Month: April 2022

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Nipping the Bud

The afternoon had been long, impeded by discoveries of even more cracks to caulk, more questions to quell, more smoke, more smiling. Now the sun was slatted on the wall, and he heard Mazie closing her office. She came through his door minutes later, a sheaf of files in her hand.

“This is the last of them,” she said. “Do you want me to take them to the bank?”

“No,” Clayton said. “I’ve got to go see Eddie later, just leave them here.” Mazie hesitated.

“Just leave them here,” Clayton repeated. “I’ll take care of them. And Mazie, you should know that I’ve decided to let you have that free time you’ve always wanted.”

“Free time?”

“Yes,” Clayton said. “Now that Jack is gone, I’ve decided to make some changes, and one of them is rewarding you for your service to the firm. You and Bud will be able to take those long fishing trips you’ve always wanted.”

Mazie looked at him steadily. “You’re firing me.”

“I’ll give you a nice severance check, and you have the retirement account Jack set up for you,” Clayton said. “Things are changing, and we need someone who knows all these new gadgets we’re using better than you do.”

“You won’t get away with it. I know things,” Mazie said.

“I know things, too,” Clayton said. “I know lots of things, Mazie. Like I know that Jack kept Bud out of prison fifteen years ago, and I know why. There’s no statute of limitation on murder, you know. I have the evidence.”

“It was an accident,” Mazie said, too quickly. She knew that Clayton would have the facts that Bud fired the shots that ended the woman’s life, and shots fired with malice and deliberation. Jack, only Jack, could have kept Bud out of prison, and he did somehow, before Clayton had joined the firm. Mazie didn’t even know that Clayton knew about it, but now that he did, and now that he intended to use it to keep Mazie at home and silent, she set her mouth.

“Then I’ll go,” she said. “You’re a bastard, Clayton Isley, a shit-splattered son-of-a-bitch. Your buddy Ward Mason is in the conference room. He said you told him to come in the back door. If Jack were here . . .”

Clayton pounded his fist on the desk. “Jack is NOT here! Jack is DEAD! I’m in charge now, and things are going to be different around here.” He sat back in his chair, breathing heavily and loosened his tie. “Go home, Mazie. And don’t forget what I said about Bud.”

Mazie left, her face set in fury and resignation. Clayton took the files she had been holding, the last of Jack Delancy’s records, and tossed them into the smoldering incinerator out back as he had done the rest of them.

He walked down the hall to the conference room. At the end of the table sat a wiry muscular man dressed in a threadbare jacket and a badly-pressed shirt. His watery blue eyes were set in a long face topped with thinning blond hair. His hands held a cigarette that wobbled slightly over the ashtray.

“Hey, Clayton!” the man said. His smile was wide, and his teeth were large, long and bright.

Clayton walked to a cabinet against the wall and poured a generous shot of whiskey into a glass. He sat the drink and bottle on the table next to the man and watched as he gulped down the drink, wiped his mouth with a hairy hand and poured another.

“How’ve you been, Ward?”

“Great! Great!  I got a new car last week, found a place down on Hooper Road, and I’m going to start fixing up the cabins on the lake, run the snakes out, do some rewiring, fix the plumbing, you know.”

“That’s just fine,” Clayton said. “You know, Ward, since Jack died . . . “

“Loved Jack!” Ward said. “He knew that boy was all about a bunch of lies, sayin’ I did all those things. Hell, I got kids of my own, you know. Love kids.”

Clayton looked at him. “Well, I believe that, Ward, I really do. You know, Frances has been a total mess since Jack died.”

“I can see why,” Ward said, nodding. “Losing a husband like that and them both in the prime of life.”

“She’s been having a lot of problems,” Clayton said. “We’ve had to keep her under a lot of sedation. I talked to a psychiatrist in Birmingham and he said it’s best that she goes to a place where she can get some rest, a private hospital he runs up in Gardendale. My wife and I are going to take care of the little girl, but the boy, well, he needs attention, and that’s why I asked you here.”

Ward’s smile faltered. “What do you mean, Clayton?”

