Month: November 2024

Posted on

Wyatt Cooper: Of Food and Fellowship

Most often now when Wyatt Cooper is mentioned at all, it’s in the same breath with his younger son, Anderson Cooper, but Wyatt himself was a man of many parts, one of those being a damn fine writer. 

Cooper was born in Quitman, Mississippi, September 1, 1927. moved to New Orleans as a young child and in his twenties moved to New York City to pursue acting. In his thirties, Cooper lived in Los Angeles, attended both UCLA and UC Berkeley, and worked as a screenwriter. While residing in West Hollywood, then an unincorporated area of Los Angeles County, Cooper lived near Dorothy Parker and her husband Alan Campbell. A close friendship developed, and a year after Parker’s death in 1967, Cooper published an incisive and widely read profile in Esquire magazine, titled, “Whatever You Think Dorothy Parker Was Like, She Wasn’t”.

Cooper moved to Manhattan in the early 1960s, and worked there as a magazine editor. On December 24, 1963, he married heiress Gloria Vanderbilt, becoming her fourth husband. The photogenic couple frequently appeared on the national “best-dressed” list.[5] They had two sons: Carter Vanderbilt Cooper (1965-1988) and Anderson Cooper (b. 1967), who became a prominent CNN anchor. Wyatt Cooper wrote in his 1975 memoir, “It is in the family that we learn almost all we ever know of loving. In my sons’ youth, their promise, their possibilities, my stake in immortality is invested.” Wyatt Cooper died in Manhattan, New York City on January 5, 1978, at age 50, during open heart surgery, after having a heart attack the previous December.

This essay, “Of Food and Fellowship” appeared in Southern Sideboards, the Junior League of Jackson’s landmark cookbook, which was first published in June, 1978.

Speak to me of food and what springs readily to my mind is not so much a recall of particular dishes I’ve relished, but a succession of images, sad and funny, sweet and tender, of people and places and happy occasions from the recent or long-gone past, a procession of dear, lost, familiar faces and voices, with the echo of laughter from other years. One remembers all those tables, some grand and richly laden, some humble and bearing simple fare, over which have flowed the talk, the tales, the exchanges that have made up the histories of our lives; the tables across which loving eyes have looked into loving eyes, and across which we have reached, friend to friend and spirit to spirit, to touch each other in precious communion. I think of vanishes loved ones and of absent friends and simpler times, of youth and joy and wonder, of those early seasons of first discoveries, the seasons in which we were blessed with Heaven’s gift for finding all the world’s delight in one bright Easter egg, all the world’s affection in one home-decorated birthday cake with our own particular name written bright upon it.

At those tables, a child, and later, the child in the adult, could watch and listen and learn. It was and would remain a place of adventure and exploration, a place where the curious eye and ear could partake of the rich store of other people’s experience, their adventures in the vast and mysterious world that waited and waits, beckoning but intimidating, outside the window; adventures, also, in those other, interior worlds of the mind, where thoughts, opinions, ideas were and are the exhilarating substance of the hungry brain.

Since our associations scurry quickly back to our beginnings, I find myself breathing deeply and knowing once again the romance and allure of the smells emanating from the kitchen of my first home, the warm, comforting aroma of biscuits baking or of coffee and bacon on cold mornings, with Mama beside the stove calling out that we must hurry.

I remember the family reunions with the piling on of food, an abundance and variety of offerings that represented God only knows how many accumulated hours of planning and preparing and packing, a feast to which more than twice our number could not have done justice. I remember the buzzing and bustling of the women crowed into Grandma’ kitchen, all full of importance and pride in marvels about to be revealed, each with her own specialty for which she was celebrated within the family—this one’s banana pudding, that one’s pineapple-upside-down cake. I think of Christmas with the smell of apples and oranges and fruit cakes and with turkeys and stuffing that make the mouth water forty years later.

I was born country, so I know all about frying just the right chickens because the preacher was coming to dinner and about all-day-singings-with-dinner-on-the-ground where heavy baskets and cardboard boxes were hauled out of the back end of family cars or even horse drawn wagons or buggies. The contents were spread proudly out, displayed like the golden wedding presents of princesses, set out upon glistening, freshly-starched and sun-dried linen cloths there would be much calling out to each other from families inviting others to try this or that from their bounty, while grabbing loose strays, especially bachelors, and there would be a scampering about of colt-legged boys, impatient and giggly while overly devout deacons went on too long at asking the blessing, when any sort of mumbled “. . . bless this food to the nourishment of our bodies . . .” would have done just as well.

