A Southern Gallimaufry
Stem, seed, and devein small sweet peppers. Season inside with salt, pepper, paprika, and granulated garlic. Stuff with slices of smoked Swiss or Gouda cheese wrapped in thinly-sliced ham or turkey. Arrange the peppers in lightly oiled muffin tins, and place in a very hot oven until cheese is melted through, about 15 mins.. Serve hot as a nosh or as a side with hefty pasta such as lasagna or cannoli.
One of my friends who has an eye out for old community cookbooks at rummage sales, flea markets, and thrift shops ran upon a Christmas Sampler from the girls of Ladies’ Night Out at the First Baptist Church of Florence, Mississippi. Therein I found a recipe for compromise cake, not just any old compromise cake, mind you, but “THE COMPROMISE CAKE.”
The recipe just stopped me in my tracks; just what kind of compromise does this cake represent? Given the zeitgeist I suspected some sort of quasi-political origin such as a traditional dessert for such a Southern political–a barbecue or fish fry–but when I passed the recipe around on social media for clues, a friend, upon seeing the applesauce ingredient, pointed out that apple cakes were traditionally served at hillbilly weddings back in the day, so maybe the compromise is between the groom cake and the bride cake.
That’s how I learned about apple stack cakes, which mountain housewives made from apples they’d dry for the winter. Pieces of apples were threaded onto strings and hung in the rafters or in a special outbuilding that had a small kiln inside for drying fruit and other foods. Dried apples were cooked with water and sweetening into a thick, fragrant sauce. The layers were made with sorghum, applesauce, and flour, thin and crisp, really more like a big cookie than a cake.
Stories were told about poor mountain brides who could not afford a wedding cake and were gifted with stack-cake layers donated by friends and family members. The layers were brought to the wedding, stacked and cut on the spot; the more layers, the more popular the bride. Stack cakes usually had at least five layers and most people believed there should be an odd number for luck. I’m sure someone had a stack or two ready in case things didn’t add up right.
The catch is that because of the dryness of the layers, a stack cake–at any height–must sit for at least two days. Given that time, the moisture from the apples–and more often than not the applesauce between–softens the layers a bit, melding the flavors and making the cake moist and delectable. Cutting into a stack cake as soon as it is assembled is a disservice to the cake and the cooks.
My theory that the cake was intended to go with the couple on their honeymoon in case things got out of hand was gently debunked by Elizabeth Carter, who said, “You’ve told a lovely story about apple stack cakes that is very true, but you missed the point of the Compromise Cake. My mother (who recently—2022–passed away at the age of 91 and I discussed this more than once.”
“My grandmother, aunts, and my mom all make an applesauce fruit cake that contains lots of assorted fruit and nuts, and no eggs. It’s very moist, but only bakes successfully if you put in the required cups of fruit & nut mixture.”
Elizabeth also remembers a newspaper article “back in the 1960s or 70s” about The Compromise Cake that retold the story from an elderly couple.”
“It seems the young bride tried to make the Applesauce Fruit cake their first Christmas but it didn’t go well and her husband didn’t want all the fruit. So to please her new husband they “compromised”, she only put in what fruit and nuts he liked, and added more ingredients as normal cake would have, and it baked just fine.”
Another correspondent, Kate, wrote, “I am going through my recipe box and just came across The Compromise Cake recipe. It is in my hand, and I believe I wrote it more than 50 years ago. The recipe is exactly as you have written with one exception: my recipe includes 2 Tablespoons of cocoa. I do not recall ever making the recipe, but vaguely recall having eaten it somewhere and having been impressed with it, copied the recipe.”
Here’s the recipe from the Ladies’ Night Out from the First Baptist Church of Florence, Mississippi.
