Within living memory was a time when commercial products and establishments went a long way to convince consumers that their products were “Just like!” if not “Better than!” homemade. This marketing was still going on when I was a kid in the Sixties, even though most Baby Boomers were a generation removed from true home cooking with fresh (unprocessed) dairy, meats, and produce. Beautiful, honest homemade resurged and thrived because of what I call the “Whole Earth” attitude—God bless Stewart Brand and all who sail in him—but there’s a related counter-movement in those who seek to replicate popular corporate dishes for their home table.
It’s only logical that successful recipes are closely-guarded secrets. As a child, I knew a woman who claimed to know the Sanders’ Original Recipe of “11 herbs and spices”, one of the most famous trade secrets in the industry, by virtue of the fact that she had worked in a franchise outlet in Grenada, Mississippi for three months while her husband was in the Grenada County lock-up for beating up a grease monkey who’d stolen a gun from the glove compartment of his car while it was in for an oil change. Her fried chicken tasted pretty much like anyone else’s, but to be fair she cooked 2/3 through a daily bottle of vodka.
It wasn’t until 2016 that the KFC recipe was made public. The Chicago Tribune reported that a nephew by marriage of Colonel Sanders claimed to have found a copy of the original KFC fried chicken recipe on a handwritten piece of paper in an envelope in a scrapbook. The intrepid journalists in Chicago apparently admitted this discovery was within the realm of possibilities, but as journalists of fortitude and integrity, felt compelled to verify the recipe before publication. After “some trial and error” they decided the chicken should be soaked in buttermilk and coated once in the following breading mixture, then fried in oil at 350 degrees Fahrenheit until golden brown. With the addition of MSG (in an unspecified amount) they claimed the recipe produced fried chicken “indistinguishable” from fried chicken they had purchased at KFC.
11 Spices – Mix With 2 Cups White Flour
2/3 Ts (tablespoons) Salt 1/2 Ts Thyme 1/2 Ts Basil 1/3 Ts Oregano 1 Ts Celery salt 1 Ts Black pepper 1 Ts Dried mustard 4 Ts Paprika 2 Ts Garlic salt 1 Ts Ground ginger 3 Ts White pepper
While the KFC empire is built upon fried chicken, cole slaw is a signature side.
KFC Copycat Cole Slaw
13 cups chopped cabbage This is about 1 large head of cabbage or 2 medium heads of cabbage 1 green bell pepper (optional, there is no bell pepper in the KFC recipe) 1/2 cup chopped onion 1/2 cup chopped carrot 1 medium size carrot 2 cups Miracle Whip Light 1/2 cup sugar 1/4 cup vinegar 1/4 cup vegetable oil
If you are lucky enough to have a food processor, get it out of your cupboard. Start to cut up the cabbage and place it in the processor. While cutting up the cabbage, also cut up small slices of green pepper, onion, and carrot and add to the processor. Mixing up the ingredients this way will help distribute the flavors throughout the slaw. You may want to use a little less of the onion, or green bell pepper, but do use all of the carrot. If you do not have a food processor, no problem, simply chop the cabbage, onions, and carrots into small pieces. Add chopped green bell pepper if desired. Now mix Miracle Whip, vinegar, oil, and sugar until you have a smooth mixture. The taste should be sweet with just a hint of vinegar. The amount of dressing may be increased or decreased according to the amount of slaw you are making. Add to cut up veggies and mix well. Let stand at least one hour to let flavors mix.
When all is said and done, I’m of the studied opinion that foods are a lot more than the sum of their parts. Does KFC copycat cole slaw taste exactly the same if you’re not eating it out of a Styrofoam red-and-white container with the Colonel on it?
When I was a little kid, I’d write stories and my mother would type them up on her Royal Standard typewriter. Writing those stories, I never supposed I’d become serious. I used to use a manual typewriter, my own 1953 Royal standard, a beautiful machine that I loved dearly. Then I got a computer, and I use that now. The thing about the computer is that it makes it so easy to revise. Stepping off into the blank page is scary, and it’s much easier to go back and revise what you’ve already written than to make up something new, so I have to watch myself with that. I only work at night; drink beer, smoke my pipe and try to write a couple of pages. It’s kind of a ritual.