“Well, a boy his age, he’ll be fourteen next week, a boy his age needs a man in his life, and I just don’t have the time,” Clayton said. “Now, I’ve arranged for him to be sent away to school, to a school up in North Carolina, not really a military academy, just an all-boys school that stresses discipline. But I think it would be a good idea for him to get to the country for a while before he goes, and I think you ought to take him with you up to the lake. Take him fishing, get some good fresh air. It’ll only be for a month or so.”

Ward licked his lips. “Clayton, you know, that boy in Jackson who got me into trouble . . .”

“I know all about the boy in Jackson,” Clayton said. He also knew about the boy in Mobile, the boy in Greenwood and the one in Memphis. He had seen the photographs Ward had taken, the looks in the boys’ eyes, and he knew that if it weren’t for Jack, Ward would probably be dead; either shot by a father or killed in prison.

“But Frances . . .”

“Frances doesn’t need to know,” Clayton said. “Nobody needs to know but you and me. I’ll bring him to you myself next Friday to stay with you at the lake. You can go fishing, take the boat out, skinny-dippin’ . . . He’s a good-looking kid. You two should have a good time together. I’ll pick him up in six weeks, in time for school.”

“Nobody’s gonna know?” Ward asked.

“Nope,” Clayton said. “I’ll pay you, of course. Cash. I’ll arrange for you to pick it up at the bait shop on Cane Creek.” He took out a manila envelope and pushed it across the table.
“Here’s some photos of him at the swimming pool.”

Ward opened the envelope. A smile flickered at the corners of his mouth. He replaced the photos and put the money in his jacket pocket. “Wonder if he’s a real redhead?”

Clayton looked at him. “I’m sure you’ll find out, Ward. Now you’d better go. Did you park at the supermarket like I told you?”

“Yeah, and I came down the alley.”

“Okay, I’ll see you Friday,” Clayton said. “Now get the hell out of here.”

Ward left. It was dusk. Clayton drew a cigar from his shirt pocket, lit it and leaned back in his chair. Sometimes, he thought, it isn’t enough just to kill a man.

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Buttermilk Spread

At the Warehouse in Oxford, we had this prep guy who was from the outlaw boonies way out toward Pontotoc. Total stoner with a hot car and a girlfriend with a space between her teeth. He used to sell homegrown weed in the parking lot after he got off work in the afternoon. Before then, he mopped the floor, proofed the bread, switched out the soda canisters, and made a whipped spread with buttermilk and margarine.

I loved watching him do it. He’d crank up our big-ass Hobart with a perforated blade the size of a hubcap and start throwing one-pound blocks of margarine straight out of the cooler into the barrel-size bowl. The chunks made a whomp-bump racket until they began to soften. Then he’d start pouring in buttermilk, and the noise became a sliding hiss as the margarine and milk began to meld. The final product was a creamy, fluffy, flavorful spread the waiters served with warm loaves of bread on cute little wooden paddles.

We used margarine and low-fat buttermilk for economy, but butter and whole-milk buttermilk are worth the expense. Set your mixer on low speed; use the whip attachment. Begin adding softened butter one stick at a time. After the second stick is creamy, slowly begin adding buttermilk in a dribble. As the mixture begins to combine, turn up your mixer on high and toss in about a teaspoon of salt. You should be able to incorporate about a little over a half cup of buttermilk to a pound of butter. Refrigerate before serving.

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About Waiting

Anyone who prides themselves on their patience and understanding should wait tables for a week or so to find out just how patient and understanding they really are.

Many people are notoriously insensitive to workers in the food service industry; just ask any waitperson, bartender or cook. Any given one of them doubtless has several stories to tell of rude and insensitive if not to say vulgar treatment at the hands of a patron. The business of food and drink is a service industry, and it’s no coincidence that the word service comes from the Latin root servus, meaning slave. The food industry trains people to be servile, to cater to customers (and management) in an overtly deferential way because so much of a restaurant’s livelihood depends on steady patronage. I’m not suggesting that anybody who works in the business is at the beck and call of every s.o.b. with enough money to buy a hamburger, but some people certainly seem to think so. These customers, either out of ignorance, stupidity, or a delusional sense of self-worth, will exhaust and demean a waiter, detracting not only from their own enjoyment of a meal but also (far more critically) from that of others.

