Kingsolver’s prose can be ponderous or playful by turns. The Poisonwood Bible casts a cadenced eye on a life lured or provoked into that balance between being and living where distinctions are uncertain, an exposition of grim, unrelenting endurance,
A native of Kentucky, Kingsolver might find comparisons to Mississippi’s Nobelist flattering yet annoying. Faulkner, more than any other American writer in the past century, has been used by countless critics and academics as a rough rule of thumb for superiority among writers whose sentences involve any degree of rhetorical convolutions, the comparison has become far too trite to be taken seriously in most contexts.
Still, who can help but detect Faulkner’s shadow moving behind Kingsolver’s heartrending portrait of Orleanna’s early life in Pearl, Mississippi?
My downfall was not predicted. I didn’t grow up looking for ravishment or rescue, either one. My childhood was a happy one in its own bedraggled way. My mother died when I was quite young, and certainly a motherless girl will come up wanting in some respects, but in my opinion she has a freedom unknown to other daughters. For every womanly fact of life she doesn’t get told, a star of possibility still winks for her on the horizon.
Jackson, Mississippi, in the Great Depression wasn’t so different from the Congo thirty years later, except that in Jackson we knew of some that had plenty and I guess that did make us restless from time to time. In Kilanga, people knew nothing of things they might have had—a Frigidaire? a washer-dryer combination? Really, they’d sooner imagine a tree that could pull up its feet and go bake bread. It didn’t occur to them to feel sorry for themselves. Except when children died—then they wept and howled. Anyone can recognize the raging injustice there. But otherwise I believe they were satisfied with their lot.
And so it was for me, as a child in the Depression, with that same practical innocence. So long as I was surrounded only with what I knew, that’s what life had to offer and I took it. As a noticeably pretty child, and later on, a striking girl, I had my own small way in the world. My father, Bud Wharton, was an eye doctor. We lived on the outskirts of Jackson proper, in a scrubby settlement called Pearl. Dad saw patients in the back room of the house, which had metal cabinets for his nested lenses that tinkled like glass wind chimes when you opened and shut the drawers. Up front, we ran a store. We had to, because in hard times everyone’s eyes get better or at least good enough. In the store we sold fresh produce my cousins brought in from their truck farm, and also dry goods and a little ammunition. We squeaked by. We all lived upstairs. At one time there were eleven altogether, cousins from Noxubee County, uncles who came and went with the picking season, and my old Aunt Tess. She was a mother to me if I needed one. What Aunt Tess loved to say was: “Sugar, it’s no parade but you’ll get down the street one way or another, so you’d just as well throw your shoulders back and pick up your pace.” And that was more or less what we all believed in.
I don’t think Dad ever forgave me, later on, for becoming a Free Will Baptist. He failed to see why anyone would need more bluster and testimony about God’s Plan than what he found, for example, within the fine-veined world of an eyeball. That, and a good chicken dinner on Sundays. Dad drank and cursed some but not in any way that mattered. He taught me to cook, and otherwise let me run wild with my cousins. On the outskirts of Pearl lay a wilderness. There we discovered pitcher-plant bogs where we’d hike up our dresses, sink on our knees in the rich black muck, and stare carnivory right in the lips, feeding spiders to the pitcher plants. This was what I worshiped and adored as a child: miracles of a passionate nature. Later on, we discovered kissing boys. Then tent revivals.
It was some combination of all those things that ran me up against Nathan Price. I was seventeen, bursting utterly with happiness. Arm in arm we girls marched forward in our thin cotton dresses with all eyes upon us. Tossing our hair, down the aisle we went between the rows of folding chairs borrowed from the funeral home, right straight to the front of the crowded tent for the Lord’s roll call. We threw ourselves at Jesus with our unsaved bosoms heaving. We had already given a chance to all the other red-necked hooligans in Pearl by then, and were looking for someone who better deserved us. Well, why not Jesus? We were only in it for the short run anyhow—we assumed He would be gone by the end of the week, the same as all others.
But when the tent folded up, I found I had Nathan Price in my life instead, a handsome young red-haired preacher who fell upon my unclaimed soul like a dog on a bone. He was more sure of himself than I’d thought it possible for a young man to be, but I resisted him. His seriousness dismayed me. He could be jolly with old ladies in crepe de chine dresses, patting their hunched backs, but with me he could not let go the subject of heaven except to relieve it occasionally with his thoughts on hell.
Our courtship crept up on me, mainly because I didn’t recognize that’s what it was. I thought he was just bound and determined to save me. He’d park himself on our dusty front-porch steps, fold his suit jacket neatly on the glider, roll up his sleeves, and read to me from the Psalms and Deuteronomy while I shelled beans. How say ye to my soul, Flee as a bird to your mountain? The words were mysterious and beautiful, so I let him stay. My prior experience with young men was to hear them swear “Christ almighty in the crap-house!” at any dress with too many buttons. Now here was one from whose mouth came, The words of the Lord are pure words: as silver tried in a furnace of earth, purified seven times; and He maketh me to lie down in green pastures.
