On Boiling Shrimp

Here in the Deep South within spitting distance of the Gulf, boiling shrimp–like barbecue at higher latitudes–is a heated issue, not least because–like a barbecue–a shrimp boil is an occasion, and you’ll find at least two out of any given ten riff-raff in attendance with a better idea.

You’ll often see baskets of shrimp, potatoes, and other things lowered into seasoned water at a rolling boil, which makes an impressive spill on a picnic table, but in my experience, this procedure shrinks and toughen the meat. I recommend dropping raw shrimp (16-20 count) into lightly boiling seasoned water to cover and stirring and until the water comes back to a shimmer.

At that point, the meat is cooked through and ready to drain and serve.  Potatoes and corn should be cooked separately.

Potato Candy

Soften a stick of butter and eight ounces of cream cheese (don’t use the low-fat), mix with a tablespoon pure vanilla extract, four cups confectioner’s sugar, and a cup of grated coconut. Chill mixture for about an hour or until very firm. Dust your hands with powdered sugar and form into irregularly-shaped balls.  Roll in or dust with cocoa (nothing’s keeping you from using paprika), stud the surface with pecan pieces. Freeze before serving.

 

Brits and Other Riff-Raff

It’s a jolt to find a recipe for what amounts to an oyster po-boy in Jane Grigons’s English Food, but even if we concede that anywhere there are oysters and mankind the oysters are bound to end up on someone’s table between two pieces of bread, Griegson’s foray into New Orleans cuisine is still nothing less than another ostentatious and futile British sally on our Crescent City.

Grigson’s recipe–“Oyster Loaf”–begins: “This is one of the best of eighteenth-century dishes,” she begins, adding, “It was taken to America, and became popular in New Orleans in the eighteenth century, where it acquired the endearing name médiatrice.”

In this simple statement Grigson covers a lot of ground with a host of erroneous assumptions, not the least of which is the po-boy’s English origins. To begin with, though the British made a heroic effort to capture New Orleans in the winter of 1814-15, the city was never under British rule. Granted, in the late 1800s oyster sandwiches on French loaves were known in New Orleans as well as San Francisco as “oyster loaves”, a term still used in San Francisco, but Grigson’s recipe calls for the oysters to be placed on a bun after being sautéed in butter and poached in sour cream as well as “double” cream, a uniquely British ingredient. It’s more stew in a bread bowl than a sandwich, which at other times I’ve heard referred to as “shit on a shingle.”

The earliest known account of what eventually came to be called a po-boy was published in The Daily Picayune on Dec. 7, 1851: “A big loaf of bread is ‘dug out’ – reserving a crust end as a stop – any quantity of delicious fried or broiled oysters is piled in; the top is neatly put on; and a gentleman can carry home his loaf and his ‘dozen’ – all hot – or have them brought home, for a lunch or a relish to dinner.”

The legend of what Grigson calls the médiatrice is fraught with confusion, involving even James Beard in the likely fanciful legend of a sandwich involving various ingredients brought home by a carousing husband to his irate wife—no doubt waiting up with a rolling pin—as a “peacemaker”. Such is the case with the name po-boy (and its various spellings) as well, with diverging claims of authenticity.

Mississippi’s Top Twelve Recipes

The first time I submitted a Mississippi top twelve, it was like throwing a June bug down in a flock of chickens. The pot roast was devastated by a barrage of loyalists who maintained it’s “just got Yankee written all over it.” The red velvet cake was accused, convicted, and shot for being a Waldorf recipe, and the pecan pie was mined by a sweet potato. I substituted pound cake for red velvet and sweet potato pie for pecan. The roast lost to stewed greens–which damn near lost out to limas. Here’s the treaty, but rumor has it the pecan pie faction plans a fifth column action out of Belzoni.

Letter from Jackson

Darling Julia,

I should soon come home to Carolina, to the house you love, to the deep old woods I love, and to loving you, forever.

When I get back, I know you’ll ask me about Jackson, what it is like, what its people are like, how it looks, how they live, what makes the city what it is. I’m going to tell you now to clear my mind of it, leave it forever. Once home I do not want to think of it.

Jackson is a fractured collection of people in a city that has lost all sense of itself, a shattered glass best melt and recast. It’s an ugly place; there are few beautiful buildings, no streets of stately homes one expects to see in an old Southern city, just blocks upon broken blocks, mile upon miserable mile of buckling asphalt and falling buildings.

The city lacks grandeur, even faded grandeur, in any degree. Its main street is blemished by vacant shops and offices with dusty, empty, shattered windows like rotten teeth. Even its recent upgrade with roundabouts and verges doesn’t disguise the squalor.

Poverty and racial tension propel Jackson, a volatile combination that pulls back more than it pushes the social, economic, physical nature of the city. The political landscape is dominated by self-serving personalities motivated solely by a desire to stay in office in order to further their own ends. Inevitably, the lion’s share of federal funding finds its way to empower political objectives.

I can see you smiling as you read this, thinking, “You fool, it’s Mississippi; what did you expect?” Well, darling, I did expect more. I told you that before I came here. I expected to find people working together, a fellowship of stewards.