In her autobiography, My Life as a Restaurant, Alice Brock, owner of Alice’s Restaurant, describes the situation well and offers a very human response:

I am often accused of being rude to customers. Well, it’s true, I am as rude as they are, only they don’t always realize their behavior is inhuman: after all, I am in a restaurant and THEY are hungry, THEY drove all the way from Florida, THEY just want a sandwich, THEY just want to see Alice, THEY just want to look around, and take a picture, get an autograph, use the bathroom, introduce me to their dog, who is named Alice, have a cup of coffee, SPEAK TO THE OWNER…because this food-covered lady in work boots, who is so rude, can’t possibly be the OWNER. I guess I have a temper…good! I won’t stand for being treated like a piece of public property or a freak and I will never allow a customer to get away with giving an employee a hard time. The customer is NOT always right.  Being a “service industry” makes people think we are just computerized slaves.

One of the high-lights of an evening is to hear of a customer bringing a waitress to tears…I rush out to the dining room, pull their plates off the table and point to the door: “OUT…OUT…GET OUT AND LEARN SOME MANNERS!” To try to please the “difficult” customer at the expense of my fellow workers is ridiculous. Some people just have an attitude. They upset the waiter or waitress, who in turn upsets me, who in turn upsets the whole evening. It’s not worth it to try to please or placate these bitter, unhappy people, better to put them out at the first sign of trouble. This is something I have to be there to do…it’s hard to tell or expect someone else to do it. Sometimes I’m wrong, or the waitress is wrong, but better to lose a customer than a co-worker. (p.119)

Ms. Brock is a notable exception, since most managerial-type people treat their waitstaff as expendable. And, to be fair, most people who eat out frequently learn how to deal courteously with waiters, but I’ll be the first to admit that it is a learning process. Nowadays, dining out is almost always coupled with another experience (a movie, a play or some other sort of public entertainment) but at one time dining out itself was often taken as a singular occasion to be enjoyed on its own merits rather than as an appendage to another event. This happy time was when restaurants were successful not merely on the basis of turnover, but more on the quality of the foods they offered, the comfortable atmosphere they maintained, and the genial clientele they accommodated. Great care was taken not only with the menu, which usually involved many courses designed to fit the season as well as the particular talents of the cooks and the general style of the restaurant itself, but also with the presentation, the service, the table, seating, lighting, and atmosphere. Such staging demanded a great deal of planning as well as much care in the execution.

I have seen some degree of return to this tradition, but it is still rare to find a restaurant that does not cater to some abominable god of expediency. I’ve often encountered difficulty when dining out and trying to take my time between one course and the next with a pause to have a bit of beverage and conversation because waitpersons tend to interrupt with an insistent, “Are you alright?” as if to say that by not yelling at them for not bringing the food immediately that they were falling down on their job. The reason for this is that waiters are programmed to turn over tables as quickly as possible and since most patrons have had the “20% tip” rule-of-thumb drummed into their heads waiters are eager to get the tip and get you out in order to get the next. Me, I tip as well as I can; just want you all to know that.

Waiting is dancing with  dialogue. I’ve known champion waiters from both sides of the kitchen doors, and I’ve been subject to the attentions of some world-class bartenders.  (Incidentally, bartenders, as a general rule,  just will not put up with a bunch of bullshit; trust me, I know.) Perhaps what I’m describing is simply an example of what is being called a decline in civility, but as Alice says, “Some people just have an attitude,” and in my book as well as hers such people require adjustment.