Oh, I wanted those green pastures. I could taste the pale green sweetness of the blade of wheat, stripped and sucked between my teeth. I wanted to lie down with those words and rise up speaking a new language. So I let him stay.
As a young and ambitious revival preacher, his circuit was supposed to divide him equally between Rankin, Simpson, and Copiah counties, but I’ll tell you what: more souls got saved in Pearl that summer than the Lord probably knew what to do with. Nathan hardly missed a Sunday chicken dinner at our house. Aunt Tess finally said, “You’re a-feeding him anyways, child, why not go on and marry him if that’s what he’s after.”
I suppose I’ll never know if that was what he was after. But when I told him Aunt Tess was more or less needing an answer, before committing more chickens to the project, the idea of marriage suited him well enough so that he owned it as his. I hardly had time to think about my own answer—why, it was taken to be a foregone conclusion. And even if anyone had been waiting for my opinion, I wouldn’t have known how to form one. I’d never known any married person up close. What did I know of matrimony? From where I stood, it looked like a world of flattering attention, and what’s more, a chance to cross the county line.
We married in September and spent our honeymoon picking cotton for the war effort. In ‘39 and ‘40 there had been such talk of war, the boys were getting called up just to make a show of being ready for anything, I suppose. But Nathan had always been exempted, as an indispensible worker—not for the Lord, but for King Cotton. He did farm labor between revivals, and in the autumn of ‘41 it was our first enterprise as newlyweds to bend our backs together in the dusty fields. When the rough cotton pokes were filled, our hands clawed raw and our hair and shoulders tufted with white, we believed we’d done our part. Never did we dream that shortly the bombs would fall on a faraway harbor whose name struck a chill across our own small, landlocked Pearl.
Beck Beecham brought this pie to Granny Vaughn’s 90th birthday gathering ‘specially for her nephew, Jack, who’d escaped from Parchman to be at the celebration. Welty claims it’s a Methodist dish.
1 young chicken (about 4 lbs.) 6 small white onions 2 ounces bacon, cut in small cubes 2 1/2 tablespoons flour 1 tablespoon parsley, finely chopped 1/2 cup celery, finely chopped 3 hard-cooked eggs, sliced Salt and pepper to taste Pastry to cover a 9-inch pie
Boil the chicken in highly seasoned water and allow to cool in its broth. Separate the meat from skin and bones, leaving the chicken in large pieces. Boil the onions in salted water until tender, but not mushy, and drain.
Fry the bacon until tender, without browning; remove from frying pan and set aside. In the remaining fat, cook the flour over very low heat for 3 minutes, then gradually stir in 21/2 cups of the broth in which the chicken was cooked. Add parsley, celery, salt and pepper, simmer for 6 minutes.
Put half the quantity of bacon, half the chicken pieces, half the quantity of onions and half the quantity of eggs in the baking dish. Lay on the remaining pieces of chicken, add the rest of the other ingredients and pour the sauce over all.
Cover with rich pie pastry, pressing down the edges with a fork. Brush with milk and make several slashes for the steam to escape. Bake in a hot oven (450° F) for 15 minutes, reduce heat to moderate (350° F) and bake 30 minutes longer. Serve at once with succotash. Serves 6.
Academics often deride local history as poorly-researched, ill-written, and insular.
This criticism can and is levelled at history written on any level, but who can scorn local research as insufficient when so little material is in place? As to poorly-written, hell, even Gibbon can go on like he’s working with an empty bottle of port at his elbow. As to insularity, who can say that the storming of the Bastille isn’t local history to Parisians or the Beer Hall Putsch isn’t to Munich?
The least motes of history forge the narrative, and in the smallest arenas of mankind we find a locus of the whole. Let us treasure those who compelled by their love of place put before us a likeness of how it was before our time, helping us learn who we are, revealing how this part of the world shapes our lives.
A History of Greater Belhaven is available at the Greater Belhaven Neighborhood Foundation in Jackson, Mississippi.
During the Great Depression, the Federal Writer’s Project assigned many unemployed writers (unemployment being a chronic condition among writers no matter the economic climate is, trust me) to collect information for a work that was to be called “America Eats”.
Pearl Harbor halted work on the project, but Pat Willard found the materials and fashioned them into America Eats!: On the Road with the WPA – the Fish Fries, Box Supper Socials, and Chitlin’ Feasts That Define Real American Food (2008).
This chronicle of America’s regional cuisine focused on events–church suppers, harvest festivals, state fairs, political rallies, lodge suppers–where food was a primary element.
Eudora Welty threw in a julep recipe, and Ralph Ellison chronicled the chant of the Harlem “sweet pertater man.” Recipes for such staples as pickles, breads, stews, and barbecue abound.
This baste is from Pinky Langley, a white man from Jackson. He instructs readers to mix the ingredients, cook for 30 minutes, and to turn and baste the meat frequently.