The Compromise Cake
1 1/2 c. applesauce
1 c. raisins
1 c. chopped pecans
1 1/3 c. sugar
2 c. cake flour
1/2 tsp. salt
1/2 tsp. cinnamon
1/2 tsp. nutmeg
1/2 tsp. cloves
1 1/2 tsp. baking soda
1 c. chopped dates
1/2 c. shortening
2 eggs
1 tsp. vanilla
Lightly oil and flour a 10-inch tube pan; refrigerate. Combine applesauce and soda; set aside. Mix raisins, dates, and pecans; set aside. Whip shortening with sugar, add eggs one at a time, beating well after each addition. Combine flour and spices; add 1/2 cup flour mixture to raisin mixture. Gradually mix very well remaining flour with shortening. Add applesauce and fruit/nuts mix. Stir in vanilla. Spoon batter into prepared pan. Bake at 350 degrees for an hour, or until toothpick dry. Cool thoroughly before removing.
I call myself a painter; I paint, so I’m a painter. A teacher of mine, William Baggett, said, “Too many students call themselves artists, and they’re not artists; they’re students.” That stuck with me. I’m still learning, so I’m a student too, and I never want to get past that.
At USM, Jim Meade became my mentor. Meade steered us towards the formality of composition. He would talk about the Golden Mean, the Golden Rectangle, the Fibonacci sequence, and how all those tied into aesthetics. We would draw forms and divide them up, explore the geometry of formats just to get us geared into recognizing that this is the way things can be arranged so that your brain knows it’s there, even though it’s not drawn out. It was so boring! I often thought to myself, ‘What am I doing? I came here to become a good artist and to find something that nobody’s ever done before and become famous; that’s why I’m here!’ But it ended up becoming a completely different experience.
The first class I took I failed. The teacher said that I could render things okay, but that I didn’t know anything about drawing. At that point I realized that I either had to dump all my preconceived ideas about art and begin learning, or I’d have to find something else to do, and there was nothing else I wanted to do. I’d just gotten out of the military, I was 24, one of the “old guys” in the class. And these young kids were, well, drawing circles around me. I had to humble myself, tell myself that I had to learn, and if I want to discard it, I’d discard it. So we did gesture drawing, weight drawing, blind contour, taking the works of Renaissance painters, placing tracing paper on top and finding how they lined up their compositions, learning from masters of their art. When we were given more freedom to start making decisions, form was so ingrained it was natural. We didn’t even have to think about it. Then Jim came up with a great phrase, which I attribute to him because I’ve never heard anyone else use it except myself, but he called it cultivated intuition. You cultivate a visual idea so much that it becomes intuitive.
Meade would also tell me not to worry about coming out with my own style. He told me that style is either going to happen or it’s not; it’s going to be you coming out. He would tell me, “Miles Davis didn’t get a trumpet and start writing his own music and improvising; he learned the notes, he played the scales, he did the boring stuff over and over and over. Once he got good at the boring stuff, then he played other people’s music. Then, when he became proficient in other people’s music, people he admired, he took all those things and was able to push it further out than it had ever been pushed before.” That made complete sense to me. I wasn’t in college to make paintings, I wasn’t studying art to make paintings; I was studying to learn how to paint, the paintings would come later.
Visual strength is seeing something that connects deeper than ‘Wow, that’s a pretty horse in that painting.’ Or ‘That painting looks just like a photograph.’ It might be a great painting that looks just like a photograph, or it might be a shitty painting that looks like a photograph; but the fact that it looks like a photograph is irrelevant. It could simply consist of a few squiggly lines in the right place and it would be charged. Dali’s work is cool and interesting and psychological, but it relies so heavily on the subject matter being shocking that it’s a matter of diminishing returns: the more often you see his work it doesn’t grab you like it did the first time. I’m not sure if what he was doing defeated his purpose visually. Van Gogh’s Chair is powerful on both levels. I think good art engages with precariousness in balance between the linear composition and the color; you want unity, but you don’t want so much unity that it’s boring. You have to have some contrast. I guess I’ve allowed for this chaos and order by allowing all the chaos and accidental stuff to happen at first, so I’ve got to put it together. I don’t want to take away that spontaneity, but I want it to eventually look like a flat piece of art with everything fitting within the frame.