I know about hog-killing time in the first sharp cool of fall, when the children were allowed to help with the scraping if they were careful to stay away from the scalding water I know about the way molasses was made, when you took turns feeding the cane into the grinder and remembered to duck each time the pole, pulled bumpily around and around by dull, plodding mules, made its way overhead again.

These activities were co-operative efforts; we didn’t do them by ourselves. Neighbors came together to help each other. We worked out the dates—Tuesday for the Longs, Thursday was the  Timmses’ turn, and Monday week was for us. The doing of it was all mixed up with community feeling, with jokes and gossip and catching up on news and horseplay and grown-up talk.

What I’ve been talking about, when you come down to it, is friendship, sharing, caring. I’m talking about love. To show our love for one another we devise little rituals. We beg the passing traveler to eat. We toast brides. We drink to each other’s health. We give dinners for those we seek to honor. There is a particular bond between friends who prepare food together, between friends who dine with each other. The breaking of bread together has, for many centuries, held something of a ceremonial significance for us.

It seems as if it were always so. It was in the Bible and in the earliest Greek plays and in the writings of Homer Obviously it goes way back. I should think that it must have been soon after they first came down from the trees and began improving their manners that one of our hairy ancestors must accidentally have dropped into the cave hearth the baby brontosaurus leg on which he’d been gnawing, or stumbled onto a succulent pig just roasted by a recent forest fire, and made the revolutionary discovery that the raw and natural stuff with which he’d been sustaining his life could be improved upon. On that distant red letter day a new art form was born and man took a giant step in the direction of Julia Child.

It seems to me that the invention of cooking must have made a considerable contribution toward the very process of civilization. Surely, Mr. and Mrs. Piltdown Erectus and their children, having found the new way of dining an enrichment of the cultural tone of their own household, must certainly have hastened to call in their neighbors to share the benefits of the revelations so happily and so accidentally bestowed upon them. Thus, on that evening of joyous and primitive grunting that then served as conversation, undoubtedly began the ancient and inseparable association between eating and hospitality, the eternal connection between food and fellowship.

I should mention somewhere along here that I was not invited to set down the few words of this preface because I can claim to be a passable practitioner of that noble science. The truth is I can’t cook. Anything. My instant coffee is barely acceptable even to me, and my peanut and butter sandwiches have repeatedly been rejected by my sons. “No thanks, Daddy,” they say with wistful politeness, “We’ll make our own. Alan Campbell once told me that before his wife, Dorothy Parker, would cook anything she’d go into the kitchen and eat raw bacon. In that category at least, Dotti and I were in the same league.

One of the saddest failures of my life was the time I tried to delight my little family, those underprivileged citizens of the pre-packaged, machine-made, and mass-produced age, with the home-made ice cream that is such a treasured memory from my youth. For years I’d tried to impart to them some idea of the magical creation of that frozen treat by describing how you break up the block of ice by putting it into a croker sack and beating it with the back of an ax, pack the crushed ice tightly around the metal can inside the wooden freezer, argue over who gets to turn the crank first, (several children should be involved; the making of ice cream calls for company; in a one-child family only the presence of grandparents could compensate for the absence of other children) and finally how everybody crowds around for the miraculous moment when the lid is reverently lifted off, and the creamy, vanilla colored, heavenly swirl of pure pleasure is revealed.

My sons were skeptical but willing, and so, one summer in Southampton, having consulted by long distance with my sister in Hartford, Connecticut, I bought a freezer, assembled the ingredients, and, while she instructed over the telephone, began mixing, stirring, and beating. I suspected early on that I was in trouble when it became perfectly clear to me that while Marie makes great ice cream herself, she has no very clear idea of how she does it, “. . . just put in some sugar; you’ll know when it’s enough . . .” –that kind of direction doesn’t help at all. Honest, it doesn’t. Not unless you can already do it. Or have talent. At one point I was cooking the mixture and it started turning into something that looked suspiciously like an omelet. “I hope you didn’t use too many eggs . . .” she said encouragingly. “Does it look too yellow?” Along about then I had more than a premonition of disaster. Also, for some reason, it overflowed while we were turning the crank, the yellow seeping out the sides and mixing with the ice. That wasn’t promising.