Tell me that’s why you love me, because I am a dreamer, and every night here, I dreamed of you in that old house in the mountains under a million stars.

All my love, my being.

Tim

The Red Zeppelin

It was mid-morning, late June, and Harlan’s truck was shaking, rattling, and rolling, knocking up dust on a snake-neck red gravel road two miles northwest of Big Creek, Mississippi, hauling ass over about a hundred square miles of nothing but hills and woods, heartache, hydrocodone, honky-tonks, bait shops and the occasional double-wide Baptist church perched next to a crumbling asphalt parking lot, making our way by fits and starts to the backwaters of Grenada Lake.

I was red-eyed from a blunt, grumpy and road-weary, but Harlan was ebullient behind the wheel, grinning like a Tartar, regaling me with his cynical and irreverent observations on the state of mankind and his critical assessment of my life as a microcosm thereof.

“I told you not to take up with that nigga Ricky, but did you listen? No, hell no, you had to move into that shit-hole duplex he shared with his sister.”

“People do stupid shit when they’re in love,” I said. “Case in point, what about that Miss Lauderdale County who threw the five-carat engagement ring you gave her out the window into Pontchartrain?”

He threw back his head and laughed, said she was worth every damn carat, and if he’d had any sense at all he wouldn’t had fucked her sister. Suddenly it occurred to me how little I knew him.

*****

Harlan is a tall, solidly-built man with a head full of thick, unruly greying red hair, a bright, lazy smile, and the kind of voice given to people who have little to say. He can talk his way out from between tiger’s teeth and gets his way into places most people won’t even go, like this farm in the middle of nowhere that grows the world’s most sought-after watermelon.

Harlan did a stint in the Navy, a PhD from Cornell and 32 years in USDA’s harness. Along the way he picked up enough knowledge to make him a recognized authority on watermelons, his consuming passion. He has traveled across the globe in search of rare ancestral varieties. On his farm in George County, Mississippi he grows a crop of Kalahari tsamma.

We were there because three weeks earlier, as Harlan explained it, “Some laid-back ass-lick who makes more money in a day than I see in a month working for a slick new regional called me up out of the blue and said he’d give me a dollar a word for an article about the Red Zeppelin.”

The fabled Red Zepp is a pearly green  oblong averaging some twenty-five pounds. It’s most distinctive characteristics are the pale, subtly shaded zig-zag lateral stripes that gave the melon an illusion of ribbing. The Zeppelin is also distinguished—indeed ennobled—by a dense, velvety flesh of surpassing succulence.

Harlan’s source for these watermelons is on a sloping red sand dune with an ever weeping spring in indenture on the ridge south of the Schoona River in a remote and sparsely-populated county in north central Mississippi.

We’d been on the road a long time, and I was just flat-out tired from the long drive up from Jackson, tired of the road and impatient with Harlan, who seemed alternately fidgety and distant. I just wanted to get there, get the Zepp, and get the hell out.

*****

The sun danced on the rim of the world and shone in random rays over a country sculpted by loggers  and downpours. The road looped over hills, plunged down hollows, and turn-rowed bottom-land crops, following the design of some sweaty, half-drunk supervisor to no rational destination whatsoever.

Then suddenly there it was, a gently sloping sandy hill, glowing and imposing, on the red side of gold, a washy bronze in the pale summer sun. as lyrically striated and undulating as a vineyard and punctuated by tiny glowing ovals situated like so many open whole notes up and down a page of symphonic notation.

As we grew closer I made out upon that terraced hillside a lithe figure in loose, faded red overalls with wearing a broad red straw hat with a billowing polka-dot ribbon gently hoeing a row of bouldered vines.

“That’s Royce,” Harlan said. “Let’s go on up to the house.”

The house was a solid dogtrot overlooking the broad Loosa-Schoona bottom  with a wrap-around porch sheltering high windows that framed dangling melded Mardi Gras bead disks, swinging strings, mandalas and figurines of colored glass. Each line, angle and corner of every room of the house, glowed in turn with ruby, topaz, purple, aquamarine, and a hundred dozen colors in between, bending light into blades, spears, and arrows.

As we stood in the foyer, Royce came in. “Hey, daddy,” he said.

“Hey, sugar-booger,” Harlan said, giving him a sloppy kiss and a pat on the fanny. “Where’s Owen?

“He’s on his way back from Grenada. He’ll be here around dark. Y’all come get something from the refrigerator and we’ll sit on the porch.”

The winds were warm and shifty, the gloaming sky a bowl of scattered dirty cotton clouds. Around dusk, a light breeze sprang from the bottom. We could see the cloud pushing it sailing north up the river from the backwaters of the reservoir. A little slipper of moon dangled over the fading sun. Soon, we heard a car horn beeping in the distance.

“Here comes Owen,” Royce said, looking in the distance, and said to Harlan, “Where is she?”