When I first became really interested in writing, when I was working on the railroad, my friend Frank Smith introduced me to William Faulkner. I’d heard of Faulkner, but I had never read him. Frank and I were talking about writing, thinking, sort of coming out of ourselves and finding out things. When he gave me some Faulkner books to read, I became just totally involved in Faulkner’s world. It was a world I thought I would have loved to have lived in; the 1890s, the turn of the century, the South of the 1920s. I was fascinated by his style, so I began to unconsciously imitate it. If I had any of my early writings, you would see that I was a very poor copier of William Faulkner, but an imitator nevertheless. Parenthetically, Shelby Foote did the same thing, you read Foote’s early novels and they are a poor imitation of Faulkner’s style. Then I read Joseph Conrad, and I began to imitate him, his cadences, then I read Scott Fitzgerald and I tried to imitate his beautiful, musical lines. Every person I read, I would imitate. Many years later, when I read Lonesome Dove, that book put echoes in my head. Out of all that came my own style.
That’s how I learned to write, by reading other writers, imitating and finding my own voice, and that’s what I recommend for any writer, to not be afraid to imitate a number of writers, because eventually you’ll find your own style. That’s what Faulkner himself did; he imitated A.E. Housman, a number of stylists until he came up with his own. By the time I came to Rowan Oak as a caretaker, I was sick and tired of William Faulkner, I was sick of his baroque sentences, he had begun to annoy me with his coy, almost willful obscurity, so I lost interest in his writing for that reason. Oddly enough, the presence of William Faulkner at Rowan Oak was very small. The boys who worked with me there I think would agree. We all wrote stories and wrote things in the house, but there was no inspiration or magical breath that came down the stairs. It was like writing in a hotel room. Although we talked about him, kept the house as he and his family had, the house really had a life of its own. To us, it was always the house that was more alive to us than Faulkner. Wherever Mr. Faulkner’s ghost is, it is at rest.
I never go to a lecture unless I’m giving it. I say that kind of tongue-in-cheek, but there’s also some truth in it, too. I go to a writers’ conference to speak or read, and I look out over the auditorium and they’ve all got their pads and their pencils are poised to write down The Secret as if there must be some secret to this. They would be better off spending that time reading other writers and writing for themselves. Edgar Allen Poe never went to a writers’ conference; William Faulkner never attended classes at Bread Loaf. The great writers learn to write by reading and imitating and by working their asses off day and night. You’ve always got to be working on something, whether it’s going to amount to anything or not. You can ask any writer if he is working on anything now, and he will say yes. He may be staring at the blank page, but he’s still working.
Don’t preach. You want to write a story. Faulkner said, and I think he’s quite right, that a writer should not have an agenda, that he should not preach; his business is to tell the story of the human heart, to tell it well in all of its lights and shadows, and out of that telling, if you do it true enough and honest enough, if you don’t make fun of your characters and create a real world that your reader can move around in, if you do all that and tell the story, then the meaning, the preaching, whatever you’re trying to say will come out. The Black Flower is not about North versus South; it’s not about the Yankees and the Rebels; it’s about how horrible and unspeakable war is. That’s what it preaches about, not through the voice of the author but through the actions and reactions of the characters and the things they see in the world around them. The reader gets the message without being button-holed. What is wrong with preaching is that you begin to move away from the story, away from the work, and into the writer. And the writer doesn’t matter. If the writer has a message, it needs to come out in the work.
I think that my course has run as a writer. I don’t think that I’ll be publishing any more books. I think that the time has come for me to be a teacher of writing. But having said that, I still write all the time, I’m still paying attention. The literary world is a landscape that I don’t recognize any more, I don’t understand it; I don’t know what’s going on. I don’t think anyone would be interested in publishing anything else I write, but if I ever finish something, I’ll send it in, see what happens.