There’s no point in pretending there’s any suspense to this story or in prolonging it, so I’ll go strait to the finish. It looked beautiful, actually. The result of all my labor looked very clean and very pretty, but it had no taste at all so far as I could tell and I could not expect those little boys, however polite and loving they are, to pretend that it was worth bothering with. Oddly enough, my wife, who has a very discerning palate, liked my ice cream. She thought it tasted like real yogurt made with goat’s milk. Maybe if my sister has a recipe for yogurt I might end up with ice cream.

Recipes, anyway, have to be fleshed out, I suspect, with the cook’s own taste, personality and inspiration. Ethel Barrymore was once rehearsing a new play with an over-eager young director who kept instructing her with details, “Move to that table. Life the book, pause, and then look at it.” She endured this for a while, then she turned to him and said sweetly, “I know just what you mean. I lift the book, pause, and then look at it, and it is then that I do that special, unexplainable thing that causes audiences to come to see me and enables me to earn a thousand dollars a week.”  She made her point. With great cooks, as with great stars, there is that “special, unexplainable thing” that has to do with taste, authority, and uniqueness of personality, and the beginner, I should think, should be encouraged to trust his or her own particular instincts and exercise his or her own creativity.

In Saki’s short story, “The Blind Spot”, one character says, “the man is a common murderer,” and another replies, “A common murderer, perhaps, but a very uncommon cook.” This book contains the secrets of many very uncommon cooks, great stars, splendid artists of the kitchen; secrets, many of them, that have considerable histories, having been handed down, generation to generation, from one famous cook to another.

I am fascinated by the great variety of cooking styles assembled here, representing many different traditions and widely varying national origins. Some recipes remain pretty much as they were when Great-Grandma was finally persuaded to write them down, or when Cousin Jessica spied on some selfish and secretive cook and wrote down each step se took, each pinch of salt, each wave of the hand in the direction of the pot. Others have evolved through adaptation, experiments, and happy accidents. A few of them doubtless traveled south with the earliest settlers, moving along the Natchez Trace from Virginia, the Carolinas or Kentucky, personally watched over by the woman of the family, along with a treasured set of china, an ancestral portrait, a silver candlestick, or some other heirloom.

Outsiders tend to think of the South as all one thing, when, of course we know that our extraordinary diversity is one of our most attractive features. We have absorbed many things from many sources, and have made them our own. Take grits. Grits has (sic;jly), of late been mentioned in the news somewhat frequently as a native southern specialty, which it is. It is very native, indeed, sine it was given to us by the Indians, along with corn bread and many other things. Blacks have made a contribution that is hard to measure, for many black cooks have been among the nameless geniuses who’ve left the culinary art a better one for their having participated in it. The French and Spanish influence on cooking is very important in the South, and though New Orleans is most famous for it, excellent French and Creole restaurants are strung along The Mississippi Gulf Coast all the way to Mobile.

In the past couple of years I’ve traveled around my native Mississippi a great deal, and I’ve enjoyed everything from baked dove at the governor’s mansion to fried catfish and hush puppies in Vicksburg and stuffed breast of chicken in Natchez, from ham hocks and turnip greens in Meridian to sirloin steak in Columbus, hot tamales in Greenville, and Creole gumbo and soft shelled crabs in Biloxi. In West Point, Mayor Kenny Dill went out and picked blackberries and Mrs. Dill made them into pie for me. Who wouldn’t choose a blackberry pie over a key to the city?

Which brings me full circle and back to hospitality. My children are startled by the extraordinary lengths that Southerners go in order to make the visitor feel at home among them. Very often, when we have been guests in someone’s home, neighbors have rushed in to leave off (or sometimes simply leave out-side the door) a basket of yard eggs or fresh butter or vegetables taken from their gardens that morning.