3 lemons sliced 1 pint vinegar 3 heaping tablespoons sugar 1 heaping tablespoon prepared mustard 3/4 pound melted oleo (margarine) 1 small bottle tomato catsup 1 small bottle Lea & Perrins Sauce 3 chopped onions enough water to make 3/4 gallons salt, black and red pepper to taste
This gem was another find among the amazing avalanche of books at Fred Smith’s Choctaw Books when it was on North Street in Jackson.
Published in 1981 by the Philadelphia-Neshoba County Chamber of Commerce, the book itself is hefty, a good inch-and-a-half thick, and contains almost 1000 recipes. Most of these recipes are typical of the time: dozens of casseroles, oodles of pies and cakes, and of the sixty-odd salad recipes only two involve no gelatin whatsoever.
The introduction was written by Stanley Dearman, who for 34 years (beginning in 1966) was the editor and publisher of The Neshoba Democrat in Philadelphia. Dearman’s editorials expressing outrage at the 1964 murders of three young civil rights workers helped set the stage for the belated conviction of a former Klansman for organizing the killings, The case that became a pivotal moment in the civil rights movement, and was the basis for the 1988 film “Mississippi Burning.”
Along with the introduction, I’ve included Turner Catledge’s cheese grits, Fannie Smith’s blackberry trifle, and another blackberry recipe, “Blackberry Acid,” a truly antique refreshment.
In this particular region of the South–the east central hill country of Mississippi—the tradition of food and fellowship go back many generations. More specifically, eating and talking are two things that natives in this region value highly and take seriously.
Nowhere do these two activities blend more happily than at the Neshoba County Fair-which in fact started in 1889 with a picnic under the trees and around the wagons by community residents who wanted to get together and talk-while they ate, of course, and to display their agricultural achievements. For many years the Fair has been known as “Mississippi’s Giant Houseparty-hence the name of this cookbook.
During one week of the year, usually the first in August, the Fairground is transformed into a bustling city with a festive air. More than 500 cabins circling the racetrack, as well as hundreds of campers and mobile homes from across the South, are temporary homes for thousands who migrate back because of family connections or friendships. There are no strangers here; hospitality abounds and food and drink are shared by all.
The fame of the Fair has spread over the years. Last year it was featured in National Geographic and Southern Living magazines. And during the presidential campaign, Ronald and Nancy Reagan paid a visit and drew a record crowd. State politics and its florid oratory have been a part of the Fair since before the turn of the century.
Fair Week is preceded by several weeks of brisk activity and planning by the womenfolk-casseroles are made and frozen; hams and turkeys are baked or smoked; menus are planned and the shelves are stocked. In this region of abundant agricultural crops, corn, tomatoes, peas, butterbeans, squash and okra are harvested and processed, fitting complements to the succulent fried chicken and magnificent repertoire of dazzling desserts. A section of special Fair recipes is included in this book.
The production of the Giant Houseparty cookbook was the result of a project begun by the Philadelphia Rotary Club. For many years the Rotary Club distributed mimeographed recipe booklets at its annual pancake suppers. These booklets became collector’s items over the years.
The Rotary Club first considered producing a cookbook, but later granted permission to the Chamber of Commerce to assume the project. The committee selected and edited recipes from the existing collection prior to collecting others. A special effort was made to gather recipes which not only had become part of the local culinary lore, but to achieve a balance of “useful” recipes.
Another special effort was made to gather recipes from former residents in various parts of the country. For example, Turner Catledge, retired editor of the New York Times, was kind enough to send us his recipe for cheese grits. Mr. Catledge grew up in Neshoba County and now lives in New Orleans. He and Mrs. Catledge gave a dinner party in their home for Van Cliburn, whose father, the late Harvey Lavan Cliburn, was born and reared in Neshoba County, Catledge and Cliburn had much to talk about at that dinner party, which included that grits casserole.
Also, closer to home, we are delighted to include a recipe for Blackberry Trifle from Mrs. Fannie Johnson Smith, who at the age of 102 vividly recalls the day in 1889 when, at the age of 10, she accompanied her parents across a hill or two to the first Neshoba County Fair. —Stanley Dearman
Catledge Cheese Grits
1 cup grits 4 cups water 1 teaspoon salt 1 egg, slightly beaten 1 ½ cups grated cheese Dash of red pepper’1/2 stick butter
Combine grits, salt, and water and bring to a boil, stirring well. Place over bottom of a double boiler and cook for 40 minutes. While this is cooking, preheat oven to 350 degrees. Add cheese, eggs, butter and pepper. Place in a Pyrex dish and heat in oven about 30 minutes.
Blackberry Trifle
1 cup blackberry trifle 1 cup sugar 1 cup buttermilk ½ cup butter 2 tablespoons flour 4 eggs, separated 1 teaspoon vanilla 1 9-in. unbaked pie shell 4 tablespoons sugar
Preheat oven to 350 degrees. Mix well jam, sugar, buttermilk, butter, flour, egg yolks, and vanilla. Pour into pie shell. Bake about 40 minutes. Beat egg whites until stiff, gradually adding 4 tablespoons of sugar. Spread meringue on top of pie and return to oven to brown lightly.