This is a wonderful buffet item, particularly for an after-event gathering. You could serve this with a buttery pasta, but I think rice works better.
Drain and trim one pound chicken livers. Sauté in butter with a sprinkling of black pepper until just done through; you want them pink, not overcooked. Set aside. In another pan, sauté a finely-minced clove of garlic and two large diced shallots in a quarter stick or so of butter until shallots are cooked. Add a cup of thickly-sliced mushrooms, sift in two tablespoons of flour, and mix well.
Stir in enough beef stock to make a generous sauce, add a slosh or so of good red wine, season with thyme and rosemary, then reduce until thick and smooth. Add drained livers, mix well, salt to taste, and finish with another jolt of wine and a bit of butter.
This is a very basic recipe, and it goes with almost anything, particularly barbecue and grilled meats. For four servings, fry three strips of thick bacon until crisp and set aside. Sauté about a half cup of chopped white onion and the same amount of chopped bell pepper in the bacon grease, add two and a half cups of water, an 6-oz. can of tomato paste, and one cup of long grain rice. Season with a little salt and pepper, bring to a boil, reduce heat, and cover. Cook until rice is tender. Stir in the cooked bacon before serving.
When the American Institute of Architects awarded Samuel (Sambo) Mockbee the AIA Gold Medal in 2003, he joined an elite company of architects (including Thomas Jefferson) who received the award posthumously. “The AIA does not like to confer a gold medal on people who are no longer living,” says architect Tom Howorth. “It’s an award for those who have the potential to continue contributing to the field of architecture. The fact that it was conferred on Sambo confirms he is continuing to shape the architectural landscape.”
Sambo Mockbee died in 2001. Hailed as a visionary with designs such as the Barton House in Madison, the Cook House in Oxford and the Magee Church of Christ to name a very few, Mockbee set an even higher benchmark when he and D.K. Ruth co-founded the Rural Studio at Auburn University. There in the heart of Alabama’s Black Belt, the studio continues to be a place where students learn the social responsibilities of architecture by creating homes and buildings with a spirit for poor communities.
“Sambo’s mission was to see about people,” Jackie Mockbee says. Jackie married Sambo in 1970. “We had two blind dates, we really did,” Jackie says. “The first was at a homecoming for Sambo when he was at Fort Benning. I’m sure he didn’t remember me; I just remember having fun watching everyone there. Two years later, my cousin called me and said they were going to a party and said there’s this guy that we all know who needs a date. They started telling me who he was, and. I said, ‘Wait a minute; I’ve had a date with him before.’
They asked me if I had fun, and I told them that we really didn’t get to know one another. That night, Sambo asked me if I went to MSCW, if I was a Baptist and if I’d marry him. I said, ‘Yes, yes and no.’ That was in August. We were married that December.” The Mockbees had four children, but Jackie remembers that at their home in Canton, “We had kids everywhere.” Jackie says. “They ran all around the neighborhood, but always ended up in our yard. Sambo was like the Pied Piper; he always had something going on, he was always the coach, and when he hit that door, the kids came running.”
“He was a gregarious, affable, lovable teddy-bear of a guy,” says Malcolm White, a long-time friend. “Once you became his friend, you were his friend for life. He loved collecting eclectic personalities. He was an engaging conversationalist and could sit up literally all night and carry on about Van Gogh or the Civil War or American history or Western civilization or anything else you might be interested in.”
Magee Church of Christ (photo by L. David Fox)“He believed in legacy, he believed in creating things that would last,” Malcolm says. “He wrote a check out of an account that didn’t have a nickel in it for the first float that I ever purchased, the very same trailer that the Sweet Potato Queens use today.”