How many times it has happened that after a speech I’ve found someone thrusting into my hands a container of home-made fudge or a jar of fig preserves, saying “Take these to Carter and Anderson,” or “I beg Gloria’s never had watermelon rind preserves,” and slipping away before I could get the names? I’ve even been presented with chitlin’s (or chitterlings, and the dictionary spells it) and though anybody who knows me can testify that I’ve always been proud of my farm background, in the matter of chitlin’s, born country or not, I didn’t know what they were and wasn’t too curious to find out. I guess somethings are just meant to be forgotten, but Idid appreciate the thought. (Though not enough, you understand, to confront my wife with the chitlin’s.)

Oh, just one more thing. A story about one of my great uncles—one of the Campbells, I think. Having lost his wife (by death, I mean; she wasn’t simply misplaced) he was looking around for a replacement and in mentioning the most desired qualification, he made the following obsertion:

“The huggin’ and kissin’ don’t last forever. The cookin’ do.”

Posted on

The Celluloid Galleria

A decade after the trauma of the ’60s, Oxford, Mississippi settled into a laid-back, picturesque Southern academic backwater, full of good people with great ideas. The art scene was strong, and the town was full of bright, ambitious young businessmen. Oxford’s flowering of culture in the ’80s was seeded in that time. Those were halcyon years for me, as they were for many, many other people, and the Hoka was very much a part of it for us all.

Ron Shapiro opened the Hoka in 1974. The theater was located across a parking lot from the Gin, the first among many restaurants and bars to open in Oxford after Lafayette County voted wet. The theater was set up in a long corrugated building with a walkway that extended perhaps 2/3 its length on the west to street level north. A single door was at that end; midway was a short-roofed porch with a glass-paned double doorway. To the left of those doors was the Hoka logo, a winged Chickasaw princess, painted by a local academic artist. In time, many local artists would festoon the structure inside and out. The bathroom graffiti at the Hoka constituted nothing less than an anthropology seminar on local culture.

The auditorium seated perhaps 150-200 people, though our audiences were usually much smaller. The projection booth was up a short flight of stairs from a tiny untidy office, and the concession stand sold candy, popcorn, and soft drinks. We sold tickets from a roll atop what looked like a rough-hewn pulpit at the top of the sloping concrete floor.  Inside the projection booth was a table for processing incoming film–checking it for tears, bad splices, twists, or crimps–and the projectors were twin 1936 carbon arc machines, which took a lot of practice with a complex procedure involving levers and foot pedals to switch from one reel to the other. A typical film might be on five or six reels.

I began working at the Hoka in 1977. Typically, in the early days, we’d have two showings, an early movie that started around 6 or 7, and a later feature beginning at 8 or 9, depending on the duration of the first. Later we started showing X-rated flicks at midnight, which caused quite a stir at the time, but were very popular and, of course, profitable.

Films were rented for three to four days, shipped in bulky hexagonal aluminum containers holding anywhere from one to three reels of 35mm film. Most often they were shipped by bus, and we’d pick them up at the Greyhound station on the corner of 10th and Van Buren, but at times we’d drive to Memphis. Once in the theater, the film had to be checked for tears, mended if needed, and then loaded on the antique projectors.

Ron was a good boss; pay could be erratic, but if I needed money, he’d give me enough to get what I needed or do what I wanted. Ron also taught me a lot, and I do mean a lot, about movies. At that time, in that part of the world, movies were still considered by most people to be nothing more than entertainment, but for Ron, as they were for many others like him who operated small independent “art cinemas” across the country, cinema was the leading art form of the 20th century, as well as a portal to other worlds.

Ron showed a lot of great cult movies by cutting-edge artists like John Waters, Russ Meyers, and William Castle. Several years later, Betty Blair Allen opened the Moonlight Café in the Hoka, and before long, it became a very special sort of place for dinner and a movie.

At a time when film was just coming into its own as an academic medium, Shapiro introduced generations of Ole Miss students to the works of Fellini, Wilder, Woody Allen, Capra, and Chaplain. Shapiro brought film as art to Oxford.

Photo of the Hoka from the southeast, likely early 80s.
Posted on

Snipe Season

Will and Scott met in a dusty New Orleans bar on a wet November afternoon and shortly fell into a discussion of favored bridge abutments. Neither in fact were vagrants, both family men: Will an attorney, Scott a businessman, both Mississippians in NOLA for the wedding of mutual friends, Will the bride’s, Scott the groom’s. In time they found ethanol and automobiles in common too, but not hunting. Scott had never taken the field for game.