Blackberry Acid
3 gallons blackberries ½ gallon boiling water 4 ounces tartaric acid 1 ½ cups sugar to 1 cup juices
Crush berries, add boiling water, and let stand 24 hours. Strain, add tartaric acid and sugar. Let stand at least 24 hours before bottling.
Every day so far in my nascent life as a bookseller, I go through boxes of books. I can hardly keep up with the donations; just when I think I am finally getting caught up, someone comes in with say, seven boxes of books from their home in Iowa, or a box of children’s books culled from their kids’ bookshelves, and I begin again.
I love it. I love digging through books, with no idea what I am going to find next. Going through a box of self-help books and mass market paperbacks, I find a 90s edition of Tales of the City; Somerset Maugham lurks under Nicholas Sparks. In true crime paperbacks from the 2000s, I discover a couple of Fitzgerald’s “Great Brain” books, and three “Black Beauty” volumes. You have to know what you are looking for, to have the eureka moment. I like to leave little surprises scattered through the bookstore for discriminating readers. I know when I have a kindred spirit, because I hear little gasps of delight as they find an unexpected treasure on a lower shelf.
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 have no idea how I am going to keep the bookstore going once the semester starts, with a full-time job, how it will evolve, whether it can become self-sustaining. Dixie tells me I don’t have to. I have an emergency savings account, with enough for hard expenses to last six months. I have a plan, month-to-month, six-months to six-months. I have a vision. But I also 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.
In 1931, William Faulkner published his first collection of short stories, These 13, which in addition to some of his most acclaimed and frequently anthologized stories—“A Rose for Emily”, “That Evening Sun,” and “Dry September”—included “Divorce in Naples”, Faulkner’s most direct if not overt portrayal of homosexuality.
Faulkner had already broached the theme in the intimacy between Quentin Compson and his Harvard roommate Shreve McCannon in The Sound and the Fury (1929), and Jenny and Patricia as well as the openly gay lesbian Eva Wiseman in Mosquitoes (1927). He’d renew and expand his depiction of Quentin and Shreve and introduce a parallel relationship with Henry Sutpen and Charles Bon in Absalom, Absalom! (1936). Faulkner employed the theme in diverse manners in later works, but “Divorce in Naples” stands as his most explicit work on homosexuality.
Simply put, the story depicts the relationship between two sailors, George (“Greek, big and black, a full head taller than Carl”) and the younger Carl (“with his round yellow head and his round eyes, looking like a sophisticated baby”).
‘THEY CAME INTO THE SHIP together at Galveston, George carrying a portable victrola and a small parcel wrapped in paper bearing the imprint of a well-known ten-cent store, and Carl carrying two bulging imitation leather bags that looked like they might weigh forty pounds apiece. George appropriated two berths, one above the other like a Pullman section, cursing Carl in a harsh, concatenant voice a little overburred with v’s and r’s and ordering him about like a nigger, while Carl stowed their effects away with the meticulousness of an old maid, producing from one of the bags a stack of freshly laundered drill serving jackets that must have numbered a dozen.
For the next thirty-four days (he was the messboy) he wore a fresh one for each meal in the saloon, and there were always two or three recently washed ones drying under the poop awning. And for thirty-four evenings, after the galley was closed, we watched the two of them in pants and undershirts, dancing to the victrola on the after well deck above a hold full of Texas cotton and Georgia resin. They had only one record for the machine and it had a crack in it, and each time the needle clucked George would stamp on the deck. I don’t think that either one of them was aware that he did it.’
One night Carl disappears. George, frantic, fails to find him. When Carl returns after three days, he reveals that he has been with a woman, and George kicks him out of their berth only to discover later, after their reconciliation, that Carl was too naive to have sexual congress with the woman, and
“ …two weeks later we were watching him and George dancing again in their undershirts after supper on the after well deck while the victrola lifted its fatuous and reiterant ego against the waxing moon and the ship snored and hissed through the long seas off Hatteras.’
Most of Faulkner’s examinations of same-sex desire focus on men; Faulkner had close relations with many homosexual writers and artists, including his townsman and fellow writer Stark Young and his childhood friend Ben Wasson as well as William Alexander Percy and Lyle Saxon. It goes without saying that while living in New Orleans he doubtless knew many others.
The story draws most directly on Faulkner’s experiences with William Spratling, a down-on-his-knees New Orleans fairy, in sailing to Europe on the West Ivis beginning July 7, 1925 and to Genoa on August 2, where after landing they celebrated their arrival by going drinking with the ship’s officers. The drinking bout turned into a brawl with “pimps and prostitutes”, after which Spratling was arrested and thrown into an Italian prison where during the night he had a “homosexual encounter”. (Rape is of course implied, but then again we don’t have any evidence that the encounter wasn’t consensual.) This event in Genoa provided the kernel for the story, and Faulkner himself was heard to joke at one point that he was jealous of Spratling.
With “Divorce in Naples” Faulkner presents an unmistakably gay male relationship fraught with stereotypical dynamics brushed with innocence, confusion, and our hunger for love in the precise, lyrical prose which is the hallmark of These Thirteen.
