Mt. Helm, Jackson, MS
Alamo Theatre, Jackson, MS
Blue Greyhound Station, Jackson, MS
Coleman’s Mustard Sauce
Best made the night before. Beat well three whole eggs, combine with a cup of Coleman’s dry mustard, a cup of herb vinegar and a half cup of light brown sugar. Cook over low heat until thickened, cool, and refrigerate. This sauce is good with any smoked meat.
Mayflower Kitchen
Edwardian Jackson
I am not from Jackson, nor (even worse) am I from Belhaven. This relegates me to troglodyte status as far as the city’s natives are concerned, but before you begin casting aspersions (or something sharper and heavier) let me assure you that Seta Sancton’s The World from Gillespie Place goes a very long way towards explaining why I and others love it so.
Given my primeval ignorance, of course I had to find out who Mrs. Sancton was, and given that I know so few people here, I decided to simply do what I do best and research the matter. This eventually led me to contact Tom Sancton, who among other things is former Paris bureau chief for TIME magazine, professor of journalism at the American University of Paris, Andrew Mellon Professor in the Humanities at Tulane, and a jazz clarinetist to boot. He’s also likely to be one of those irritating people who complete the NYTimes crossword even before they finish their second cup of coffee. In response to my query, Mr. Sancton wrote:
Dear Jesse,
Seta Alexander Sancton (1915-2007) was my mother. She was born in Jackson, on North State Street, into a prominent local family (Whartons on mother’s side, Alexanders on father’s side). Her father was Julian P. Alexander, a graduate of Princeton and Ole Miss law school, and an associate justice on the Mississippi Supreme Court. She graduated from Millsaps College, where she was a member of Chi Omega. She was a close personal friend of Eudora Welty, a neighbor from childhood. (My mother’s family lived first on Gillespie Place, then at 1616 Poplar Blvd; Eudora was on Pinehurst.) Seta married my father, New Orleans journalist and novelist Thomas Sancton, in 1941. They lived mostly in New Orleans and had three children of which I am the youngest. When my mother was in her 70s, she decided to write down some family stories and memories for her children and grandchildren. She started jotting down stories on notepaper, the back of envelopes, whatever she had at hand, adding stick figure illustrations as she went along. The result was the book you have in hand. In the 1990s she recorded readings of some of the stories.
Best regards,
Tom Sancton
Seta’s book is the memoir of city full of “sugar and spice and everything nice”, of June bugs and fig trees, lavender crepe myrtels and magnolia musk, braided biscuits, sidewalk parades, and ragtime on the Victrolas. “Though Edward VII was no longer on the throne,” Seta writes, “the temper of the times remained Edwardian for our mothers, our grandmothers and for us children.”
The World from Gillespie is a world where maids took children to Smith Park for play on the swings and slides, feed the swan, and eat sugar cookies in the miniature Greek pagoda. Home libraries offered volumes of Dickens, Thackeray, Tennyson and the best-selling works of Zane Gray. Gillespie Place itself was a new subdivision off State Street, and having a mother who was Episcopal and a father who was a Presbyterian was awkward. Going to the state fair was a landmark event as was going downtown to eat at the Bon Ton, the Pantaze, or the Edwards House.
Seta’s eyes are filled with the genteel character of Jackson during the 1920s. Yes, of course poverty and oppression were rife at the time, but those and other unpleasantries such as war and epidemics are set aside for bridge luncheons, birthday parties, dragonflies, and swimming in Livingston Lake.
I’m charmed by this picture of Jackson’s past, watch for glimpses of it now, and see it every day. Memory, my children, is a living thing.
About Mistletoe
Mistletoe is a hemiparasite that draws water and nutrients from its host plant, but has chlorophyll and produces its own food by photosynthesis. Mistletoe rarely affects trees that are healthy, but can harm those already weakened by root damage (as from construction), drought, or pests. The word mistletoe comes from the Old English misteltan, with tan meaning “twig” and mistel meaning “dung, filth.” This makes sense when you consider that the plant’s seeds are spread by bird droppings, but perhaps it’s best not to bear in mind that you’re kissing under a “shit stick.”
In a famous Norse myth, mistletoe caused the death of the god Balder, the best loved of all immortals, by the jealous Loki. When Balder dreamed that he was about to die, he told his mother, Freya, who went to all things and made them swear that they would never harm her son. But she thought the mistletoe too weak to hurt anyone, and Loki found this out, he fashioned a poison dart from the plant and put it in the hand of the blind god Hodur, who stood aside while others threw things at Balder for the fun of seeing them drop to the ground before they reached him. “Here is something for you to throw,” Loki said, “and I will direct your aim.”