“Let me take you hunting,” Will said.

“Okay,” said Scott. “For what?”

Will looked him dead in the eye and said, “Snipe.”

“That’s not funny.”

“I’m serious,” Will said.

. . . . . . . . . .

They left Jackson in the darkest dawn, drove through for coffee and biscuits, then went up 49 watching the earth settle, fall away and go somewhere else.

Clambering from the truck with gear, they sank ankle-deep in muck, slugged first to one patch of mud just above the pooled water to another atoll of broken grasses, the Delta sky pushing distance to the rim of a tall lens, bringing all else into focus, amplifying sound. The rattles of the brittle grass echoed into the distance, across the river, all over the world. The mud was as old Egypt, richer than sin itself.

That close to the river, earth is a matter of water–making it, shaping it, teaching it–letting earth absorb all light, all air, all crisp, cold and fragile, brushed with a thin brittle crust on a  bitter morning.

Furrowed and churned, the field was a mummified of pale brittle stems that collapsed hither and thither, hiding muck, confusing footwork and sheltering snipe, the being itself, a will-o’-the-wisp the very color of winter—white, grey and black fading to or from indiscriminate brown, beige or buff in indifferent patterns on insignificant substance—a bird of earth without place in air where it seeks in fits to find a place and–failing, furtive–rushes back to the tussocks.

. . . . . . .  . . .

“Here we go,” Will said, stepping into the muck and pointing out into the water-mirrored field. “The birds hide up in piles of grass near water. They flush easy, so ease up before you move in.” The grass in front of them rustled and set alight two birds, translucent in the sun trailing faint alarms before they lit in another field.

“Can’t even see them mid-air,” Scott said. “They’re too light and grey.”

Will grinned. The sky was a blinding blue that dribbled down in pools and puddles. The only wind blew way above under a small cool sun, moving shadows of blades, leaves and stems. They walked, guns at their hips, talking to fill the void.

. . . . . . . . . .

“You don’t talk much about over there.”

“Not a lot to say,” Scott said. “It wouldn’t make sense to you.”

“Does it have to? Did it to you?

“Some of it did.” Beside them a clump of cattail folded brown and enclosed exploded into a busy ball of air. Scott crouched and shot, the sound bouncing across the field, the bird falling, twisting, one wing reaching for lift.

Will found the winged bird, wrung its neck, put it in the sack on his shoulder and said, “I want to know what it’s like to kill someone.”

“Why? You gonna kill somebody?”

Will grinned. “Maybe. Maybe I just want to know what it feels like to point a gun at a man and pull the trigger and watch him fall.”

“They weren’t men,” Scott said. “Not to me. They weren’t even enemies. They were just things in the distance. Dark shapes that moved. I never killed anyone. I just shot things and watched them fall.”

“But didn’t they shoot at you?”

“Yes, dammit! Sure they did. You know they did, and I got hit, too!” Scott said.

“I didn’t know that,” Will said.

“In the fucking back,” Scott said. “Shattered my shoulder blade. It’s a steel plate now. Went right through. Bled like a motherfucker.”

“Can I see the scar?”

“It’s too cold to take my shirt off, man,” Scott laughed.

“You don’t have to. Just let me feel it,” Will said.

Scott stopped walking and rubbed the tears off his face. He cradled his gun in the crook of his left arm and with his right unzipped his jacket. “It’s on the left side,” he said.

Will took the glove off his right hand, turned and moved his hand into the jacket, beneath the shirt to the skin, the hair, gently probing, pausing, feeling.

“That’s not it,” Scott said, “That’s my . . .”

“I know what it is,” Will said.

“Up,” Scott said, “There.”

“Yes. Does it still hurt?”

“No,” Scott said. “Not any more. It’s still tender, but you’re not hurting me.”

“I don’t want to hurt you,” Will said. “I just wanted to feel the scar.”

“You’re not hurting me, Will.”

“It’s okay, Scott. It’s okay. Why don’t we call it a day, have a couple of drinks on the way home?”

. . . . . . . . . .

They moved towards the ruts atop the dam that passed for a road, their steps less measured, more insistent, no longer stalking, but in pursuit, the sinking sun reddening, silhouetting the distance, a glittering planet punctuating the blueprint heavens.

They climbed into the truck. Will cranked it up and turned on the lights.