My dad had a soft touch for door-to-door salesmen. I can still see him laid back on the couch in his boxers listening to some guy spell out his hard-luck story. I doubt if any of them left without an order and a couple of dollars in their pocket. We had three sets of encyclopedias and all kinds of serials put out by national publication like Time/Life or the Reader’s Digest. Our home was full of books full of words and pictures, and I spent hours poring over them when as a boy.
It wasn’t until a decade after he died that I began to explore the other books, the old faded covers and the tattered paperbacks. There I found the father I didn’t know, a man beyond my comprehension as a child, and certainly beyond mine as an old man. Still the books set a mold of time, of place, and more so of my father, the contours set by such as a raggedly paperback edition of Greek poetry in English translation in which I found underlined the epigram of Simonides that Senator John F. Kennedy cited in his speech at the Syria Mosque in Pittsburgh, Pennsylvania in October, 1960: “Passerby: Tell Sparta we fell faithful to her service.”
Jess Jr. had a professional connection with the Kennedys, since in his capacity as District Attorney for Lafayette County in 1962 he had to juggle the political ramifications of a grand jury indictment against James J.P. McShane, who led the federal agents who escorted James Meredith, the first African American student at University of Mississippi. The indictment was eventually revoked.
He had a copy of C.H. Cramer’s Royal Bob: The Life of Robert Ingersoll. Ingersoll, an American lawyer, Civil War veteran, political leader and orator during the Golden Age of Free Thought (roughly from 1875 to 1914), was noted for his broad range of cultural activities and his defense of agnosticism. Another book relating to Jess Jr.’s political leanings on a more local level is Kirwan’s Revolt of the Rednecks: Mississippi Politics, 1876-1925, a solid nod to his political roots in the hills of north Mississippi.
One of the most puzzling yet astoundingly revealing works I found among my father’s books was Richard Brautigan’s first novel. A Confederate General from Big Sur, published in 1964. Jess Jr. was a student of the Civil War not only as a Southerner but as a politician since its ramifications were being felt with intensity in his lifetime.
In Brautigan’s novel, which takes place in 1957, a man named Mellon believes he is a descendant of a Confederate general from Big Sur, California. There is no proof of his existence, although Mellon meets a drifter who has also heard of this general. Mellon seeks the truth of his own modern-day struggle in the United States in light of the Confederacy’s past struggle with the Union. Most likely, my father picked this book up on the basis of its title alone, but I like to believe he read it in its entirety.
He had Faulkner’s A Fable and The Town, two very divergent works; Jess Jr. knew Faulkner’s attorney Phil Stone and might have met the writer, but I feel he read Faulkner’s works more out of a desire to understand how this man from Lafayette County came to win a Nobel Prize than for any other reason. His copy of Welty’s Golden Apples, I found puzzling, but then he kept his ear to the ground and would have heard of Welty’s rising star.
I like to believe he was just a man who liked to read, and words became a part of who he was, but Jess Jr. could well be considered a learned man. As such, he was quite different from his peers, who included the political lights of his day as well as an across-the-board array of businessmen and dignitaries.
With a handful of books for a thread, so he will always be a maze to the man I am, but not to the boy I was who loved him with every fiber of my being.
“For reasons best known to ourselves,” Hodding Carter, Ben Wasson and Kenneth Haxton decided “one low-water night some time back” to organize “still another addition to the multiplicity of publishing houses whose directors dream of an America that will some day read instead of write.”
Their brainchild, Levee Press, ranks with the Webbs’ Loujon as a distinguished “small press” in the South. Though its output was miniscule by any standards—only four publications in roughly that many years totaling somewhat less than 3000 copies (2635 “official” count)—Levee Press imprints command a significant price among an elite of discerning bibliophiles because the names of the four authors—Foote, Welty, Faulkner and Percy—resonate in the state, the region and the world. Had Levee Press maintained production at such a level of quality, the Greenville publishing house could very well in time have become one of the premiere imprints in the nation, but indifference, dissent, certainly some combination of the two—melded to bring an end to it.
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In the late 1940s, during the “golden age” of Mississippi literature, the output was phenomenal, with Welty and Faulkner as cynosures in a stellar flurry of belles lettres including works from Carter himself, who had commandeered the Greenville Delta Democrat-Times—as he had the Hammond Daily Courier—into a newspaper of integrity and distinction, an achievement acknowledged by the Pulitzer jury that awarded him the prize for editorial writing in 1946. Hodding was at the peak of his career; his reputation as a capable spokesman for a progressive South was solidly entrenched across the nation. Ben Wasson, who had worked in New York theater with Leland Hayward and acted as Faulkner’s first literary agent, wrote on the arts and as a literary critic for the newspaper. Kenneth Haxton, a composer and husband of National Book Award nominee Josephine Ayers Haxton, who wrote under the surname Ellen Douglas, worked full-time at his family’s department store, Nelms and Blum’s (his mother was a Blum), where he had installed a bookstore. Carter also had young Shelby Foote working for him at the Delta Democrat-Times then, and while Hodding can dryly drawl about the enterprising intentions of him and his cronies in their cups, it was Foote who came up with the idea to publish a book using the resources of the Delta Democrat-Times.