No one seems to know where the kissing comes from, though some claim that after Balder’s death, Freya commanded that the plant must never again bring destruction, and that those who pass under it must exchange a kiss of love and peace. Washington Irving wrote that men gave women as many kisses as there were berries on the mistletoe hanging above them, plucking off one per kiss. The English hang kissing balls made with cedar and mistletoe in doorways.
Ruby’s Roadhouse Omelette
While I worked in west Florida during the 1980s, I came to know people from all over the world. Then there was Ruby Ruth Reese, a down-home girl who grew up in what she called “the woargrass (wiregrass)” region of south Alabama.
Ruby Ruth (“Call me ‘Roo’”) had a heart of gold, but she was just as mean as she could be to all those displaced Yankees we worked with in Florida. She liked me because, as she once put it, “You’re just tryin’ to do right and make a place for yourself.” She even claimed to have relatives in Tupelo, but I think she just said that because she knew I was homesick all the time.
Roo told me she worked in a truck stop in Geneva County, Alabama during the Sixties, and if they knew you well enough, and you ordered something “to go”, you’d pay five dollars more, and they’d slip you a bottle of whiskey under the counter before you left. They also made what they called ham and egg pie that most of their customers would order to eat by themselves. Roo often made these for us to share on our lunch, which we took around two in the afternoon when we’d had a busy day. I’ve fancied it up a little bit with the cheddar cheese (she used American slices). She’d fuss at me for that.
For two people, beat very well four large eggs with a half cup of milk. Stir in diced onion, cooked potatoes, ham, and grated cheddar. Heat an 6-in. skillet, add a big lump of butter. Once butter is sizzling, add half the egg mixture, shaking the pan as you do. Once eggs begin to set, top with a little more grated cheese and pop into a hot (400) oven until firm and lightly brown.
About Roux
Starch has been used to thicken dishes before kitchens existed, most often mixed with oil, which coats starch granules for a better meld. Cooking this mixture eliminates the raw, pasty flour flavor, and though roux means “red”, roux are cooked for varying lengths of time to different colors for different uses.
The best rule of thumb is one part plain white flour to one part oil, but I always use a little extra oil to make it more manageable. As to what kind of oil, that depends on what you’re cooking. Generally speaking, if you’re making a white roux, use butter (not margarine, dear hearts). Since butter will burn at higher temperatures, use vegetable oil for darker roux as in most meat dishes and seafood, adding a little olive oil (particularly in a gumbo roux) for whang. Use lard or bacon drippings for that authentic down-home flavor you need in gravies.
Yes, I know you can make a roux in the oven, or even in the microwave, but the stove top gives you much more control over the product. It also requires care and attention. A lot of people call roux “Cajun napalm” for good reason; it will stick to your skin and burn, so when you’re cooking roux, avoid any distractions, use long-handled utensils, and for heaven’s sake, keep your children under control or out of the kitchen.
Don’t use a high heat to make a roux: cook with a medium heat, and scrape the bottom of the pan to achieve an even color. If black specks appear, you’ve burned the roux, and you have to throw it away and start over. Never, never, never use a scorched roux; your gumbo, etouffee, or what have you will smell (and taste) like an ashtray.
Just like a slice of bread, a roux will toast; the longer you cook the flour, the darker the “toast”. It smells like popcorn cooking; at least, it does to me. Those of you who grill a lot may be familiar with the Maillard reaction, the reactions of proteins and sugars under heat that give meats and vegetables that roasted flavor. The same process is at work here. Cooking roux to different degrees of browning render different flavors and colors. They also thicken to a greater or lesser degree; the longer you cook a roux, the less it will thicken.
For white sauces—béchamel and dairy sauce variations—cook the roux only long enough for it to stop bubbling, not long enough for it to brown at all. When making a white roux for soups and gravies it’s better to use slightly more butter, but for a thicker, stiffer sauce such as one you might use to hold a casserole together, use more flour. As a general rule, you’ll use lighter roux for dishes involving poultry or fish, darker roux for beef or game as well as most gumbos, with the exception of a file gumbo, which traditionally doesn’t involve a roux at all. With experience, you’ll learn to customize roux to your cooking.