“We can grab a bottle and go to Smitty’s cabin on the Big Black. I’ll call Beth and tell her to call Ann,” Will said. “We’ll tell them we didn’t kill anything, be home tomorrow.”

“Okay,” Scott said, wiping tears from his face. “I’m just tired.”

“I know you are,” Will said.

Posted on

Valley of Dry Bones: A Meditation on Change by Howard Bahr

In 1951, author S. Skip Farrington, Jr., bestirred himself to see how America’s railroads were faring in the years following World War Two. What he found was a thriving industry open to innovation and dedicated to customer service. In his classic Railroading the Modern Way (Coward-McCann, 1951), Farrington extolled the virtues of the great companies whose heralds, maps, lists of officers, and intricate schedules fattened The Official Guide to the Railways, that indispensable yearly publication, the size of a Chicago phone book, that every ticket clerk and agent in the Republic consulted for the routing of freight and passengers. Farrington raised hymns to powerful diesel locomotives, all-steel cabooses (with electric lighting!), cushion couplings, centralized traffic control, end-to-end radio communication, and luxurious new passenger equipment. Reading Farrington’s work now, one is struck by his implicit conclusion: everything about the railroad was going to stay the same, but it would all be faster, safer, and shinier than ever before. The traveling public could rejoice, and small shippers could rub their hands in glee.

Two decades later, Farrington’s cheery prophecy had collapsed like a washed-out trestle. Those of us who were railroading in those twilight days witnessed changes in the industry far more radical than anything Farrington could have imagined in the money-green glow of the ‘Fifties. From our decrepit yard offices, grimy locomotive cabs, and generic all-steel cabooses (with electric lighting!), we watched as the old resounding road names celebrated in Farrington’s book were gobbled up by mergers. We saw the sale or abandonment of entire districts, the consolidation of agencies, the ruthless encroachment of job-killing technology, and the surgical excision of labor-intensive commodities like perishable fruit and passengers. The government got involved, then it got uninvolved, and then–well, who knows? Traffic agents like my old man– those stalwart, hard-drinking, fiercely loyal drummers who pounded the pavements in search of business–became as anachronistic as link-and-pin couplers and finally disappeared altogether, their once-busy offices abandoned or used for storage.

Railroads, it seemed, had found other interests. Our beloved Illinois Central, for example–once the Main Line of Mid-America–yearned for greater profits, so it redefined itself as Illinois Central Industries and wrapped its tentacles around Pepsi Cola and Whitman Candies and left the now-unprofitable railroad property to wither on the vine. By the mid-Seventies, the Official Guide had shrunk to the size of an L.L. Bean catalog. On our Gulfport District, the maximum main line speed of freight trains had been reduced to ten miles an hour over crumbling lightweight 1930s rail affixed to ties that could be pulled apart in the hand. Three-man crews, with radios that rarely worked, risked their lives trying to switch behemoth tank cars and piggyback flats in yards designed in the 1890s. Almost overnight, the old craft became unrecognizable to persons like myself, who remembered footboards and forty-foot cars and coal-oil switch targets, who had penciled switch lists in the rain, who had passed lantern- and hand signals along a cut of cars and waved at pretty girls from the cupola of a caboose or the cab window of a growling GP-9.

But surely some revelation was at hand. Surely the Second Coming was at hand. The new railroad model, slouching toward solvency with relentless efficiency, was a desperate attempt to survive in a world that had swiftly left Farrington’s ideal behind.

In due season–another ten years perhaps–the railroads accomplished their vision and their survival. The result, as John R. Stilgoe so beautifully illustrates in Train Time (U of Virginia P, 2007), was a tectonic shift in the American industrial landscape. Stilgoe’s book, in perfect counterpoint to Farrington’s, demonstrates how, in less than a half-century, the old clanking, colorful, individualistic railroad companies of folklore and romance vanished like a dream, and in their place rose a new paradigm: the single trunk line, a silvery welded-rail turnpike over which computer-controlled trains with two-man crews hauled inter-modals or bulk commodities. Yard switching became a matter of mere pulling and shoving, and along the main line, switching was minimal or nonexistent. Depots were sold for restaurants or gift shops, freight houses were demolished, and only the most reluctant accommodation was made for Amtrak passenger trains.