Shelby Foote grew up in Greenville alongside his fraternal friend Walker Percy under the patriarchal wing of planter/poet William Alexander Percy. Foote, like Walker, had literary ambitions which in time both realized, but in early 1947, Foote had just turned 30, had only one major work in progress (Tournament), and his expenses were mounting. Apparently quite on his own initiative, he decided to print and publish his own work with the limited resources of the Delta Democrat-Times print shop. Since his enterprise just happened to mesh with their own previous plans to publish books in the hub of the Delta, Ben Wasson, representing Hodding Carter and Kenneth Haxton, asked Foote if he would add the name “Levee Press” to the pamphlet they had heard he was planning to print. “We gonna call it the Levee Press,” Wasson said, nodding out the window at the earthworks against the river.
From within the Tournament manuscript, Foote excised the grim story of Abraham Wisten, the tragic story of an ambitious Jewish immigrant, entitled it The Merchant of Bristol and hired co-worker Bill Yarborough to typeset and print 260 copies of the 20-page novella on June 2, 1947. Foote stapled them together himself and—with considerable pluck—signed, numbered and marketed his work in the book section of Nelms and Blum’s at $1.50 a copy. More than one wit remarked that just as much would buy a good dress shirt, and sales were predictably disappointing, not only perhaps because of Foote’s perceived pretentions but more likely because as a publication, The Merchant of Bristol is nothing more than a pamphlet, reminiscent of the blue essay books used for university examinations. Wisten’s tragedy was reprinted in Foote’s first work of fiction, Tournament, in 1949.
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Writing in the Commercial Appeal on July 6, 1947, columnist Paul Flowers announced, “Freshest literary venture in the South today is the Levee Press at Greenville, Miss. (there’s always something going on among the literati of Washington County.) The Levee Press is the idea of a group of writers, for the perpetuation of stories, essays, and other literary material which may not have enough general interest for publication on a national scale, but too good to be forgotten… Shelby Foote broke the ice with a short story, published in pamphlet form, and 250 copies, each one numbered and autographed, went out to persons who had subscribed. The project is non-profit and there’s no incentive except to keep alive bits of writing which ought to live. More small volumes will be coming from the Levee Press. It will not be commercial, and no one connected with it is looking for material gain (except Foote, of course: JY) However, most, if not all of its insiders are welling manuscripts in the open market, but they will publish at home, just for collector’s items some of the pieces nearest their hearts.” Flowers doubtless received this description of the Levee Press’s objectives from Hodding Carter himself by way of promotion, and perhaps this is an echo of the “reasons best known to ourselves” that he referred to some six years later in Where Main Street Meets the River, where he claimed—again, after the fact—that the purpose of the Levee Press was to “publish limited, signed editions of new, relatively short books—“novella” sounds better—by established Southern writers.”
With the publication of A Curtain of Green (1941) and The Wide Net and Other Stories (1943), Welty had garnered three O. Henry awards and a Guggenheim fellowship, which made her a clear candidate for publication with the Levee Press. Wasson “brazenly” asked Welty if she would permit the new publishing firm to issue one of her manuscripts as a book and had told her the plans for the new press. In Count no ‘Count, Wasson recounts, “The great and gracious lady replied that she approved of such a venture, that Mississippi needed a limited editions press, and that, as it happened, she did have a manuscript. It was a novella, Music from Spain.” In December, 1946, Welty traveled to San Francisco to visit her friend and ofttime paramour John Robinson, rented her own apartment there in January and between then and March wrote a lengthy story, “Music from Spain”. The story stands at somewhat of a distance from the body of Welty’s oeuvre because it is set outside of Mississippi, in San Francisco, its narrative is stream-of-consciousness and it is distinctly erotic—indeed, homoerotic— a daring element in a work for publication in Greenville, Mississippi in the late 1940s. After contacting Welty’s agent, Diarmuid Russell, Carter and company contracted Welty for 750 copies was agreed to give her 25 per cent of the $2.50 price—Wasson claims $4—in exchange for non-exclusive rights to “Music from Spain”.
When Ben Wasson proposed that Levee Press “do a Faulkner”, the other two laughed. Even though Faulkner in 1946 was one of three finalists for the first Ellery Queen Mystery Magazine Award (second to Rhea Galati), he was by most other standards the single most important Southern American writer of his day, but Wesson had a card up his sleeve. Not only had he been Faulkner’s agent when Faulkner was struggling to publish Flags in the Dust, but it was Wesson who for fifty dollars a week pared down Faulkner’s novel for the demands of Harcourt, Brace. For two weeks, while Faulkner sat nearby writing The Sound and the Fury, Wasson cut almost a fourth of the book, and Harcourt, Brace published the truncated version on January 31, 1929, as Sartoris. Some might say that Ben Wesson was calling in a debt, but for whatever reason, in late February, 1948, Wesson traveled with Carter to Oxford for an evening at Rowan Oak. Faulkner, “at-first-reticent”, gradually warmed his visitors, who left with an original manuscript, a “horse race piece” Faulkner suggested they call “A Long Dangling Clause from a Work in Progress.”