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Pat Lamar’s Lasagna

When I was working at Audie Michael’s, a restaurant on the Square in Oxford (current site of the City Grocery), we became well-known for two items outside our regular menu. One was gumbo, and the other was lasagna. We ran both regularly as luncheon specials. Since we were basically an upscale burger joint, we didn’t do a lot of catering, usually only large take-out orders for regular customers. But one day Pat Lamar, a wealthy, socially prominent patron and later mayor of Oxford, sent in a messenger carrying a beautiful, knee-high (swear to God) McCarty bowl with a tapered bottom. My boss came waltzing into the kitchen with this huge piece of pottery and said, “Mrs. Lamar wants you to make lasagna in this for her party tonight.”

“Sure,” I said. “Is this oven-proof?” He looked at me like I’d hit him with a hammer. “What do you mean, oven-proof?” he asked. (He was a nice guy, just lacked focus.)

“Look,” I said. “I’m not about to take an expensive piece of pottery, fill it full of lasagna and bake it in an oven without knowing that it’s not going to shatter into seven hundred pieces.” Suddenly realizing the situation, he asked, “What are we gonna do?” (In my experience, this has been management’s basic reaction to anything that’s not in the manual.) “First thing, call her up and see if she’s baked in it before,” I said. A few minutes later he came back and said, “She’s never put it in the oven, but she thinks it will be fine.” I was skeptical. Even if the piece was insured, I didn’t want to have to clean up an oven full of lasagna and broken crockery. So I got on the phone and called Ron Dale, the top ceramics professor at Ole Miss.

“Jesse Lee,” he said, “To be honest with you, I do not know if it will withstand the heat or not. But the one thing not to do is to put a cool piece into a hot oven.”

So I took a deep breath and made lasagna. I filled the bowl with warm water to heat the ceramic up a bit, poured that out and filled it with swirled layers of meat, cheese, sauce, and noodles, all still very warm. The entire ordeal (which took two people to lift) went into a cold oven. I started turning up the thermostat 25° every fifteen minutes or so. I was on pins and needles. My boss Don positioned himself in front of the oven on a stool staring at the oven door until I ran him out with a mop.

After three hours, the lasagna was bubbling beautifully and the bowl was fine. I found a box big enough to hold the damn thing and was just closing the lid when Mrs. Lamar’s mincing entourage came to pick it up for the party, which had already started. Once it was out of my hands, I went up to the bar and got good and snockered.

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Ars Voces: Anthony DiFatta – A Precarious Balance

I call myself a painter; I paint, so I’m a painter. A teacher of mine, William Baggett, said, “Too many students call themselves artists, and they’re not artists; they’re students.” That stuck with me. I’m still learning, so I’m a student too, and I never want to get past that.

At USM, Jim Meade became my mentor. Meade steered us towards the formality of composition. He would talk about the Golden Mean, the Golden Rectangle, the Fibonacci sequence, and how all those tied into aesthetics. We would draw forms and divide them up, explore the geometry of formats just to get us geared into recognizing that this is the way things can be arranged so that your brain knows it’s there, even though it’s not drawn out. It was so boring! I often thought to myself, ‘What am I doing? I came here to become a good artist and to find something that nobody’s ever done before and become famous; that’s why I’m here!’ But it ended up becoming a completely different experience.

The first class I took I failed. The teacher said that I could render things okay, but that I didn’t know anything about drawing. At that point I realized that I either had to dump all my preconceived ideas about art and begin learning, or I’d have to find something else to do, and there was nothing else I wanted to do. I’d just gotten out of the military, I was 24, one of the “old guys” in the class. And these young kids were, well, drawing circles around me. I had to humble myself, tell myself that I had to learn, and if I want to discard it, I’d discard it. So we did gesture drawing, weight drawing, blind contour, taking the works of Renaissance painters, placing tracing paper on top and finding how they lined up their compositions, learning from masters of their art. When we were given more freedom to start making decisions, form was so ingrained it was natural. We didn’t even have to think about it. Then Jim came up with a great phrase, which I attribute to him because I’ve never heard anyone else use it except myself, but he called it cultivated intuition. You cultivate a visual idea so much that it becomes intuitive.

