Late Zinnias
Bess’s Parched Peanuts
Aunt Bess was a woman of intrepid notions who did not let the world at large get in her way of doing what she knew was right. She found nothing wrong with locking Uncle Ewell in the corn crib to keep him from drinking and picking up loose woman in his baby-blue 1954 Buick Skylark, and just because her brother-in-law was the sheriff did not stop her from chasing him out of her house with a shotgun when he put ketchup on her fried chicken.
Bess lived in a big, ramshackle house with a wringer-washer on the back porch, and two swings out front. She kept a huge garden, almost an acre of corn and beans, okra and tomatoes, potatoes, cabbages, and two long rows of peanuts. When it came time to pull peanuts, her four nephews—niece Cindy was exempt because she was such a pampered little princess—would trudge up there on a weekend afternoon, and after Bess had used a garden fork to loosen them, we’d haul the plants out of the ground and hang them on the back porch. Later Bess would cut away the nuts and put them in a burlap tote sack.
This is how Bess parched peanuts. For a pound of very well-washed raw peanuts in the shell, dissolve a cup of salt in two quarts of water, bring to a rolling boil, and remove from heat. Add peanuts. Sink in the brine with a plate of a pie pan, and let them soak for a few hours. Drain, and spread on sheet pan. Roast at 350, stirring a time or two. Serve warm when shells are brittle, and enjoy the beautiful.
October Magnolia
Pucker Up
His name was Clifford. According to my mother, he was the son of my father’s first cousin once removed, but as far as I was concerned, he was a spawn of Satan. Clifford taught me how to roll rabbit tobacco, what a wedgie is, and made me eat my first (and only) Irish plum.
It’s quite possible that the reason most people in my part of the world aren’t accustomed to cooking with persimmons is because they were tricked into eating an unripe persimmon as a child. That’s what Clifford called an Irish plum, and it sure looked like a green plum, which should have clued me in on not eating it in the first place. Anyone who bites into an unripe persimmon will never forget the experience; it’s agonizingly, mouth-puckeringly astringent; the tannins in the green fruit turn spit into chalk.
The most common persimmon you’ll find in markets is the Japanese persimmon (Diospyros kaki)—usually referred to as fuyu—which isn’t totally free of tannins, but have far less and lose them sooner. If the persimmons you buy have even the faintest tinge of green, let them to sit at room temperature in natural light for a couple of days.
For a persimmon pudding, peel, seed, and chop five ripe (fuyu) persimmons until smooth and strain. You should get about two cups of pulp; if you don’t, add another persimmon. Blend pulp with two beaten eggs and two cups sugar until smooth. Stir a teaspoon of baking soda into a cup of buttermilk. Add to persimmon mixture along with 1 ½ cups flour sifted with a tablespoon of baking powder. Stir in a quarter stick melted butter, a teaspoon vanilla, and a dash or so of cinnamon. Pour into a buttered dish and bake at 350 until firm and set, about an hour or so.
Camellia Apples
Satsuma Season
The Louisiana crop ripens from October until late November, and they’re the sweetest citrus you’re going to get all winter. Use satsumas like oranges, and if you’re feeling really froggy, here’s an ambitious recipe from “Louisiana Cookin.”
Satsuma Upside-Down Cake
3¾ cups sugar, divided
4 cups water
24 (¼-inch-thick) sliced satsumas
1 cup unsalted butter, softened
3 large eggs
1 teaspoon vanilla extract
3 cups all-purpose flour
½ cup yellow cornmeal
2 teaspoons baking powder
1 teaspoon salt
½ cup whole milk
1 teaspoon satsuma zest
½ cup fresh satsuma juice
Preheat oven to 350°. Line the bottom of a 9-inch spring-form pan with parchment paper, and prep with baking spray with flour. Sprinkle ¼ cup sugar in bottom of pan.
In a large skillet, stir together 1½ cups sugar and 4 cups water. Add satsuma slices, bring to a boil, then turn off heat. After 15 minutes, remove fruit with a slotted spoon, and place on a wire rack to drain. Reserve the syrup. After 30 minutes or so, place slices in prepared pan, overlapping slightly.
In a large bowl, beat butter and remaining 2 cups sugar with a mixer at medium speed until fluffy, 3 to 4 minutes, stopping to scrape sides of bowl. Add eggs, one at a time, beating well after each addition. Beat in vanilla. In a medium bowl, whisk together flour, cornmeal, baking powder, and salt; in a small bowl, whisk together milk, zest, and juice. Gradually blend flour and butter mixtures alternately with milk, beginning and ending with flour, beating just until combined after each addition.