On March 1, Faulkner reported his commitment to his agent, Robert K. Haas: “Hodding Carter and an old friend of Mine, Ben Wasson, have what they call the Levee Press, at Greenville, Miss. Three times a year they get out an issue, which is sort of a colophon thing: a single story or article, limited number. I am letting them have the section of the big mss. Which Ober offered to Partisan Review and was declined. It will resemble a special edition pamphlet, bound of course, signed by me, to sell at $2.50. I get 25%. This is all right with Random House, isn’t it? The section is about 80-100 pages typescript. They will call it Section (of from) Work in Progress. I think. I want to do it mainly to confound the people who say nothing good out of Miss. The Press is less than a year old, is already getting known even though in slightly precious circles, like Yale reviews etc. Its foundation is Carter’s Greenville daily newspaper. His name is familiar to you, probably: lecturer, liberal, champion of Negro injustice though no radical, no communist despite Bilbo and Rankin.”
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So it was with these commitments an announcement was made in the Commercial Appeal on May 2, 1948: “The Levee Press probably will be doing some celebrating about that time also (2nd week in May with publication of Cohn’s Where I Was Born and Raised), announcing books by Eudora Welty and William Faulkner, to be issued by the Greenville house. That won’t hurt the Levee Press, either, starting off with a pair of names such as Welty and Faulkner, for those are two writers highly esteemed in the English speaking world. The Levee Press may turn into an important venture in the American publishing world. It got off to a modest beginning about a year ago with a short story by Shelby Foote.”
For the Welty book, Carter stepped up his game considerably. Always the consummate newspaperman, he purchased a Jansen type plate that he had admired in certain Knopf publications. With no local bindery available, he contracted that job to a publishing company in Texas Dickens. Carter also hired local artist Elizabeth Calvert to design the colophon, a stylized “L” bracketing a river steamer, which was ensconced beneath those of Welty and Faulkner (Percy died in 1943). Ken Haxton designed and drew the Picassoesque/art deco guitar for the terra-cotta cover and chose for each of the seven section headings musical motifs from the Spanish composer Isaac Albeniz, Recuerdos de viaje, “En la Alhambra”. Writing in The New York Times Book Review in 1949, Charles Poore called the volume a “handsome example of bookmaking”. Music from Spain was incorporated into Welty’s third collection of short stories, Golden Apples, published by Harcourt, Brace in 1949. Welty’s 25 per cent of the $2.50 take was the price of literary notoriety in Mississippi at the time, but on the current market a (quality) copy of Music from Spain published by the Levee Press sells for $1000, a distinguished association copy, inscribed and signed by Eudora Welty, to authors Allen Tate and Caroline Gordon: “To Caroline + Allen/ with love/ from Eudora”.)
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Though Levee Press’s relationship with Eudora Welty is undocumented, Faulkner’s exchanges are unsurprisingly high-profile, with vibrant accounts provided by both Carter, in Where Main Street Meets the River and Wasson, in Count no ‘Count, given that the author was awarded the Nobel Prize during the publishing process. Carter, Wasson and Haxton shortened the title of the Faulkner manuscript to Notes on a Horsethief. “It was good,” Carter claimed, “even though a few readers have since complained that they never before had read thirty thousand words divided into only three sentences.” Again, Levee Press extended its resources for Notes on a Horsethief. Elizabeth Calvert’s flowing, linear artwork for the rich, Sherwood green cover and the endpapers, described by Jean Stein as “horses in flight”, are striking and dramatic. Horsethief is arguably Levee Press’s highest achievement both in terms of art and letters.
Notes on a Horsethief was printed on November 4, 1950, and the following January, on the 23rd, Estelle Faulkner phoned Carter, telling him that her husband had decided that there was no sense in unpacking the nine hundred and fifty books he had received the month before for signing only to ship them right back, and he had put the unopened crate in his station wagon early that morning and was on his way to Greenville. Carter alerted Wasson, who “smuggled” Faulkner into Hodding’s office at the Delta Democrat-Times, sent out for the crate of books, and an ad hoc assembly line was organized with Wasson opening the books for a signature, Faulkner—standing, in a half-crouch—signing and numbering them and a young woman from the bindery took it from him to blot the signatures and replace them in the box. Carter sent out to Al’s Café for beer. “Hospitality dictated that I do something for a man who had driven one hundred and twenty miles just to stand in my office and sign his name to copies of a book for which he could have received far more than our limited edition’s twenty-five percent royalty could bring him at six dollars a copy,” Carter wrote, recording “for the factual-minded” that Faulkner’s ration of signed books to beers turned out that day and the next morning to be “sixty volumes of Faulkner to one bottle of Budweiser.”