Out of the chaos, finally, rose a single indisputable Gibraltar of fact: for the Post-Modern age, no better method exists for the transportation of bulk commodities than a well-maintained, high-speed, computer-controlled, heavy-rail corridor over which fuel-efficient motive power hauls the goods. American mega-railroads have achieved their goal, and American mega-business–not to mention highways and Interstates choked with eighteen-wheelers–will be the better for it.

Like most revolutions, however, that which I have just described was not without its cost. A way of life disappeared, and with it the loyalty men and women felt for the companies that had sustained them, often for generations. Countless jobs were abolished as shops and yards “modernized,” trains were cut off, and maintenance and damage control were hired out to private companies. Small shippers found they were no longer courted; indeed, they were ignored, even bypassed, as the railroad companies pulled up branch lines and spur tracks. Train crews no longer learned on the job, but attended centralized schools like truck drivers or heavy-equipment operators. People, especially poor ones, who still found it expedient to travel by rail were shuffled off to poor old Amtrak, for years the red-headed stepchild of the new empire.

Today, railroads have all but disappeared from the American imagination, where they once held center stage. Through four years of Naval service, I was sustained by the idea that, when I was released at last, I could go and be a railroad brakeman–somewhere, anywhere. I would walk the tops gaily and ride the caboose; I might even get to wear the uniform of a passenger trainman. I could do it for as long as I wanted, for the railroads, of course, would never change, a prodigious delusion as it turned out. In latter years, I have met not a single young person whose ambition was to work for the railroad.

When the family SUV is inconveniently blocked at a grade crossing–OMG! Josh will be late for soccer practice!–or when a derailed ninety-foot tank car of ammonia exterminates a congregation, then the citizens pay attention, a little. Otherwise, most people are only dimly aware of the big, graffiti-plastered objects that lumber past on the edge of their vision. In an age when, for example, the Canadian National operates in Mississippi and Louisiana, the public can hardly be blamed for losing their sense of regional affiliation. Crewpersons, buttoned up tight in their air-conditioned locomotive cabs, do not wave much anymore, and the caboose, the public’s most cherished railroad icon, has long been replaced by FRED, the Federal Rear End Device. FRED is an air-pressure gauge with a blinking red light fixed to the last knuckle of the last car. FRED does not wave, he cares nothing for pretty girls, and trains pass like sentences without punctuation, gliding on their way toward destinations no one can name.

With the exception of amateur rail enthusiasts, most people born after 1970–even most contemporary railroad persons, I expect–have little sense or patience for what the old craft meant, or how important it was in the daily life of generations. My students do not know what a caboose is. They have never heard of the Panama Limited or the Pan American. They think The City of New Orleans is a corny old song their grandparents listened to. This is our collective consciousness now. It is where we need to be if we are to have a viable rail system in the context of the Twenty-First Century. A hard truth, perhaps, but, as old Major R.K. Cross used to say, the truth is a stubborn thing.

And yet. And yet. Some ghosts are hard to shrive from blood memory, and not for nothing do people have a sense of something lost, though they may no longer be able to articulate just what the loss involves. When a person, by chance meeting, discovers that I was once a railroad man, he or she will more often than not voice a familiar lament. “Isn’t it a shame,” the person will say, “that we let our railroads go.” Then, inevitably, he will press on to sing of the supposed glories of European systems, or how, as a child, he rode to grandma’s house on the beautiful Sunset Limited and drank from Waterford crystal in the dining car as the scenery reeled past like illustrations on an SP calendar. I never know how to answer the complaint, nor how to respond to the memoir, so I nod my head and remain silent, wondering if the person understands what he is saying. He is unaware, I think, that the guilty collective pronoun included the railroads themselves. He forgets, perhaps, that the complexities of modern life offer no alternative. He forgets, most of all, that one can no longer expect Waterford crystal in a culture that has agreed unanimously on the Styrofoam cup.

