Month: November 2023

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Ars Voces: Wyatt Waters–Aerial Reflections

I started painting when I was 2 years old; my kindergarten teacher taught me to read and to paint the story. She was really interested in art, and when I started school, she taught me private lessons. She’s probably the reason I started painting.

My dad fought in WWII, so his values reflected that: had to work, had to study. I can’t do just a little bit of something; I have to do a lot of it. I can’t do it for an hour and a half a day. If I don’t have a good immersion in it, it just isn’t going to happen. I went to Mississippi College, and we didn’t have aesthetics, but we had a creative writing class. It was so fun to be in that class: theme variations, tension, restraint; the big things. That was really my only aesthetics class, that and going to the truck stop to drink coffee after we’d dropped our dates off. You had to get your dates in by 10 p.m. back then.

I’m a dinosaur; I paint outside. I usually start to paint things based on what I call The Great Out Here, the reflected and atmospheric lights that are in the world. The more I paint, the more I look at something, the more it gets on my retina and creates an after-image when I look away from it. You know how a flash bulb goes off and you can still “see” this thing floating in your vision? Well, it’s that sort of thing. It’s why I work on location, because it happens when I’m working on location, and it doesn’t happen for me in the studio, at least not in the same way.

I carry a mirror with me. When I don’t know what to do, I look in the mirror, and the mirror tells me what it looks like to other people. It gives me some objectivity on what I’m seeing. And that probably is the trickiest thing that I use. Painting is considered kind of trick, you know, techniques and all that. I used to be pretty technique-y, but that takes the left-hand side of the brain and puts it on the right-hand side. When you’re writing something, and you come back to it the next day, it’s the same effect; you see how other people see it. When you’re close to it, you can’t tell what to do, so I use a mirror progressively as the painting develops. Like penicillin, I use it when I need it.

It’s also tied in to the idea that the real experience is a lost thing. We’re almost a virtual society now, and in a virtual kind of world, it becomes important for me to make a case for the real experience, or at least to be out there saying that here it is. So that’s what I do, paint on location, and let the real experience of being in front of something affect me, to let that to be my influence.

Invariably, though, when you’re working outside, all sorts of things are going to happen and you’re going to get into the zone, that hypnotic place, and you begin painting expressively. I try to let that happen; I don’t know how to make it happen, but when I paint, it seems to happen on its own. I’ve always loved how watercolor doesn’t do what you want it to do. It’s the only medium I can think of that moves while you’re painting; it drips and runs. It’s like dancing; It isn’t what you make it do, it’s taking advantage of what it’s doing in the first place. It’s like riding a horse. The horse knows something about the field; you don’t drive a horse, you listen to the horse.

I went to Paris, and here I was in one of the great centers of the art world, and I got really homesick. I figured out that the things I want to paint are all here. I didn’t think it would be that way, but all the things I want to do are here.

Anthony Difatta
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Singing Turkey

Luisa Tetrazzini, a robust Florentine soprano whose career peaked in 1905-14, dazzled audiences with her chromatic scales, staccato trills, and other such florid effects. Her skill and taste in the delivery of simple melodies was universally admired.

Luisa’s great rival was Nellie Melba, an acclaimed Australian soprano with whom she had a bitter feud. (It’s a diva thing.) Escoffier, “the King of Chefs and the chef of kings” covered his ass by creating dishes for both Nellie–peach Melba–and Luisa –soufflé Tetrazzini. While the peach Melba is a froufrou standard (as is Melba toast, also an Escoffier innovation), Louisa’s all over the table with turkey tetrazzini, created for her by Ernest Arbogast, at the Palace Hotel in San Francisco, where Tetrazzini resided for two years.

A spaghetti dish usually involving our Foremost Fowl, a tetrazzini usually has mushrooms and vegetables in a Velouté/Mornay sauce topped with Parmesan cheese and baked en casserole. You’ll see versions of it in the lunch buffet at Kroger, where you’ll never run into a peach Melba. For many such as me tetrazzini the default leftover turkey dish. Here’s a basic recipe from Fannie Farmer, but bear in mind the variations are endless. I use vermicelli rather than spaghetti, and sometimes I’ll simply ladle the turkey/sauce mixture over pasta with a sprinkling of cheese.

Cook 1/4 cup tablespoons flour in 1/2 cup butter until foam subsides. Add 2 cups chicken broth, about 1/2 cup heavy cream, a good slosh of dry sherry, and generous dash of nutmeg. Cook, stirring, on medium heat until thickened. To a half pound cooked spaghetti, add about 3 cups diced turkey (or chicken), 2 cups sliced sautéed mushrooms, and about a half cup each of sautéed celery and frozen green peas.

