Author: Jesse Yancy

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Ars Voces: Jaime Harker

My academic life has always been about hidden treasure. When I first moved to Mississippi, I read John Howard’s Men Like That, and he gave me a vision of a vast queer Mississippi underground, erupting in newspaper stories, highway rest stops, and bookshelves. He introduced me to three gay Mississippi writers, including Hubert Creekmore, Water Valley native, poet, novelist, translator, and editor. I checked Creekmore’s The Welcome out of the UM library; it took me over ten years to locate a copy. I have been asking every editor at the University Press of Mississippi to reprint the novel, with no success. Opening a queer feminist bookstore in Creekmore’s hometown is, I hope, the first step in a campaign to bring him back in print.

I love digging around in archives. I spent two weeks hunting for fan letters in Christopher Isherwood’s papers. I found amazing ones, including a young man from North Carolina who mailed Isherwood photographs of his lovers, with detailed commentary on the back of each; water color portraits in a handwritten tribute; flirty come-ons from English teenagers. He wrote them all back, and often invited them to his house. At Duke University, I found the papers of fantastic Southern lesbian feminists. They kept everything—not just letters with agents and editors, but love letters from exes, flyers for readings, gossip and descriptions of parties and chance encounters. Dorothy Allison’s are my favorite. Most archives organize correspondence by letter writer, and store them alphabetically. Dorothy Allison kept every piece of mail she received in order and has them in her archive by date.

One has to really dig to find the gems. But in between, you get a sense of her life as it was lived: Flip; a flyer for a reading; flip, a letter to her friend about her recent breakup; flip, a letter to her agent; flip, an invitation to an S/M sex party; flip, a letter to a manufacturer complaining about a defective whip she received in the mail; flip, a letter from Cris South, a member of the Feminary collective and novelist, about her forthcoming book and her shifting identity from butch to bottom; flip, a contract from her editor. Finding the treasures was a delight, but so was the rich tapestry of a live lived in real time, without a sense of what would be seen as ‘important’ later. That sequence is what makes it important, even as the gems I uncover become part of another narrative forming in my own head.

The treasures are the stories I share when people wonder how I could spend seven years working on a book. But the truth is I love the searching as much as I love the discovery. Doing research has taught me patience, something that my wife Dixie tells me I sorely need. She’s right. Chefs understand this, of course. You can’t rush the rising of the dough, the marinade on the pork, or the brine on the turkey; slow-roasted vegetables in the oven are better than the microwave or boiling water. I have a tendency to want things right away, but Dixie knows that the best things take time.

Writing a book teaches you that, too. You can’t dash off a dissertation, or a book, in a series of all-nighters. You have to work a little bit every day, without being able to see the end; you research, and write, and revise, and repeat, endlessly. To sustain this, you must learn to love the process, to learn to love the questions themselves, as Rilke put it: ““Be patient toward all that is unsolved in your heart and try to love the questions themselves, like locked rooms and like books that are now written in a very foreign tongue. Do not now seek the answers, which cannot be given you because you would not be able to live them. And the point is, to live everything. Live the questions now. Perhaps you will then gradually, without noticing it, live along some distant day into the answer.”

Violet Valley Bookstore is the same. I love the process—the arrival of books, the evolving categories on the shelves, the unexpected visitors to the store, from San Francisco and Durham and Jackson and Oxford. I love the excited teenagers, taking photos for Snapchat, and the serious bibliophiles, touching the vintage Mississippi textbooks. I would like this little 10×40 foot bookshop to be a hidden treasure in Mississippi for years to come.

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Delta Chinese Collards

This recipe comes from an article in The New York Times by Joan Nathan, “East Meets South at a Delta Table” (June, 2003) profiling the Sino-Southern cooking of the Chow family in Clarksdale, Mississippi.

Wash and trim three bunches of collards and cut into more or less bite-size pieces. Heat wok or a very large skillet, brown a teaspoon of salt, and add about a quarter cup of canola or peanut oil. When oil is hot, add 6 sliced cloves of garlic and stir until lightly toasted. Add greens and a dash of pepper, stir constantly until wilted and tender, then blend in 2 tablespoons oyster sauce and a scant teaspoon of sugar. Taste and adjust seasoning. Serve immediately.