Meade would also tell me not to worry about coming out with my own style. He told me that style is either going to happen or it’s not; it’s going to be you coming out. He would tell me, “Miles Davis didn’t get a trumpet and start writing his own music and improvising; he learned the notes, he played the scales, he did the boring stuff over and over and over. Once he got good at the boring stuff, then he played other people’s music. Then, when he became proficient in other people’s music, people he admired, he took all those things and was able to push it further out than it had ever been pushed before.” That made complete sense to me. I wasn’t in college to make paintings, I wasn’t studying art to make paintings; I was studying to learn how to paint, the paintings would come later.

Visual strength is seeing something that connects deeper than ‘Wow, that’s a pretty horse in that painting.’ Or ‘That painting looks just like a photograph.’ It might be a great painting that looks just like a photograph, or it might be a shitty painting that looks like a photograph; but the fact that it looks like a photograph is irrelevant. It could simply consist of a few squiggly lines in the right place and it would be charged. Dali’s work is cool and interesting and psychological, but it relies so heavily on the subject matter being shocking that it’s a matter of diminishing returns: the more often you see his work it doesn’t grab you like it did the first time. I’m not sure if what he was doing defeated his purpose visually. Van Gogh’s Chair is powerful on both levels. I think good art engages with precariousness in balance between the linear composition and the color; you want unity, but you don’t want so much unity that it’s boring. You have to have some contrast. I guess I’ve allowed for this chaos and order by allowing all the chaos and accidental stuff to happen at first, so I’ve got to put it together. I don’t want to take away that spontaneity, but I want it to eventually look like a flat piece of art with everything fitting within the frame.

Every art professor in the world would probably cringe to hear someone say this, but art is something that you hang on your wall and you look at every day. If people didn’t have art hanging on their walls, then artists wouldn’t exist. I have a painting by Ellen Langford that see every day, and every time I look at it, it re-engages me. And I notice something different about it; either I’ll look at it formally, at the composition, the way she treats the negative space between the trees and around the house, or I’ll look at the expressions on the faces and see the animals in there. There’s a lot going on, but at the same time it’s simple; it’s got this juxtaposition, this push/pull, so what jumps out at me most often is what’s farthest  away. Arnheim talks about this in his book, about flattening the space by making what’s farthest away in the painting come forward.

Even in my non-representational pieces, I’m very much concerned with the negative space and the picture plane. If everything doesn’t look like it belongs there, if everything doesn’t relate to that flat surface, then it doesn’t work. I try to put a sort of weird overlapping depth in there, but it also has to be flattened. So you’re tricking the minds of your viewers with this push/pull going on; it’s a visual element I use to re-engage the viewer. When people say ‘This artist is so talented,’ it’s almost an insult to the hard work it takes to be decent at something. That’s also what’s exciting about it. My work has continued to change and evolve, and I still learn things. They can refer to me as an artist when I’m good.

Anthony DiFatta, self-portrait
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A Floridian Pepper Caper

Bars—for those of us who frequent them—provide insights of the most profound sort into the human condition. This I firmly believe is because bars combine by their very nature the easy-going, ruminative atmosphere of an agora with the somewhat less philosophical and contemplative aspects of a boisterous opium den, making them the perfect stages for a meeting of minds between people who have hitherto never set eyes on one another.

So it was that in a bar in St. Augustine, Florida, the waitress, after serving my fourth beer along with a pound of boiled shrimp asked, “Would you like to try our datil pepper sauce with these?” Intrigued as a Southerner, more specifically as a Mississippian and a pepper-head to boot, I replied in the affirmative and was served a fluted ramekin containing a creamy sauce flecked with black pepper. “It’s got a bite!” she warned.

And indeed it did, but not at all what I—a seasoned if not to say jaded veteran of salsa skirmishes—would consider fierce or fiery, but I had to ask, “What the hell is a datil pepper?” Of course, bless her heart, she was a newcomer from Missouri, so she marched off to the kitchen and came back with the chef, who was a proud native of St. John County, and a descendant of those St. Augustineans who came from Minorca as indentured workers in the late 1700s.