Mix very well with sauce along with about half a cup of grated Parmesan. Press mixture into a lightly oiled casserole, top with more Parmesan, and bake at 425 for about 15-39 minutes, until lightly browned. Toasted almonds are a nice touch.

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Banana Pineapple Pudding

Mix two packages instant vanilla pudding mix with a cup of milk, refrigerate until partly set. Stir in a can of condensed milk, 8 oz. each of sour cream and whipped topping, 3 ripe (freckled) bananas, sliced or diced, a drained 8 oz. can crushed or chunk pineapple. Mix very well, and refrigerate. Layer a casserole with vanilla wafers and pudding—wafers first, pudding last. Top with whipped cream, and sprinkle with wafer crumbs. Some people will sprinkle coconut between the layers and with the topping. Chill very well before serving.

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Alice, Fasha, and Arlo

Thanksgiving has a uniquely American song, not the sort that Lincoln might have imagined when he inaugurated the holiday in 1863, but “Alice’s Restaurant Massacree” is revolutionary, irreverent, and earthy, just as American as pumpkin pie.

“Now it all started two years ago on Thanksgiving, when my friend and I went up to visit Alice at the Restaurant, but Alice doesn’t live in the restaurant, she lives in the church nearby the restaurant, in the bell-tower, with her husband Ray and Fasha the dog. This song is called Alice’s Restaurant, and it’s about Alice, and the Restaurant, but Alice’s Restaurant is not the name of the restaurant, that’s just the name of the song, and that’s why I called the song ‘Alice’s Restaurant’.”

“I think a lot of people who are interested in food fantasize about having a restaurant,” Alice Brock writes in My Life As a Restaurant (1975). “I never did. I was twenty-five, married and crazy. I was a captive in a situation I had very little control over other than the role of cook and nag—being a hippy housewife was not satisfying. I had a world of fantasies; none included a restaurant, but all were based on the assumption that I would be my own person, on my own trip.”

Alice’s mother, who was a real estate broker in Stockbridge and determined to get her daughter out of her “situation”, called her one day and asked her to go with her and look at a little luncheonette for sale down an alley in the middle of town. “It had a counter down one side and three or four booths on the other side, and a tiny ill-equipped kitchen in the back,” Alice remembers. “It was painted two-tone institutional green, and it was definitely not the kind of place where I would eat, much less own. But it was a chance, a chance to escape. Before we left, I was hooked. I was already creating a menu, I was already free. Those moments, when suddenly an opportunity appears, a door opens—they are what life is all about.”

Alice called her restaurant “The Back Room”. “I knew nothing, absolutely nothing,” she admits. “I can’t believe how innocent I was. But it didn’t matter.” Opening night was a near-disaster, “a nightmare”, but she persevered, and soon she and her sister, who was also in a “situation”, were staying up all night cooking things she later wouldn’t consider for hundred-dollar-a-plate dinners and working five hours making thirty portions of some exotic soup that would vanish in twenty minutes the next day. “I was crazy, she said, “but I know that for all our unprofessionalism, we cooked some pretty wonderful dishes, and I established a reputation as a cook.”

The summer of 1966 was a magical time for Stockbridge; the Berkshire Playhouse had reorganized with an eye to becoming more than just a summer stock theater, attracting stars and would-be stars to the town. “Dustin Hoffman and Gene Hackman liked hamburgers with onion, green peppers, and an egg in them,” Alice writes. “Frank Langella was called ‘Mr. Mushroom Omelet’. Ann Bancroft was wonderful, and when her whole family came, I cooked giant meals; when they stayed late, she helped me clear the table.”

One spring morning a year after opening, Alice says that she walked through the front door and freaked out. “I felt that instead of owning it, it owned me. The plates were out to get me, the pots were planning an attack, the stove was laughing at me. I had a terrible urge to smash everything.” Instead, she called Eastern Airlines and booked a midnight flight to Puerto Rico, emptied the cash box and gave away all the food. “It was a wonderful restaurant. It was a success. I ran it for one year. It turned me into a madwoman. I made enemies of old friends. I broke up with my husband. I left my home. I had actually broken free and become my own person. I didn’t know what I was going to do, but I knew I would never have another restaurant. Never say never.”

