproduct of the damp climate of Northern Alaska. Most traditional societies across the world sealed pots by firing them. On a microscopic level, putting the pots in a kiln or near flames will initiate a process called sintering where the tiny individual grains of clay fuse together into one hard, solid mass. If a pot isn’t sintered or otherwise sealed, the cooking liquid will leach into the pot’s walls, crumbling them and contaminating the food. Before long, the pot collapses.

Illustration of Arctic scene showing a man tossing a hook on a string toward a dead seal
Retrieving Seal with Seal Hook, by Iñupiaq artist James Kivetoruk Moses, 1965.

Sintering pots in the damp and chilly climate of coastal Alaska would be a tough challenge on its own. Pots must be fully dry before they are fired, or they will explode in the kiln due to tiny pockets of water within the clay expanding rapidly into steam. Making matters more difficult, trees cannot grow in the artic, and any driftwood that washed ashore was precious, since people needed it for harpoons, drying racks, and house frames. (In areas especially short on wood, the Thule sometimes used whale ribs and other bones as the supports for their homes.) Sintering pots would consume far too much wood. This scarcity of fuel was another reason they often ate meat raw or rare—roasting animals on spits was not an option. Cooking fires were kept small and didn’t burn long, just enough to boil a small pot of liquid.

But what these pots lacked in polish, they more than made up for in chemistry and engineering. Harry and Frink eventually concluded that the secret behind these pots was two ingredients you’re unlikely to find at your local pottery studio—seal blood and seal oil.

They discovered this through old anthropological accounts dating back to the 1940s. To their frustration, however, these reports were brief and vague: they mentioned the ingredients but explained nothing about how Native Alaskans actually used them. So Harry and Frink, along with a few colleagues, visited a village in western Alaska, got some clay and seal fluids, and started experimenting.

Harry’s initial thought was to knead the fluids into the clay. It did not go well. The oil turned the clay into goop—a slimy mass that wouldn’t hold its shape. Blood worked better at first. “Oh yeah, this is great!” she recalled thinking after kneading some in. But as blood is wont to do, it began clotting, and the mixture got harder and harder to knead every minute that passed. It finally turned into a crumbly mass, impossible to sculpt into a pot. Mixing seal fluids into the clay, then, wasn’t the answer.

Then Harry had an inspiration. What if she simply coated the pots with blood and oil? Would that seal them off well enough to boil water?

Landscape photograph of creek with scattered single story houses on its shore
A view of Tununak, a village on the west coast of Alaska where Harry and Frink conducted their research, July 2005.

Harry, Frink, and company devised a series of experiments to test her theory. To show me what they discovered, Harry invited me to join her at UNLV one spring morning to make some replica Alaskan pots.

I met her and a bevy of graduate students in a concrete courtyard behind her lab, where Harry had set up some folding tables. She then grabbed a bucket labeled “Mountain Blue” containing clay from Alaska and thumped it onto the table. She poured water in and mashed the clay with her hands to soften it; she was soon smeared in gray gunk to her elbows. Then she splatted out a few handfuls for each of us.

The Mountain Blue had a crumbly feel, which Harry explained is not ideal for making pots. It felt far coarser than the silky commercial potters clay she had on hand for comparison. We all mixed in more water, as well as wood shavings as temper, and got to work shaping some pots.

As we worked, Harry explained another mystery of the pots, which she had gleaned after talking to elders in Alaska. Traditionally, coastal Alaskans made pots during their brief summers, the driest time of year there. Unfortunately, that snap of summer was also the only time of year they could harvest berries and fresh greens. They also needed to dry and store whole mounds of fish to get them through the long winter. In short, they had dozens of chores to do every day and simply lacked the time to handcraft each pot. They had to crank them out, then move on to the next task.

That haste explains the shape and thickness of the cooking pots. Thin, round-bottomed pots are superior for cooking. They also take hours to sculpt and need firing to hold their shape, or they’ll slump and sag. Thick, cylindrical pots take maybe 20 minutes to make; you can more or less just slap them together.

Two photographs; on the left a seated woman pours liquid from a plastic container onto an upturned pot; on the right, the same woman sits near a wood fire and dips a pot into a bag holding blood
Harry making pots in Tununak, July 2005. Left, Applying seal oil. Right, Adding seal blood.