“In the early 80s, Sambo had an office on North Street on a stretch of property that’s now parking lots,” Malcolm says. “On Friday afternoons, Sambo would gather people and would serve Heinekens, which he loved, and sausages or peanuts, whatever he had on hand. Sambo began to explain to us that he had this big idea that he was closing in on, this notion that was going to involve all of us,” Malcolm says. “He wanted to empower rural people of little means in the same way that wealthy people could empower him to design beautiful, elaborate offices. He wanted to incorporate not just architecture and design, but philanthropy and entertainment and recreation, all the components that build community. Basically what he was talking about became the Rural Studio.”
Former partner Coleman Coker first met Mockbee in Corinth. “I think in 1980 or 1981, and we hit it off, just sitting around and talking. Neither one of us had much work at the time,” Coleman says. “He was making a lot of collages, I was painting, and that’s where we found a commonality in translating the world as we saw it through our constructions and paintings into architectural compositions. We never were successful going out and marketing ourselves, particularly to corporate clients,” Coleman says. “Most of the work we were proudest of involved small residences for people looking for something different, looking for something that had a relationship to place, to locale. Most of those buildings were reflections of the clients, an extension of their personalities, and as we got more built, more people would see them and give us a call.”
“We didn’t sit around talking about the work of other architects; we’d talk about literature—Welty and Faulkner—looking for roots, connections to place, and we found that so much more directly through Southern writers,” Coleman says. “There’s no long tradition of Southern architecture outside of the classical, which comes from Europe, and we weren’t looking for that. We were trying to build on what was just beneath the surface here in the Deep South, whether it was black culture or the culture of the landed gentry, whatever mythology could be unearthed.” Mythology, Coleman admits, is “difficult to talk about.”
“Sambo, through the paintings that he did, was building a whole mythological world,” Coleman says. “Characters would repeat themselves throughout the paintings, and they started telling a narrative. It’s easier to render a narrative through literature, even through painting, than it is through architecture, yet you strive to expound those roots and reprocess them through design. Our concern with social responsibility in professional ethics fell in trying to reach out to a group that was estranged otherwise,” Coleman says. “We were trying to design in context with this locale, the locale in a social sense, when the abject poverty in much of Mississippi was virtually ignored by the great majority of designers and the great majority of people who could afford architects.”
“Eutaw: Children of Eutaw Pose Before their Ancient Cabin” (Mural, photo by L. David Fox)
In 1993, Mockbee and D.K. Ruth founded the Rural Studio. “Prior to the Rural Studio there were a few notable construction-focused, hands-on learning opportunities in architecture schools in the country, notably at Yale,” says Tom Howorth, also a former partner. “But there was nothing on the scale, level of commitment and pedagogical continuity that runs through the Rural Studio. Now there are those sorts of programs across the country. So much of what we do is picked from catalogues that the work of putting buildings together becomes a matter of picking the systems that exist and putting them together in a way that you solve the client’s problem,” Tom says. “That wasn’t what Sambo was interested in; he was interested in creating from scratch. He challenged students to think originally.”
Daughter Carol Mockbee recalls that “Papa (Sambo) first started talking about the Subrosa Pantheon in 1999. In the summer of 2001, they started digging in the Alabama clay. D.K.’s mother had died, as well as two young professors at Auburn, and that was probably when they came to the decision to build a memorial space for the Rural Studio, a place to remember and meditate and reflect. So they started digging out the site for the Pantheon in Newbern. By August, they’d poured the first slab. Papa got really sick that fall and passed away in December.”
“The project was suspended for two years,” Carol says. “After I graduated from Auburn in interior design I applied to the Rural Studio as an outreach student to finish the Pantheon. I knew the idea, knew my father’s mythology behind it, and knew that he loved the project. Had I known then what I know now, I don’t think I would have touched it. But, luckily, I was ignorant, young and energetic. For the first few months, I worked on other projects. I had to find my own way, find my role and boundaries. Everyone was skeptical; one engineer at Auburn said, ‘You know, if you were my daughter, I would not let you do this.’ I left that meeting thinking that I am Sambo Mockbee’s daughter and he wouldn’t want me to be doing anything else. I completed it on August 27, 2005. I was so preoccupied with my last pour three days before that I had no idea Katrina was coming.”