Harlan exhaled, stretched, stamped his feet, and said, “In the back floorboard. I had a nice little box made, put a couple of photos in with her. One of us on our honeymoon in Daytona Beach. We both were wearing cut-offs. We were so happy. I put a picture of you in there, the one at the Sugar Bowl after the touchdown. She loved you, Royce. Don’t rob yourself of that.”

Royce smiled at him, and pointed to a faint star at mid-heaven. “There she is, Daddy. That little dot of light nobody can touch caught in the middle of the sky. Momma was a lightenin’ bug in a beer bottle, caught up in her own darkness.”

Royce leaned over and patted Harlan on the knee. “I’m settled with it, daddy. You ought to be, too. She always tried to keep herself pretty for you, even when she saw the end coming. Let’s go get her.”

Owen, dark and quiet, embraced Royce as we walked down the hill, the field around us shadowed under an open sky . We came to the east side of the hill; the crook of Leo embossed the heavens.

There in the shadows Harlan placed the glossy black box on a rough, flat red rock beside the weedy rill leading from the untidy spring. The wind rose.

“Bye, Momma,” Royce said. “Go home now. Don’t hurt anymore.”

Harlan began crying and we helped him back up to the house where we sat on the porch and drank and told stories about days we missed and days we didn’t until the noise of the night blanketed us, muffled our pain, and pushed us inside and abed.

*****

In the morning Harlan and I drove south under a blistering orange-red sun with a clutch of pearly rippled melons nestled in pine straw against the truck bed.

Ars Voces: Kim Sessums

Eudora Welty told me when I was doing her portrait bust and we were talking about where the creative muse comes from that she was just a listener. If you sit in a restaurant or a mall or go to a football game and listen, there are stories all around you.

For me, those types of experiences lead to visual art; sometimes it’s portraying a particular individual, or it may be something about that individual that prompts me to carry it to an image. The subject doesn’t always tell me that it’s a piece of sculpture or a watercolor. It’s more the emotion of it and how I’m going to get it out. But I usually start everything with loose sketches on a napkin in a restaurant or on the back of a medical chart.

Sometimes it’s a study in words. When I did the Civil War sculpture in Vicksburg, I probably wrote forty or fifty pages of text about what I thought that piece was about before I put anything into a form that someone could look at. The text informed what the piece eventually became.

I grew up on a dirt road in Scott County and started studying physiology and human anatomy in college, which appealed to the artist inside me. I was already doing art. In 1976, when I was a senior in high school, a buddy of mine was working for a publishing company as a salesman. He had a big tabletop book of paintings and studies by an artist named Andrew Wyeth. It just set me on my ear. I couldn’t believe what I was seeing. But it wasn’t how did he do that; my question was why did he do it and what was he trying to tell?

It took me a lifetime to work through the process of reading and studying and looking at the images, trying to figure out what he was doing and mostly learning that he was expressing emotional content through a visible image. Wyeth might have done a painting of a deer hanging by a chain from a limb at Keurner’s house, but really, for him, it was about Keurner fighting in World War I and using a rifle to kill people. Keurner had told him about shooting humans and seeing human blood spilled. So there were these different meanings to paintings that looked like one thing to somebody but something else to the artist.”

That really intrigued me because I’ve got a lot of stuff inside that I want to get out. There are some things that are appropriate to create, and other things that are a little bit hard to create. How do you communicate human loss? How do you communicate loneliness? How do you communicate trauma in childhood? How do you get those things out? Well, for me it came out in things like a portrait of Uncle Bennie sitting in a rocking chair that meant all sorts of personal things to me.

I was really surprised to find out that when other people saw my work, if it was good enough, it took them to somewhere in their own life. It prompted them to think of something completely different than what I was thinking, but they would look at it and were moved by it.

Eggs Adrianne

Melt a stick of butter, add a quarter cup plain flour, and cook over medium heat, stirring until the bubbling subsides Whisk in a pint of whole milk and cook over low heat until thickened and smooth.

Stir in two cups fresh leaf spinach and a half-pound sauteed mushrooms. Artichokes are a nice option. Add white pepper and salt to taste. Prepare a pound of picked lump crab meat by heating with butter, lemon juice, and a little black pepper. Add to sauce, spoon over toast, top with poached or fried egg.

The Velvet Wok

After years of shaving and marinating meats for a stir fry with mixed results, I discovered velveting. With this tenderizing technique, you coat thinly-sliced meats with a slurry of cornstarch,  white vinegar, soy, and egg white.

Not much is needed; 3 tablespoons (1/4 cup) of corn starch to one egg white, and enough vinegar/soy to make a thin paste for a pound or so of meat. Some people recommend adding baking soda. Sometimes I do, sometimes I don’t, and I it doesn’t seem to make much difference. Treat meats for about a half-hour, rinse, and drain well before cooking.

This method also works with shrimp and lobster  but in either case I consider it superfluous.

Jesseburgers

To each pound 90/10 ground beef, add a quarter cup finely diced onion, two minced cloves garlic, two tablespoons of coarsely-ground black pepper, and a quarter cup of Worcestershire. Form into patties, brush with light vegetable oil and refrigerate for at least an hour.  Grill until just done; they should be pink in the middle. Top with smoked cheddar before serving.