Nostalgia has little virtue save for them who have earned it. In the end, Nostalgia, and its consort Romance, are an insult to the old ones who spent half their lives in cheap hotels; who saw their comrades cut in half or mangled under the wheels; who felt the loneliness and isolation of flagging behind in a ghostly fog; who understood that a steam engine, for all the mournful poignancy of its whistle, was a hard taskmaster and a deadly one. Nostalgia and Romance conceal, and therefore dishonor, the fact that old-time railroading was a real bitch, a dangerous and lonely and demanding craft, and those who followed it, especially in train or engine service, dwelt always on the edge of catastrophe. To paraphrase my old friend Frank Smith, a switch engine foreman of thirty years service, if you got home after the job without having killed someone or turned something over, your day was a success.

And yet, for those of us who lived the old craft, no coldly efficient, high-speed computer game can replace it. Perhaps too much happened for too many years out there in the night when the old trains ran. There was too much death, too much honor and meanness, too much tragedy and glory and fun, and too many souls were moved by the distant cry of a locomotive–steam whistle or diesel horn, no matter–for it all to be erased by corporate ukase. Something of the old life remains, something deeply human and therefore messy and dramatic, to haunt the memory of the Race.

Once, Frank Smith and I were talking to a gentleman who had worked his whole life on the now-vanished Columbus and Greenville Railroad. Beside him sat his wife, a gentle, silver-haired lady whose eyes glowed with the knowledge that she and this old rascal had been married sixty-one years and had made it work. The old man patted her knee. “Ever’ time I’d leave on the job,” he said, “my wife would make me a bucket of fried chicken. I used to throw the bones right out the cab window, a lot of bones all down the main line, years and years.” He thought a moment, then smiled. “Lord,” he said, “wouldn’t it be funny if them bones was to rise again.”

Funny, indeed, and an irresistible image: hundreds of white leghorns rising from the dust, gazing about, puzzling how in the world they ever got there, all wandering forlorn along the weed-choked iron of the old C&G. Meanwhile, all across the Republic, outside the trembling windowpanes of restored depots and freight house museums, the big anonymous trains roll on, the cone of their headlights pointed toward tomorrow.

Posted on

The Definitive Thanksgiving Leftover Recipe

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.

Posted on

About Egg Plates

Stuffed eggs are a necessary appurtenance to any holiday table in the Mid-South, so having an egg plate is a strategic requirement in one’s arsenal of tableware.

Egg plates come in all sizes and shapes–they’re even making disposable ones now–and their selection for a given occasion provides a telling clue to the character of the bearer. If you bring a ceramic plate to a funeral, you’re going to be labeled white trash behind your back; if you if you bring a cut glass plate to a keg party, you’re going to be called a fucking idiot to your face.

The number of spaces most often found for egg halves remains a mystery to me. Given that eggs are sold by the dozen or in multiples or fractions thereof, you’d think that egg plates would adhere to that standard, but such is not the case. Of the two egg plates I own, the one of ceramic has twelve depressions, the other of glass has fifteen This gives me reason to believe that my glass plate is older than the egg industry, which makes me smile when I’m loading it for the table.

Such are the modest rewards of petty pride.

Posted on

Marbled Sweet Potato Cheesecake

Sweet potatoes blended with a fool-proof New York-style cheesecake; fun to make, sumptuous results.

The cheesecake filling is 16 oz. cream cheese, 2/3 cup sugar, 1 teaspoon vanilla and two large eggs. The sweet potato filling is two cups of “candied” sweet potatoes pureed and mixed with 1/2 cup whole cream, 1/2 cup sugar, two eggs and 1/2 teaspoon cinnamon. The crust is a box of graham cracker crumbs–adding crushed pecans is a nice touch–mixed with a stick and a half of melted butter, a cup of brown sugar, packed into an 8″ spring-form pan and refrigerated until firm. Drop both filling mixtures alternately around the crust, then take a spoon and swirl it around a little bit. Be artistic; think about finger-painting a wet mud pie.

Bake at 350 for about 45 minutes, lower heat and cool for an hour. Refrigerate before slicing.

Posted on

Giblet Gravy

Use a quart of clear, rich broth thickened with a thin paste of corn starch and water. To this add the yolks of at least two boiled eggs which have been creamed with a pat of butter.

Add four more chopped hard boiled eggs (yolks and whites), the cooked and chopped livers and gizzards of the turkey as well as the hen you used for your stock (about two cups), but not the meat from the necks, which are superfluous and troublesome.

I often add a half cup of chopped, sauteed green onions and celery for texture. Salt to taste and season with white pepper. A smidgen of thyme is a nice accent.