Every art professor in the world would probably cringe to hear someone say this, but art is something that you hang on your wall and you look at every day. If people didn’t have art hanging on their walls, then artists wouldn’t exist. I have a painting by Ellen Langford that see every day, and every time I look at it, it re-engages me. And I notice something different about it; either I’ll look at it formally, at the composition, the way she treats the negative space between the trees and around the house, or I’ll look at the expressions on the faces and see the animals in there. There’s a lot going on, but at the same time it’s simple; it’s got this juxtaposition, this push/pull, so what jumps out at me most often is what’s farthest away. Arnheim talks about this in his book, about flattening the space by making what’s farthest away in the painting come forward.
Even in my non-representational pieces, I’m very much concerned with the negative space and the picture plane. If everything doesn’t look like it belongs there, if everything doesn’t relate to that flat surface, then it doesn’t work. I try to put a sort of weird overlapping depth in there, but it also has to be flattened. So you’re tricking the minds of your viewers with this push/pull going on; it’s a visual element I use to re-engage the viewer. When people say ‘This artist is so talented,’ it’s almost an insult to the hard work it takes to be decent at something. That’s also what’s exciting about it. My work has continued to change and evolve, and I still learn things. They can refer to me as an artist when I’m good.
Evie Stone grows roses. She sits on her porch in the afternoons and calls you “darlin’”. Her son and daughter are buried in another state. The mayor is her great-nephew.
In the old church tramps curse and strays whelp. Streetlight shines against the vaulting. Shards of blue glass cling to corners of the broken windows.
White smoke climbs from a field of burning cotton. Silhouettes twist in the flames. Passengers watch from parked cars. Golden rods wave in the ditches.
You take a seat at the diner counter beside a man praying. The waitress puts a glass of ice tea before you. “Corn bread or roll?” she asks. It’s the only choice you have.
People bury pets in the woods. Dogs prowl in packs and kill everything they can catch. Nobody locks their doors at night.
The town constable takes football players hiking in Tennessee. His daughter weaves tapestries and listens to jazz in the garage. His wife drowns puppies in the kitchen sink. His son is somewhere in Canada.
When the flower shop burned, Charlie the mynah trapped inside cried, “Poor Charlie! Poor Charlie! Poor Charlie!”
East of town is a sun-bleached, tattered neighborhood that no one ever seems to leave, where feelings and relatives are buried alive, and the earth waits to swallow you.
According to Fred Smith, appraiser for Mississippi State University’s archives and former proprietor of Choctaw Books in Jackson, “When it comes to the ‘Holy Grail’ of Mississippi book collecting, Faulkner’s The Marble Faun is it.”
“For one thing, he’s the most important literary figure this state has ever produced, and this book of poems is his first work,” Smith explained. “Faulkner thought he wanted to be a poet, and Phil Stone had it printed or helped him to get it printed. Stone bought many of the unsold copies and stored them in the attic at his home in Oxford, but they were destroyed when the house burned. I’ve only had one copy in my 31 years in business, and it wasn’t in good shape; the spine was really fragile, and the binding had come off. Whatever the print run was, and I’m sure it wasn’t big, a lot of the original copies didn’t survive.”
“Signed copies are worth tens of thousands of dollars,” Smith said. “The absolute best copy came up for sale at Christie’s, a copy he had inscribed to his mother and father. Ole Miss has a couple of copies, and someone donated one to Mississippi College a few years ago. But that book is one thing that I’ve kept searching for all these years. I did buy one from a lady in Oxford some twenty years ago, but because of its poor condition it wasn’t worth a lot then. I think I sold it for $750, but if I had one to resell now, it would bring ten times that much, probably up to ten thousand, because there just aren’t any around.”
The Christie’s first edition of Faulkner’s The Marble Faun (Four Seas Press: Boston, 1924) sold for $95,600 in October, 2002. In the lot description, Christie’s adds:
“Four Seas agreed to issue Faulkner’s collection of poems in 1923, provided he pay for the manufacturing costs (their standard arrangement). They offered him a royalty arrangement, but Faulkner declined to proceed, at the time not having enough money to carry the costs. Within six months, though, he’d received the encouragement and financial support of Phil Stone and the twenty-seven year old Faulkner contracted for the printing of 500 copies of The Marble Faun. The book sold poorly and quickly was remaindered. No records survive detailing the number of copies Four Seas actually sold prior to disposing the stock on the remainder market, but an early estimate suggested 100 copies. William Boozer, in William Faulkner’s First Book: The Marble Faun (Memphis, 1975), specifically located 56 copies. Boozer considered the existence of other floating copies for a total of near 70, and has since found more, but his total is still short of the 100 copies initially assumed.”