Gently spoon batter over satsuma slices, cover with foil, and bake until a wooden pick inserted in center comes out clean, about 30 minutes. Let cool in pan for 15 minutes. Loosen edges with a knife, invert cake onto a serving plate, and remove parchment paper. Drizzle with ¼ cup syrup before serving.
Tarzan in the Garden
Many gardeners in Mississippi are familiar with Jewels of Opar, though with varying degrees of fondness. While the plant—native to tropical America—isn’t a noxious invader since this year’s plants and roots are eradicated by a substantial frost, Jewels of Opar (Talinum paniculatum) seeds lavishly, and once established, persists.
The plant was discovered on the “sea cliffs of Martinique and Santo Domingo” by Dutch botanist Baron Joseph von Jacquin during his travels to the Americas in the mid-18th century. Jacquin described the flowers as “small, numerous, red, and odorless,” likely the source of its common name in other parts of the world, “flame flower,” which brings us to our riddle. How did this modest little flower acquire a name so closely associated with one of literature’s greatest adventure heroes, Tarzan of the Apes.
Tarzan and the Jewels of Opar (1916) is a novel by American writer Edgar Rice Burroughs, the fifth in his series of twenty-four books about the title character Tarzan. As conceived by Burroughs, Opar is a lost colony of Atlantis located deep in the jungles of Africa, in which incredible riches have been stockpiled down through the ages. Tarzan first visits Opar in Burroughs’ second Tarzan novel, The Return of Tarzan (1913), and returns to the city time and again to replenish his personal wealth, for the second time in The Jewels of Opar, again in Tarzan and the Golden Lion (1923) and Tarzan the Invincible (1930).
If, in his novel, Burroughs had been described the jewels of the lost kingdom of Opar as “small, numerous (and), red” we would have a more substantial link with the plant in my garden, but, alas, he only writes that Tarzan saw only as “a great tray of brilliant stones.” No mention of color, no mention of size, though he does say that some were cut, some not. Perhaps an enterprising nurseryman out to sell dozens and dozens of delicate little flowers that came up in his greenhouses just happened to be a fan of Edgar Rice Burroughs and bestowed the exotic name on them in an effort to make them more appealing to gardeners.
But I find this explanation far too mundane. Instead, I prefer that the reason an insignificant flower collected on the volcanic slopes of Martinique became named for a “tray full of brilliant stones” from a fabled Atlantean kingdom remains a mystery we should cherish.
Our Imperiled Pea
Most of us know Mississippi silver hulls as a crowders, and y’all are probably as surprised as I was to find that they’re an endangered variety of field peas (Vigna unguiculata). Silver hulls thrive in the lower Mid-South; the 6″ pods carry blocky black or brown-eyed peas that “crowd” one another in the pod. Easy to shell, fresh seeds have a thin skin, giving them a cleaner flavor. Sad to say, field peas of any kind just aren’t grown much any more.
The Singer in the Arms of Dawn
Though considered “coarse” by our doyen of Southern gardening, Elizabeth Lawrence–among others–she–along with those others–unfailingly mentions in the same breath that the Mexican sunflower (Tithonia roundifolia) sets Monet’s gardens at Giverny ablaze in late summer, their open branches tipped with blossoms of yellows and reds that tower over his gentle lines and mounds of green.
Flower of the Dead
Red spider lilies bloom in the diminishing days of summer, springing up from drying lawns and fields as if from nothing.
A native of China, the lily (Lycoris radiata), is poisonous to most animals. Every part of the plant can induce vomiting, paralysis, even death. They’re planted in rice fields to deter rodents. When they spread to Japan, where the dead were buried without coffins, the lilies were planted to prevent vermin from disturbing grave sites. In time, the brilliant red flower became known as the corpse flower, the ghost flower, and—most poignantly—the lost child flower.
Buddhism also came to Japan from China, and the Lotus Sutra became a fundamental text for many Japanese schools. In the sutra, heavenly flowers descend from the realms of the gods, falling on the Buddha and his audience. Many devotees associate this flower – called Manjushage – with red spider lilies.
The lily blooms around the autumn equinox, Higanbana, the day the dead return to the world, and higanbana is a popular Japanese name for the flower. The flowers are said to bloom on O-higan “the other shore,” of the Sanzu-no-Kawa, a Styx-like river separating the lands of the living from the banks of carmine blossoms beckoning spirits back to life.