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Singer in the Arms of Dawn

Tithonus was a prince of Troy, the son of King Laomedon by the naiad Strymo. He was a talented musician with a beautiful voice. His brother was Priam, the last king of Troy.
Aurora, goddess of the morning sun, fell in love with Tithonus and took him to Olympus for her groom.Aurora asked Zeus to make him immortal and he agreed, but she had not thought to ask also that he should remain young. So it came to pass that Tithonus grew old, but could not die. Helpless at last, unable to move hand or foot, he prayed for death, and Aurora, with a feeling for the natural fitness of things, turned him into a cricket that sings to her as the morning warms.
The Mexican sunflower was first described by the British botanist Joseph Dalton Hooker, who visited the United States in 1877. He came at the invitation of American botanist Asa Gray, who with Dalton intended to investigate the connection between the floras of eastern United States and those of eastern continental Asia and Japan.It was during this visit that he visited the American Southwest where—in addition to meeting Brigham Young—Hooker collected specimens of the plant, which he sent to England that year along with over a thousand others. As is the custom, Hooker, as the discoverer of the species, was entitled to give it a name, and for reasons that may forever remain unfathomed, he named it after the bridegroom of Aurora, goddess of the dawn.

Though considered coarse by our doyen of Southern gardening, Elizabeth Lawrence (among others) she (along with those others) unfailingly mentions in the same breath that the Mexican sunflower (Tithonia roundifolia) sets Monet’s gardens at Giverny ablaze in late summer, their blazing branches tower over his gentle lines and mounds of green and blue, pink and purple.

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Crab Tchoupitoulas

This recipe is a riff on a dish served at Pere Antoine in the Vieux Carré. There, mushroom caps are stuffed with a creamed spinach-mushroom-crab mixture, then breaded and deep-fried. Here the stuffing is served en casserole, a superb addition to any event buffet.

Sauté a half pound of thinly-sliced fresh mushrooms in a stick of butter. Stir in two cups chopped spinach and a half pound lump crab meat (picked through!). Make a quart of cream sauce–use half-and-half–and add to spinach/crab mix along with a cup of freshly grated hard/sharp cheese. Work in a finely julienned sweet red pepper, a few tablespoons of grated onion, and a minced clove of garlic (or two).

Season to your taste; I like a good slash of white pepper and a teaspoon or so of dried thyme. Mix very well, pour into an oiled casserole, and top with a freshly-grated hard cheese. Bake at 350 until browned and bubbling. Serve with dry toast and fresh lemons.

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Jett’s Table

My Aunt Jett learned to cook from her mother, whose people settled a wilderness. Food was their only pleasure not subject to religion. They sustained themselves and their families on corn and pork with whatever else they could grow or kill. They planted and picked, cooked and baked, dried and canned what they could, making the most of what they had season to season, year to year, generation to generation.

Jett always had something fixed for whatever company might drop in: stewed greens, limas, black-eyed peas, or snap beans, new or creamed potatoes, fried chicken, pork chops, or breaded steak. If it were summer, she’d have fresh sliced tomatoes, fried okra, or corn on the cob.She served her meals with sliced onion, cornbread or biscuits, and sawmill gravy with sweetened tea to drink; she seasoned with streak-o’-lean, salt, black pepper (maybe a little cayenne) and sage.

Jet’s cooking was simple, but not coarse; it had a balance and symmetry all its own, dictated by long-ago voices set in concert with the seasons. Jett thanked God before we ate, and that, too is elemental of our sustenance.

Aunt Jett (left) with her sisters Maude and Virgie.
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Lucretia’s Beans

“I grew up poor! We were so poor! Rupert, tell them!”

“They were so poor they had to piss in a bucket a block away!” Rupert was on the back porch, working on the lawn mower.