After slapping together our pots in the courtyard, we set two of them aside—a control group that would remain uncoated. Two other pots would get a coating of seal oil alone, while two more would get a coating of just seal blood. The remaining three would get coats of both blood and oil.

Seal oil is rendered from blubber, which Arctic people traditionally stripped from sealskins, chopped into strips, and let melt during the summer. Harry had picked up some on a recent trip to Alaska. I was delighted to find out she stored it in her freezer inside a washed-out bottle of chocolate Nesquik, which she plunked down on the table in the courtyard. I poured some into a green plastic bowl and proceeded to coat my pot by dipping a paper towel in and slopping the liquid onto the surface. It had a vaguely herbal smell and was tinted yellow.

Next came the blood. Harry didn’t have any seal blood handy, so she appealed to one of her students, who used to work at a veterinary clinic that stockpiles dog blood for canine transfusions. That blood expires eventually, and the student scored a few pints that the clinic was going to discard. It came in plastic hospital drip bags, which we snipped open with scissors and squeezed into a blue bowl.

Using another paper towel, I dabbed the blood onto my pot. Unlike the oil, which glided over the surface, blood proved harder to spread. It quickly got tacky, and per Harry’s instructions, I had to work hard to coat every fissure; I finally resorted to finger-painting with my plastic gloves. Between the blood and the oil, the bowls looked striking afterward—a deep, shiny crimson.

At this point, we let the pots dry overnight, then reconvened the next morning for the actual experiment. Harry started a wood fire in a small grill and explained that in each of the four trials, we would pour a pint or so of water into each pot to see whether we could bring it to a boil.

Close up a pot with a dark red hue
A pot coated with seal blood.

We started with the untreated pots. When the fire was blazing, Harry gently laid them down in the grill using a Kevlar glove and poured in water from a pitcher. They were a complete bust. The untreated clay had no strength, and a hole formed within a minute. Water began gurgling out, and the walls finally crumbled like sandcastles.

The pots coated only in oil fared better: the water began simmering within minutes. Harry explained that oil conducts heat well, which helped transmit the heat of the fire through the pots’ walls and into the water. Being water-repellent, oil also helped keep the water out of the walls.

At least at first. Unlike a proper sealant, oil doesn’t set and harden; it remains liquid. Before long, much of it had trickled off the walls into the water, which in turn allowed water to infiltrate the clay. At this point, the oiled pots had no more structural integrity than the untreated ones, and clay began sloughing into the water until it resembled coffee. When I dipped a stick inside, it came up coated in muck. “You’re eating mud if you eat that,” Harry snickered.

With the blood-only pots, one failed quickly and all the water gushed out. (This was likely due to poor construction. We were amateur potters, after all.) The other held up well and kept its shape, due to the seal provided by the clotted blood. But with no oil to conduct heat, the energy from the fire had trouble penetrating the clay walls, and the water never came to a boil. The water also got a thin scum on top, a byproduct of the blood. Nevertheless, when I dipped a stick below the scum, it came up clean. The result, then, was the opposite of the oil trial: cleanish water, but not enough heat to cook anything.

Finally, we put the pots coated in both blood and oil to the test. One again failed immediately due to poor construction. But the others resulted in a good hard boil, and my informal stick test showed that the water inside was clean. This setup, then, combined the best of both treatments: solid heat conduction from the oil and a nice, tight seal from the blood. This is exactly what Harry, Frink, and their colleagues demonstrated in a peer-reviewed paper on the topic.

From her initial disbelief, Harry had come to hold a deep appreciation of just how clever these pots were. Whatever they lacked in aesthetics, they compensated for in ingenuity. As Harry and Frink wrote in one paper, “Every decision in pottery manufacture entails a series of trade-offs,” and based on the poor quality of local clay, the short time they had to make pots each summer, and the lack of fuel and ability to fire their pots, the Thule people and their descendants couldn’t rely on standard archaeological measurements of what makes a “good” pot. They had to engineer something that worked for them based on the unique challenges they faced in one of the most demanding environments on Earth.

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