Alice Brock went on to open not one but several more restaurants; she now lives in Provincetown, Massachusetts, where she owns an art gallery. After Arlo premiered “Alice’s Restaurant Massacree” before a captivated crowd of over ten thousand at the Newport Jazz Festival in July, 1967, he performed it live on non-commercial New York City radio station WBAI one night later that summer. The song became so popular that for months afterward WBAI rebroadcast it only when listeners pledged to donate a large amount of money. The eponymous (less the massacree) album was released that same year, with the song (at 18:20) taking up the entire first side, the other filled with a selection of bluesy folk tunes. The ballad has become a Thanksgiving tradition not only for classic rock stations, but for thousands of households across the nation.

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Claiborne Peeled

Craig Claiborne, an icon of his day and an avatar of ours, seems overshadowed by James Beard and Julia Child nowadays, and Thomas McNamee’s biography The Man Who Changed the Way We Eat: Craig Claiborne and the American Food Renaissance gives us several reasons why. Though described by Betty Fussell as more “accessible” than the ostensibly warmer, certainly more vivacious Child and jolly old Beard, McNamee fails to present the enigmatic, complex Claiborne as anything less than a remote Olympian figure.

When it boils down to it, Claiborne might best be described as the right man in the right place at the right time. His hiring as the first male food editor of a major newspaper came about as the result of crass opportunism if not (as is hinted) chicanery, but The New York Times provided Craig Claiborne with the preeminent platform to fulfill his mission, which McNamee describes as nothing less than “advancing the nation’s culinary culture”.

Claiborne’s call for reform (off the bat McNamee cites an April, 1959 column “Elegance of Cuisine is on the Wane in U.S.” as his gauntlet) came at a time when the nation was ripe for unabashedly elitist change; within a year, Jackie Kennedy, designer clothing and a French chef were in the White House. McNamee explains how Claiborne, with lavish finesse and training he received in Switzerland, set the tone of American culinary culture for two decades and beyond. This biography confirms his pervasive influence on food and dining and easily dismisses his only serious detractors, back-benchers John and Karen Hess, as resentful nit-pickers.

By the mid-Sixties Claiborne had became America’s unquestioned authority (his columns went directly to print; no editor) on the full culinary spectrum of foods and restaurants, chefs and cookbooks. He wrote and co-wrote many best-sellers, first and foremost The New York Times Cookbook. He discovered and promoted chefs as cultural and media personalities – Jacques Pépin, Alice Waters and Paul Prudhomme among many others – helped publicize the West Coast/James Beard movement and introduced Americans to nouvelle cuisine. Claiborne also reveled in a “pan-global eclecticism”, promoting the cuisines of China, Mexico and Vietnam (during the war), among others. He also lived to celebrate a resurgence of great American home cooking. His influence extended into the Reagan administration, and his legacy is evident today in the treatment of food as an important media subject. He created food journalism, and his sheer adventurism still informs our attitude towards food and cooking.

Though a bit exaggerated – McDonald’s Ray Kroc and other fast-food titans have influenced America’s diet far more than Claiborne –The Man Who Changed the Way We Eat should assign Claiborne’s ill-advised 1982 autobiography to a well-deserved obscurity. McNamee’s solidly researched biography is a richly balanced (and long-awaited) feast for those wanting to know more (but not too much) about Craig Claiborne, whose life does not bear well under scrutiny.

I wouldn’t expect a biopic or a Netflix series any time soon.

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Thanksgiving Muffins

Kitchen innovation emphasizing technique rather than ingredients can have impressive results, especially when you’re dealing with what’s familiar. This twist is simple: bake dressing in a muffin pan. It’s easy to do, and the result is a morsel that’s eaten handily, stored easily and kids love them. You can make these days before, freeze, and heat when needed. I like to top some of them with a bit of whole-berry cranberry sauce. They also look good piled on a pretty plate alongside your other buffet items.

Spoon dressing batter into oiled paper liners in a muffin tin and fill to the top, since these do not rise as much as a bread muffin would. Place your pans in the middle rack of the oven and bake at 350 until the tops are firm and the edges have just begun to brown, about 25 minutes. Top with whole berry cranberries when they’re about half-way done. Brush with melted butter and let them cool before taking them from the pan (use a fork) and removing the paper. Store for later and reheat on a cookie sheet.

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Chicken and Dressing

Regional favorites always have local trends; barbecue springs to mind, but more subtle examples are available.

Take chicken and dressing, for instance, a staple of the Mid South.  Along the coast, you’ll find dressings using a dried French loaf, but as you move north, cornbread enters the picture. I’ve seen recipes in north Louisiana and central Mississippi using a mix of the two. This is a typical north Mississippi recipe.

Make cornbread the night before, stick it in a paper sack, and put it somewhere it won’t get eaten. Next day, crumble bread into a large bowl and add enough strong chicken stock to make thick slurry.