“But we were proud!” Lucretia said. “My mother was old Creole blood. She sold the calas on Dauphine, her apron white as an old nun, stiff as a young priest, and she’d go, “Belles calas! Mo gaignin calas, guaranti vous ve bons! Belles calas, belles calas!” And all the girls who worked up in their rooms, they’d come down to get Mama Diart’s cakes for their gentlemen who were sleeping it off in the beds like they’d get the strong coffee from Monsoir’s. The bottle they had already.”

“We ate the rouge ser riz, all the time! If we were lucky, Mama would get the ham joint that Hector Monsoir had saved for her because you see he was secretly in love with Mama from a long time ago when she was so beautiful and slender like a dancer with her laughing eyes.”

“They were so poor, she had to share her brassiere with her sisters!” Rupert tried to crank the lawnmower, but failed and he cussed.

“But not like those beans they make now!” Lucretia shouted. “Pah! Those beans they make now they taste like those little wads of dough the Italians boil to put in that red gravy they make. Beans that have no bones, no flesh, no . . . spirit. They use those big long-nosed beans, those . . . what do they call them, yes, them kidney beans, the light-colored ones like a bean the white people in the country use to put on their meal bread.” She made a face like spitting. “And they should be pissed on! No, she used the little red beans she bought from old Helene on Magazine.”

“They were so poor, if her brothers didn’t wake up with bones, they didn’t have anything to play with!” Rupert pulled the cord and the mower cranked, coughing and spitting. He pushed it into the yard and began mowing.

“She would bring the beans home when she sold her cakes, put them in the big pot on the back of the stove with water enough over the joint and start the laundry for the ladies in the Quarter. All afternoon they’d soak, and she’d start the fire. She had the herbs, too, from the market on Decatur, and pepper.

When we all got home she made the rice, and we would eat while all around us we could hear music play and see shadows dancing in the pretty wallpapered rooms where the fancy ladies sprayed French perfume on the pink lampshades.”

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Faulkner and Welty for Young Readers

What compels great writers to write for children? For whatever reason, many do, and some titles are familiar: C.S. Lewis’ Narnia series, Tolkien’s The Hobbit, E.B. White’s Charlotte’s Web, and T.S. Eliot wrote Old Possum’s Book of Practical Cats, a childhood favorite of composer Andrew Lloyd Webber.

More obscure are Joyce’s, The Cat and the Devil, Twain’s, Advice to Little Girls, Woolf’s, The Widow and the Parrot, Mary Shelley’s The Fisher’s Cot, and then we have these little-known children’s books by two of Mississippi’s brightest literary lights; Welty’s The Shoe Bird and Faulkner’s The Wishing Tree.

 

In 1927, Faulkner gave the story that was to become The Wishing Tree to Victoria “Cho-Cho” Franklin, the daughter of his childhood sweetheart, Estelle Oldham. Faulkner was still infatuated with Estelle and had hopes of her leaving her current husband and marrying him, which she did in 1929. Faulkner typed the book on colored paper, bound it himself and included a lyrical dedication:
        

                            To Victoria

     ‘. . . . . . . I have seen music, heard
Grave and windless bells; mine air
     Hath verities of vernal leaf and bird.

     Ah, let this fade: it doth and must; nor grieve,
   Dream ever, though; she ever young and fair.’

But Faulkner made copies for three other children as well, and when Victoria tried to publish the book decades later, copyright had to be worked out between the four. In 1964, Faulkner’s granddaughter Victoria, Cho-Cho’s daughter, got Random House to publish a limited edition of 500 numbered copies, featuring black-and-white illustrations by artist Don Bolognese.

The Wishing Tree is a grimly whimsical morality tale, somewhere between Alice In Wonderland and To Kill a Mockingbird. Dulcie, a young girl, wakes on her birthday to find a mysterious red-haired boy in her room who whisks her, the other children, the maid Alice, and a 92-year old man through a “soft wisteria scented mist” to find the Wishing Tree. They wish, and they unwish, and at the end they meet St. Francis who gives them each a bird–a little winged thought.  The Wishing Tree is about the importance of choosing one’s wishes with consideration. “If you are kind to helpless things, you don’t need a Wishing Tree to make things come true.”