Cut enough young squash into roughly 1” cubes to make four cups (about 4-6, depending on size) , boil until just tender, drain, and set aside. Make two cups of white sauce with whole milk and butter, add about a cup of sour cream, a half cup fresh-grated/shaved Parmesan, and a lightly beaten egg.
Stir in two cups cooked young limas, a quarter cup of minced white onion. Mix with squash, add salt and white pepper to taste, and stir gently. Top with more Parmesan, and bake at 350 until lightly browned and bubbling.
Yes, dear hearts, gluttony is a mortal sin, and is–along with the other six, I hasten to assure you–rampant in Mississippi, where Class III obesity is endemic. Incredulous as it may seem, you’ll find “low-cal” versions of this recipe, as if adulterating transgressions might mitigate the inevitable consequences.
Honestly. Some people.
Blend well a cup of sour cream with 8 oz. softened cream cheese, add 2 cups grated sharp cheddar, a half cup each chopped ham and green onion, and small drained can of green chilies. Spoon into a toasted bread bowl, wrap in aluminum foil, and bake at 350 until crusty, forty minutes or so.
Bars—for those of us who frequent them—provide insights of the most profound sort into the human condition. This I firmly believe is because bars combine by their very nature the easy-going, ruminative atmosphere of an agora with the somewhat less philosophical and contemplative aspects of a boisterous opium den, making them the perfect stages for a meeting of minds between people who have hitherto never set eyes on one another.
So it was that in a bar in St. Augustine, Florida, the waitress, after serving my fourth beer along with a pound of boiled shrimp asked, “Would you like to try our datil pepper sauce with these?” Intrigued as a Southerner, more specifically as a Mississippian and a pepper-head to boot, I replied in the affirmative and was served a fluted ramekin containing a creamy sauce flecked with black pepper. “It’s got a bite!” she warned.
And indeed it did, but not at all what I—a seasoned if not to say jaded veteran of salsa skirmishes—would consider fierce or fiery, but I had to ask, “What the hell is a datil pepper?” Of course, bless her heart, she was a newcomer from Missouri, so she marched off to the kitchen and came back with the chef, who was a proud native of St. John County, and a descendant of those St. Augustineans who came from Minorca as indentured workers in the late 1700s.
“The datil pepper,” he explained after hoisting himself–nimbly, I must add–on a stool beside me and ordering an O’Doul’s, “is a very hot pepper, a type of Capsicum—you say you know peppers, so you’ll recognize Capsicum (I nodded)—chinense–this he emphasized by holding up an index finger–that came to Spain, then to Minorca, from Cuba. My people brought them with us. What we have done here with our sauce is to combine the fiery datil—which is similar in taste and appearance to the habanero—with mayonnaise, which as everyone knows was invented in Minorca in ancient times and is named for the capitol city, Maó-Mahón. Do you like it?”
Of course I told him I liked it, though to be quite honest putting a spicy mayonnaise on shrimp ran somewhat contrary to my tastes, which tend to a pungent, horseradish-and-lemon juice infused tomato condiment. When I asked where I could get seeds, he stated emphatically that he could get some seeds for me at the end of the season, or I could contact the St. John County extension office. I gave him my address with many thanks.
So I finished my shrimp, ordered another beer and was sitting there in what some might term the glow of culinary discovery when this seedy-looking little skinny guy in a Dolphins jersey sidles over and says, “You’re not believing that crap are you?”
“Why not?” I said, my reverie reduced to embers.
“Oh, hell, that pepper’s just something one of them crackers found growing in a pile of horseshit behind the city hall, and they decided to make a big hoo-hoo about it,” he said. “They just tell you tourists that bull turkey so you’ll buy a bottle and take it home and brag about it.”
After all that, I had to ask him where he was from. “Key West,” he said smiling. “Where we grow those yellow limes.” I just grinned and bought him a beer.
“Works every time,” he said.