To two quarts of such a mixture, add no more than 4 eggs well-beaten and at least two cups shredded chicken. Sauté a cup (more if you like) each of finely-diced white onion and celery in a half a stick of butter, and add to the mix. Some people like diced pepper in their dressing, but I find it overpowering.

Season with salt, pepper, thyme, and sage; I like plenty of sage in mine. Pour into a greased pan and bake at 350 until the top is browned and the center firm.

This goes with anything, anytime.

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Twice-Baked Sweet Potatoes with Feta and Pecans

This is a good way to dress up sweet potatoes for a holiday table and simple enough for less formal occasions. Use can use ricotta, but a salty feta is better.

Bake potatoes by coating with vegetable oil and placing in a very hot oven for about an hour; bake an extra potato so you’ll have enough to over-stuff.

Cool potatoes, slit and scoop out the pulp, mix with butter and brown sugar, honey, or molasses to taste, and about a tablespoon each of feta and chopped nuts per potato depending on the size of the spuds. Raisins are a nice touch.

Stuff skins with mix, top with cheese, and bake until browned. Sprinkle with pecans before serving.

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In a Pickle

Some may say the family is a basic building block of society, nests that nurture civility and tolerance, but we all know they’re vulgar hotbeds of contention. If you’re lucky and manage to stay out of court most of the time, the strife is petty, like the genetic tempest in a teapot I created over–-of all things–-pickled peaches.

We’d been having a carefree back-and-forth online discussion on our family website about a traditional holiday meal when I oh-so-casually mentioned that a cold plate featuring stuffed celery, trimmed green onions, black olives, and pickled peaches always appeared on our table. The pit hit the fan when a younger relative professed that she had no idea what pickled peaches were, much less what they taste like, to which I expressed what they obviously considered an excessive degree of shock and dismay.

Before I could sit sideways to assess my position, I was in a pickle myself. Another young cousin called “Mr. High-and-Mighty,” another chimed in with “a snooty old fart”, and after that it was a “jump on Jesse” free-for-all. Confident in my legendary modesty and self-effacement, I managed to remain calm for about 30 seconds before surrendering to my base nature and giving them a generous piece of my mind.

Damned if I do, damned if I don’t.

Pickled peaches are perfect for any holiday table or used as you might any canned peach in cobblers, cakes or for ice cream. Select the smallest fresh cling peaches you can find. It doesn’t matter if they’re a little bit green; in fact, you shouldn’t use peaches that are soft and ripe enough to eat out of hand because they tend to fall apart when moved.

Wash peaches, drop them in briskly boiling water for about a minute or two to loosen the skins, and peel. For every four pounds of peaches, combine 3 cups sugar and 2 cups vinegar, add two pieces of stick cinnamon broken into 2-inch pieces and two teaspoons whole cloves.

Heat to bubbling. Pack peaches into sterilized quart jars, add hot spiced syrup (with water if needed) seal tightly, and process for 10 minutes. Wait a week before serving.

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A Divine Dressing

Why don’t today’s chefs create dishes in honor of performing artists like those who gave us Melba toast and turkey Tetrazzini? Where’s the Bowie sundae, the Madonna cupcake or the Star Wars souffle? The need, as I see it, isn’t so much for the dishes, which are admittedly key components, but for the stories they may tell, such as this one.

In 1923, George Arliss took the stage as the Rajah of Rukh in The Green Goddess. Arliss was at the height of his career. He went on to repeat his performance in the film version of the play and received an Academy Award nomination for the role, ironically losing to himself that same year (1930) when he played British prime minister Benjamin Disraeli in the eponymous film.

While in San Francisco, Arliss stayed at The Palace Hotel, and for a banquet in Arliss’s honor, the executive chef of the hotel, Philippe Roemer, himself a celebrity, created an original salad dressing with an assortment of finely chopped green herbs to suggest the name of the play. The dressing is a signature recipe in the hotel’s Garden Court Restaurant, most often served with the Dungeness Crab Salad.

The classic Green Goddess recipe usually includes anchovies, mayonnaise, vinegar, green onion, garlic, parsley, tarragon and chives in some form or quantity. Some cooks add sour cream or yogurt, and a popular contemporary version includes avocado (wouldn’t it just?). Served with steamed vegetables or seafood. Combine and mix in processor or blender:

1 cup parsley leaves
1 cup packed spinach leaves, stemmed
½ cup tarragon vinegar
1 cup mayonnaise
1 garlic clove, roughly chopped
3 anchovy fillets
¼ cup vegetable oil

Chill well before serving on fresh greens and vegetables.