On April 8, 1967, a version of the story appeared in The Saturday Evening Post. Three days later, Random House released a regular edition, which went through three printings that year alone and no more. The book is now regarded as a literary curio from the man who put an Ole Miss coed in a cathouse in Memphis.

Eudora Welty finished what was to become The Shoe Bird in 1963 under the working title Pepe to fulfill a contractual obligation to Harcourt Brace—and to put a new roof on her house. She sent the final draft to Diarmund Russell in March, and he was enthusiastic: “totally charming—something all ages can read.” Eudora readied what was now entitled The Shoe Bird for publication in early 1964 with illustrations by Beth Krush, dedicating it to Bill and Emmy Maxwell’s daughters, Kate and Brookie.

The Shoe Bird is Arturo, a parrot who works in The Friendly Shoe Store “in a shopping center in the middle of the U.S.A.,” helping Mr. Friendly greet customers and bringing him a match for his end-of-the-day pipe. Arturo’s motto is: If you hear it, tell it. One day, a little boy who was leaving the store said, “Shoes are for the birds!” and after the store had closed Arturo, true to his motto, repeats the phrase and all the birds in the world—including a dodo and a phoenix—gather at the shoe store to be fitted for shoes. The Shoe Bird is a nice little story with lots of puns, but it’s heavy-handed with the moral of speaking for oneself instead of just repeating what others say.

Reviews in adult publications were “cordial but restrained,” while reception among children’s literature commentators was either negative or—as in the case of the influential Horn Book, nonexistent. Kirkus Reviews described the novel as uneventful and concludes: “the overly wordy result is so obscure that readers are likely to want to leave dictionaries as well as shoes to the birds.” An orchestral ballet was composed by Welty’s friend Lehman Engel and performed by the Jackson Ballet Guild in 1968. A 2002 choral piece was also commissioned by the Mississippi Boy Choir and composed by Samuel Jones.

As to what compels a writer to write for children, can it ever be as simple as to win over a childhood sweetheart or to roof a house? It’s never that simple and never that easy.

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Brennan’s Eggs Chartres

Sauté a cup of finely chopped white onions in a stick of butter until clear; stir in 3 tablespoons flour. With grace and beauty, blend in a cup and a half of milk mixed with an egg yolk. Stir until smooth and thick. Remove from heat, add six sliced hard-boiled eggs, two tablespoons grated hard cheese, cayenne for heat, and paprika for color. Salt to taste. This recipe serves about eight people.

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Angel Food

You can find mixes for this old cake  in the store, but they cannot compare to scratch, and September’s hot, dry weather is the perfect time to make it. It’s tricky; the water and cream of tartar go a long way to make sure you get good results.

Preheat oven to 350. Separate a dozen eggs, using caution to ensure no yolks make it into the whites. Bring whites to room temperature and stir in a tablespoon of water. Sift a cup of cake flour with a half cup sugar until it’s very light, at least twice, thrice is better. Beat egg whites in a large, very clean, dry bowl until foamy and sprinkle in a half teaspoon of cream of tartar. Continue beating, and as the texture begins to even out, add a teaspoon or two of pure vanilla extract and–gradually mix in another cup of sugar. Keep beating at a medium speed until the whites form stiff peaks, then carefully fold in the flour while sifting it over the whites. Use a spatula, and turn the bowl; the key is not to deflate the bubbles, so don’t over-mix.

Gently pour the batter into a 10-in. ungreased tube pan; the cake has to cling to the sides as it rises to make it crusty. Bake until the top is browned and springy. Use a knife to separate the cake out, and cool on a rack.

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Quick Summer Pickles

Slice or cube young cucumbers, squash, or green tomatoes. Pack into jars. Mix water and vinegar 2:1 with a tablespoon each salt and sugar per cup of liquid. A little garlic is a nice touch. Heat and stir until dissolved, cool, and pour over vegetables, with enough liquid to cover. Seal and shake a time or two. Refrigerate overnight before serving.