“Every June 21, you can go into the Pantheon and stand at different points, align yourself with stars and planets, then sit on a bench next to someone, lean away from them, whisper into a pipe on your side, and the secret travels back to them.”
Slice a 12 oz. pork tenderloin into 6 medallions and pound thinly. Have on hand 6 thin slices prosciutto and 6 large fresh sage leaves. Dredge pork in all-purpose flour seasoned with salt and black pepper. Arrange 1 prosciutto slice over pork. Top with 1 sage leaf and spear with a wooden pick.
Heat about 1/4 cup extra virgin olive oil in a sauté pan, add pork, and brown lightly. Remove from pan, add about a tablespoon of finely chopped shallots and a teaspoon of garlic. Slosh in about 1/4 cup each white wine and chicken stock to pan, cook until reduced by about half, and finish with about a tablespoon unsalted butter. Arrange on a warm plate and drizzle with pan juices.
Combine 1 cup half-and-half or–better–evaporated milk in a bowl with 1/2 cup sugar and 2 teaspoons vanilla extract. Mix well, pour over 2 gallons (8 cups) of clean fresh snow. Mix very well, and serve immediately This serves four or five people. You can re-freeze it, but it becomes very dense.
Admit it; making cheese straws is a pain in the butt.
Though they’re a must on your browsing buffets (if not, someone sniffy is bound to say, “Oh, I should have brought you MY WONDERFUL cheese straws!”), they still aren’t something you might feel like throwing together for a more casual gathering like a bowl game, backyard picnic, or that special moment when y’all decided to get married all of a sudden and your mother(s) held a reception.
Mix well one cup plain flour, one cup grated sharp cheddar, and one stick of softened butter. Add a little salt, a little white pepper, mash around for a little bit, roll out, and shape with a cookie cutter (which is quite easy to clean.)
Bake at 350 until crispy. Dust with paprika and a pinch of cayenne.
Calhoun County provides north Mississippi with a bucolic idyll between the burgeoning metro areas of Tupelo and Grenada. The Skuna and Yalobusha Rivers run east to west through Calhoun at equal distance into the Yazoo via the Tallahatchie, so geographically the county is divided into thirds. The land is typical of north central Mississippi; wooded hills creased by bottom lands.
Given the proximity to Oxford, the county provides a model (if not original) of Yoknapatawpha, but the county seat, Pittsboro, arguably the smallest county seat in the state, is a sleepy village, much the opposite of Faulkner’s bustling Jefferson. Pittsboro sits atop a ridge of hills that marks the southern edge of the Skuna River valley. To the south, the land slopes in a more leisurely manner to the Yalobusha just south of Vardaman, Derma, and Calhoun City.
Jo Brans is a member of the Reid family, who have lived in Pittsboro for time out of mind. Brans’ writings have explored many subjects, most in a much more scholarly vein, but Feast Here Awhile is a thoughtful examination of the changes in American cuisine from the 50s to the 90s. Feast Here Awhile (the title, by the way, is taken from Shakespeare’s Pericles, I,iv,107) is the story of her own culinary coming of age that takes her from the gentle hills of north Mississippi to Belhaven College in Jackson (which was strictly for young ladies until the year after she graduated, in 1955), to various locations in Texas, Minnesota and, finally, New York City as well as through two marriages, one to an American journalist, the other to a Dutch academic.
Brans moves from her mother’s kitchen through college cafeterias, Texas eateries and European fare on to DeNiro’s TriBeCa Grill. She also moves through (predictably, since the book has a pronounced literary bent) Child, Beard, and Rosso, managing to mention Proust, Welty, and Kerouac on the way. Indeed, Brans is somewhat of a compulsive name-dropper, both of the famous and the near-famous, but I was infinitely proud of her for managing to squeeze in Ernie Mickler and his wonderful White Trash Cooking.