Notes on a Horse Thief was published scarcely a month before Faulkner accepted the Nobel Prize Stockholm’s City Hall on December 10, 1950. The nine hundred copies sold out quickly, and soon copies were selling for as high as $25 in. Irving Howe, reviewing this “privately printed and fabulously pieced story” in The Nation, said it was “a bad piece of writing,” but Charles Poore in the New York Times Book Review, called it “at once a brilliantly told story of a manhunt and a subtly woven allegory on man’s fate.” Notes later became a section in Faulkner’s much-belated Pulitzer winner, A Fable, with gracious thanks from the author to Levee Press for permission to reproduce the material.
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Choosing the next work to be published proved problematic; Carter, Wasson and Caxton intimated later that it had nver been their intention to publish Mississippi writers exclusively, but in the end it just turned out that way. In fact, Carter was considering publishing a book of poems by John Gould Fletcher of Arkansas that had been turned down by his New York publisher, but at the last minute the decided to print them after all. Wasson wrote to Flannery O’Connor, Carson McCullers and Robert Penn Warren, but none had a manuscript of suitable length ready for publication. Writer and photographer Carl Van Vechten, who Gertrude Stein had appointed her literary executor, sent some unpublished works by her, but the three principals of Levee Press found them so mystifying that they returned them, regretfully, to a subsequently indignant Van Vechten. Unknown writers (including Greenville son Howard Mitcham jly) submitted hundreds of manuscripts, but none of them seemed good enough.
The shadow of William Alexander Percy looms large in Greenville, and Carter, Wasson and Haxton all knew the man well and admired him immensely. Percy died in 1942, and Knopf published The Collected Poems of William Alexander Percy in 1943, with a second edition the following year. Yet Ann Stokes, who claimed to have worked with Percy in editing the poems for the collection, claimed that she had variant forms of some of the published poems that should be printed, and insisted with no small degree of persistence that Hodding Carter publish these poems as well. Carter felt some degree of obligation to Stokes, who sold him the land on which he had built his new Feliciana house. Ben Wasson thought publishing Percy’s poetry was redundant and the book would not sell, and Carter, while engaged in a lengthy and complicated correspondence with Alfred Knopf, whose company held the copyright to the Percy poems, actually went so far as to ask Knopf to deny him permission to reprint the poems, Knopf consented, giving Carter no excuse to refuse Stokes’ nagging.
Of Silence and of Stars, with a forward by Carter, edited by Anne Stokes, decorations by Elizabeth Calvert, was issued in mid-1953, the title taken from the poem “Home” (“I have a need of silence and of stars…”). It is a handsome volume, with a deep blue cover featuring a sketch of herons somewhat similar but not as striking as the horses on the Faulkner cover, and the end papers are illustrated with drawings of cypress in a bayou. A note on the dedication page is a quote from Faulkner’s Nobel acceptance speech. Stokes dated each poem and divided them into three groups: those written before 1915, those written between 1915 and 1920 and those completed after Percy’s World War I experiences. Six hundred and fifty copies were printed, and while each copy was numbered, of course they are unsigned.
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Although Ben Haxton placed “The Levee Press” on the title page of his 1997 work The Undiscovered Country as a tribute to the spirit of the enterprise he shared with Carter and Wasson, Of Silence and of Stars proved to be the last book issued by Levee Press. Carter toyed with the idea of publishing “lost literature” of the South, particularly a stirring antebellum courtroom plea that Natchez lawyer Sargent S. Prentiss made in a Kentucky court to save the lives of three Mississippi planters involved in a bloody brawl while attending a wedding, this idea never came to fruition, and after failing to get a manuscript from Tennessee Williams, the Levee Press passed out of existence. Carter, Wasson and Haxton all had other, more pressing involvements, and Wasson, evidently the principal behind the publishing venture, clearly lost interest after the Percy work was foisted on the press. Still, the output of the Levee Press is a high-water mark in the publishing history of Mississippi and a notable achievement that’s likely never to be duplicated in this state or any other.
God bless Uncle Daniel! If anyone can be generous to a fault it’s him, though Grandpa called it an open disposition and claimed that within the realm of reason there were people who would take advantage of such, which is how Uncle Daniel, attracting love and friendship with the best will and the lightest heart in the world, ended up with Grandpa in his new Studebaker sitting with old Judge Tip Calahan driving through the country on his way to the asylum in Jackson. From the word go Uncle Daniel got more vacations than anyone because they couldn’t find a thing in the world wrong with him, and he was so precious all he had to do was ask and he’d be on the branch-line train headed back to Clay County. Everybody missed Uncle Daniel so bad when he was gone that they spent all their time at the post office sending him things to eat. Divinity travels perfectly, if you ever need to know.
Pecan Divinity
It’s important to know that divinity, as with all recipes using whipped egg whites, is best made in dry weather. Having said that, boil three cups of sugar, one-half cup of Karo corn syrup, three-fourths cup of water to the hard ball stage. Beat the whites of two eggs with a teaspoon each salt and vanilla until stiff. Pour the warm syrup over the whites and blend in chopped pecans. When it begins to harden drop by spoonfuls onto wax paper or spread in a oiled pan and cut to shape.