“The datil pepper,” he explained after hoisting himself–nimbly, I must add–on a stool beside me and ordering an O’Doul’s, “is a very hot pepper, a type of Capsicum—you say you know peppers, so you’ll recognize Capsicum (I nodded)—chinense–this he emphasized by holding up an index finger–that came to Spain, then to Minorca, from Cuba. My people brought them with us. What we have done here with our sauce is to combine the fiery datil—which is similar in taste and appearance to the habanero—with mayonnaise, which as everyone knows was invented in Minorca in ancient times and is named for the capitol city, Maó-Mahón. Do you like it?”

Of course I told him I liked it, though to be quite honest putting a spicy mayonnaise on shrimp ran somewhat contrary to my tastes, which tend to a pungent, horseradish-and-lemon juice infused tomato condiment. When I asked where I could get seeds, he stated emphatically that he could get some seeds for me at the end of the season, or I could contact the St. John County extension office. I gave him my address with many thanks.

So I finished my shrimp, ordered another beer and was sitting there in what some might term the glow of culinary discovery when this seedy-looking little skinny guy in a Dolphins jersey sidles over and says, “You’re not believing that crap are you?”

“Why not?” I said, my reverie reduced to embers.

“Oh, hell, that pepper’s just something one of them crackers found growing in a pile of horseshit behind the city hall, and they decided to make a big hoo-hoo about it,” he said. “They just tell you tourists that bull turkey so you’ll buy a bottle and take it home and brag about it.”

After all that, I had to ask him where he was from. “Key West,” he said smiling. “Where we grow those yellow limes.” I just grinned and bought him a beer.

“Works every time,” he said.

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Mississippi Sin

Yes, dear hearts, gluttony is a mortal sin, and is–along with the other six, I hasten to assure you–rampant in Mississippi, where Class III obesity is endemic. While this recipe is new to me, it’s apparently been around for a while; you’ll even find “low-cal” versions, as if adulterating transgressions might mitigate the consequences. Honestly; some people. Blend well a cup of sour cream with 8 oz. softened cream cheese, add 2 cups grated sharp cheddar, a half cup each chopped ham and green onion, and small drained can of green chilies. Spoon into a toasted bread bowl, wrap in aluminum foil, and bake at 350 until crusty, forty minutes or so.

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Chicken Fricassee from the King Edward

This recipe comes from The Jackson Cookbook (1970), a wonderful addition to any kitchen library. The dish is a classic, old-school fricasee–rich, with a sublime aroma–is characteristic of the haute cuisine fashionable in hotels such as the   King Edward in the middle of the 20th century.

Bread the chicken lightly, and slice the onions thickly so they won’t singe. Baste at least once, twice is better. I used boneless thighs skewered and lightly floured (no drenching beforehand) with salt and pepper, early yellow onions, and a mixture of fresh and dried thyme. Use a medium heat—the butter will burn if too hot—and give the chicken a good browning. I wilted the onions in the oil/butter before topping the chicken, drizzled with more of the mix, and baked in a medium (350) oven for about an hour.

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Lemon Potatoes

This is (purportedly) a Greek dish. Cat Cora recommends Yukon golds in her recipe, but says that her family used canned potatoes in their Jackson, Mississippi, restaurants. Mix well equal parts of chicken broth, olive oil, and lemon juice. Add oregano, minced garlic, and salt to taste. Cut waxy potatoes—yellow is pretty—into wedges, toss with seasoning mixture, and bake—stirring occasionally—in a very hot oven until crispy.

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Bragging of Mrs. Byrne

Having a designer set of Jane Austen displayed with discreet prominence tags one just as soundly as a brittle shelf paperback Louis L’Amours. If you pardon as understandable the inordinate number of books devoted to cooking, for the most part you’ll find my library eclectic enough to deflect instantaneous psychoanalysis. The glaring exception is my copy of Mrs. Byrne’s Dictionary, which labels me as a pseudo-intellectual of the vilest sort.

I met a fellow the other day who told me that he had snagged a first edition of the OED for twenty bucks from a library that was cleaning its shelves, and I felt cheap and disgusted with myself for being jealous. Therapy doesn’t help. No.