The heat in the room was stifling, and the smell of stale incense, feces, and decay as well as something sharp and acidic, was overpowering. If it weren’t for the open window in the back of the room, Hugh knew that a thick haze of stench would have kept them out until a fan had been brought in. As it was he felt nauseous.
“He’s over here, Hugh,” said Derek, the patrolman who found the body late that morning. He pointed to an overturned chair that once faced a computer desk. The screen glowed with the image of a rapper who was still hopping and gesturing, the music still audible in the headphones around the corpse’s neck.
Hugh stepped over and saw the body, that of a young white man, once muscular, once handsome, now swollen and blotched with purple patches. He wore a yellow t-shirt with a pattern of green palm leaves and a pair of long, loose shorts. His hands were at his chest, and his tongue protruded between white, even teeth. The desk was in a corner between two long tables, both containing two large rectangular glass tanks without covers, all except the one nearest the window, which contained a large piece of wood, a hollow rock, sawdust and a small pan of water.
“Looks like he had a lizard,” Derek said.
Hugh turned and looked at him. “A lizard?”
“Yeah, an iguana, one of those big ugly-ass lizards,” Derek said. “People keep them for pets. I wouldn’t have one of the damn things in my house, I’ll tell you that. Jesus.”
Hugh looked at the tanks. “Just one?”
“Looks like it to me. Must have been in that last tank, see? It’s the only one that has anything else in it, and there ain’t no water.”
“A dead man with an iguana,” Hugh said. “I’ve been chief of police in this town for seven years now, and this beats all I’ve ever seen. Call Moreno and get him to pick up the body so we can look at this place. And open another damned window! Bring a fan!”
…………
The body was found in a one-bedroom apartment in a small complex near the downtown business district on a street that ran parallel to the concrete-encased creek that still provided the nearby river with a venue for floodwater, but that didn’t prevent rampant development along the stream from downtown well into an old sedate residential district on higher ground upstream. The apartment complex had a variety of single and double bed apartments, and it was near a small shady park with picnic tables, a playground and two basketball courts that was always active with people, even in the hottest months in George, Mississippi.
Hugh didn’t have a forensics team in his department. Given the declining finances of the city, he considered himself lucky to have a secretary. But he did have a county coroner, who was an exception to the general rule of limited experience when it came to coroners in the rural South. The coroner for Poindexter County was Abraham Moreno, who for one thing was a licensed physician. Moreno was also a man of parts, having served in the Peace Corps during the Sixties and traveled around the world with his late wife before settling the little city of George with his daughter. When Hugh asked him why the hell he’d come to this piece of backwoods to make a home, Moreno said, “To go fishing, of course. That’s what old men do, Chief. Well, that and grow roses, but it’s too hot here for roses.”
Hugh went back to the station and settled in for a long afternoon of complaints, most of which his secretary Kelly dealt with, but some had to be dealt with personally. One such call came from the mayor, the Honorable Claude Thompson, who by the generous rule of the town charter, had the authority to fire the chief at the drop of a hat, and was not above reminding Hugh of that.
“Hugh, I’ve been getting calls all afternoon about that body on Henry Street. What the hell is going on?”
“Claude, we’ve secured the scene and Moreno has the body,” Hugh said. “I’ll call you when I have more to tell you.”
“Jerry Wesson called me out of his mind. In case you didn’t know it, Alderman Wesson lives one street over on Olive. I also got a call from Reverend Alice Monroe, whose church happens to be on the corner, and just in case you didn’t know, the victim was her step-son.”
Claude looked at the ceiling and counted to three. “Hugh, do you want me to call them?”
“That’s the last goddamned thing I want you to do,” Claude thundered. “Just get your ass in gear. Do I need to call the coroner’s office and talk to that foreigner?”
“He’s from New Orleans, Claude.”
“I don’t give a shit. You tell him to get his ass in gear too.”
Hugh stared at the dead phone, then called Moreno. “Abe, I’m over a barrel.”
“That makes two of us, Hugh. You should come here and look at this. Do you have any men at the crime scene?”
“I’ve got a patrol car on the street, but that’s it.”
“Good. Get here as fast as you can,” Moreno said. “It wasn’t an iguana.”