In short, Feast Here Awhile is a personal encapsulation of the American culinary experience in the second half of the twentieth century, and a compelling read from any standpoint. It helps, of course, to be up on the literature, culinary and otherwise, but Brans is an excellent writer and rarely boring. I would recommend this book for any Southerner interested in food and cooking, more specifically Mississippians of that bent and particularly the good people of Calhoun County itself.
In preparation for this article on her, I attempted to get in touch with Brans for an interview, but countless attempts to discover her publisher or literary agent failed. Finally my friend Michelle Hudson, who heads up the reference department at the Welty Library asked, “Have you tried the phone book?”
Well, no. Sure enough, in minutes Michelle gave me a number to call. When I did, early on a Saturday evening, a polite young man answered the phone and said he’d pass my message on to Jo. Within an hour Ms. Brans called. After making sure I was from Calhoun County (that didn’t take long at all) we chatted. She said she’d think about my request and let me know. Some three days later, I received her reply. I reproduce it here as evidence of her talent and grace.
Dear Jesse,
After serious reflection, I have decided that the project you propose is not for me. I enjoyed writing Feast Here Awhile. I am pleased to find that it has found favor with readers, including, especially, you. Many folks, over the years since its publication, have looked me up (“on purpose,” as we Southerners say) to offer thanks and to relate their own pleasures at the table. I would have had material for several sequels.
But no, I thought, and think, not. Essentially I have said in Feast what I have to say about the changes in American eating over the last five or six decades. It’s all there, from the joys of good home cooking and the family dinner table to the more complicated pleasures of Julia Child and those whom she terrified, taught, and liberated–usually all three–and beyond.
Feast Here Awhile is also a personal odyssey, if that’s not too highfaluting a term for just growing up. I ate my way from childhood in a small Southern town through various stops along the road to life in New York City, and recorded the trip, hit or miss, in “The Food Book,” which became Feast. Though food was the focus, I was always aware as I typed away that I was recording the arc of my own life. No news for either of us there: that’s what writers do.
Jesse, I’m flattered that you want to work with me, but don’t be content to retread. I really like your piece about Sambo Mockbee and I suspect, from our brief communication, that you want to be a writer, not an editor. If I’m right, cut loose. My way in was food. Maybe yours is food, too, but your food, not mine. Find your own way in. Tell your story. And send me a copy when the book comes out. Good luck and God bless, Jo Brans
Rombauer writes that dried beans are “on the dull side and much like dull people respond readily to the right contacts.”
In my experience, dull people rarely react to anything; once a schmuck, always a schmuck, I say. But dried beans respond beautifully to moisture and heat. With care, these wallflowers dance on the table.
Dried beans are cheap and can be stored for a long time, but after a year they aren’t able to absorb enough moisture to be palatable. They’re also easy to cook, but it’s a matter of procedure.
On a sack of beans, you’ll find a warning stating something like, “Beans are a natural agricultural product. Despite use of modern cleaning equipment, it is not always possible to remove all foreign material. Sort and rinse beans before cooking.” This is a crucial step.
Spread the beans in a single layer on a cookie sheet and pick out everything that isn’t a bean. You’re likely to find pebbles, little clods of dirt, sticks, and stems, none of which should find your way into your mouth. Put the sorted beans in a colander and rinse them twice, then pour into a container and cover with water. Remove any beans that float. Pour the cleaned, sorted beans back into the colander to drain.
Some people hydrate beans by soaking them overnight, it takes much less time if you cover beans with water, 3:1, bring to a hard boil for five minutes then shut off, cover, and soak for an hour. I always use a flame-buster and a moderate heat when cooking beans. If you scorch a pot of beans, throw them away and start over.
Do not add salt. If you add salt in the cooking water before the beans are cooked, the skins will be tough. Salt when the beans are cooked through. This might not seem a big deal, but it is. Also do not add tomatoes until the beans are done; it takes much longer for the beans to cook if you do.
Different types of beans cook differently, but generally speaking, a cup of dried peas or beans will make two to two and a half cups cooked. I always add onion and garlic no matter what.
