Among the most distinguished and elegant writers in the Mississippi canon, Howard Bahr writes compelling novels of the American Civil War. Bahr is the winner of the 2007 Michael Shaara Prize for Excellence in Civil War Fiction for his book The Judas Field. His novel The Black Flower: A Novel of the Civil War received the W.Y. Boyd Literary Award for Excellence in Military Fiction in 1998, and in 2011 Bahr was the winner of the Mississippi Governor’s Award for Excellence in the Literary Arts. Between 1968 and 1973, Bahr worked in various positions for the Illinois Central Railroad, theAlabama, Tennessee, and Northern Railway, Missouri Pacific Railroad, the Southern Railway, and the CB&Q Railroad. A friend and neighbor, he kindly consented to interpret this old schedule for the Mississippi & Skuna Valley Railroad.
The Mississippi & Skuna Valley Railroad was constructed between May 1925, and September 1926. The M&SV came off the Illinois Central main line at Bryant, just south of Coffeeville. The road was twenty-one miles long running slightly northeast; at its terminus, the town of Bruce, Mississippi, was built around the E. L. Bruce Co. lumber mill. Original motive power was one Prairie Class (2-6-2) steam engine. Sometime before 1952, the road obtained at least three seventy-ton GE diesel switch engines. The M&SV also operated a motor rail car (named “Bruce”) for express and passenger service. The car was a coach body set on a Reo truck chassis.
The M&SV timetable is from the August, 1952, edition of The Official Guide of the Railways. Among the common symbols on railroad time tables are found the following:
§ indicates a train that runs only on Sunday
† indicates a train that runs daily except Sunday
∫ when placed beside a station name, indicates a “Flag Stop” (i.e., passenger trains only stop at those stations upon a displayed signal)
■ meaning can vary; on the M&SV timetable, indicates motor rail car service.
Times in the A.M. are printed in light-faced type; times in the P.M. are printed in bold type. The time given for each station is the scheduled time that the train leaves the station. Southbound and westbound trains are given odd numbers. Read down. Northbound and eastbound trains are given even numbers. Read up. On this table, mileage between stations is not given. Mileage from Bruce Junction is indicated in column Mls.
On the M&SV timetable, the motor coaches have regularly scheduled runs. The absence of numbered freight trains indicates that freight trains run “Extra”; i.e., they can be listed at any time. This timetable is for the convenience of passengers and does not show sidings where trains may pass. Most likely, the motor coaches had rights over freight trains. In any event, the M&SV is so short, and traffic so light, that train control was probably informal. By 1952, the Illinois Central ran no passenger trains from Jackson, Tennessee, to Grenada, Mississippi. Thus, one wonders why passengers would want to go from Bruce to Bruce Junction.
North Street is broad and level, making for an easy, leisurely walk. Along the street are a couple of old apartment buildings and old homes that are now businesses. Farther south, one finds uninspired, banal state office buildings, terminating in the triple atrocity of the MDAH compound. Bill Harvey says the avenue was once lined with homes whose splendor was second only to those along North State Street. Today, the only private residence on the street belongs to the Horrells. The house was built in 1920; now a “For Sale” sign is planted before the front door.
For the many years I have walked from my home on Poplar down North Street to the Welty Library, Mrs. Horrell’s narcissus have been a delight to me. The narcissus are the earliest in the city to bloom, coaxed out of the ground by the weak sun of mid-winter. Most people refer to these flowers as paperwhites, though ‘Paperwhite’ is actually the name of a variety of Narcissus tazetta Mrs. Horrell has, along with ‘Grand Monarque’ and the fragrant double ‘Erlicheer.’ She also has several types of large yellow narcissus many know as daffodils, a few clumps of blue-and-violet bearded irises, and gnarled, ancient rosemarys. Mrs. Horrell told me the narcissus lining her front walk came from her grandmother, who received hers from a friend or relative decades before.
The area has been zoned commercial, so once the property is sold, the house will be razed, and the in-place plantings will be lost. Developers’ architects view landscaping as ancillary or incidental, and plantings in-place are expendable. The new developments on Manship obliterated a dozen or more varieties of iris, narcissus, azaleas, and old pass-along ornamentals. The landscaping of the new dining venues is attractive in a bland, generic way, but historic plantings help define the character of a neighborhood and deserve to be left in place and cherished.
You can still find old plantings struggling beneath mats of Asian jasmine throughout the city. Two Novembers ago, we freed an old street corner of choking vines, weeds, and rotting wood, built up beds and loosened the dirt. In March, along the edges of our work, the old double daffodil, ‘Butter and Eggs,’ an authentic Southern heirloom and folk favorite, came barreling out of the Yazoo clay, and they’re blooming again today. Our earth remembers what we forget.
Travis Milton, a native of Russell County, Virginia, high in the Alleghenys, became a chef on the East Coast, but his thoughts kept returning to his childhood home. “The more I learned about the restaurant business, the more I appreciated the food culture I’d grown up in,” he says. “I started dreaming of a restaurant that would capture and celebrate that lifestyle, allow me to explore where it came from.”
Milton is profiled in a recent Gastro Obscura article, “The Chef Restoring Appalachia’s World-Class. No matter your definition of “world-class” the term seems incongruous to most when applied to Appalachia, a region of grinding poverty and hard-scrabble existence, so it’s not surprising that his idea was ill-received by his fellow chefs. “When I’d say ‘Appalachian Cuisine,’ they’d hit me with a shit-eating sneer,” says Milton. In 2010, at a New York restaurant, Milton was part of a group planning dishes that would “tell about who we are.” He wondered aloud about sourcing leather britches and greasy-backs, a type of beans common in mountain gardens.
The following afternoon, the head chef slapped a copy of Ernest Matthew Mickler’s White Trash Cooking onto Milton’s station. “He got in my face,” says Milton, “and started barking, ‘If this is what you wanna do in my kitchen then you can get the fuck out!’” Having White Trash Cooking slammed in his face was a turning point. To overcome the stereotypes, Milton realized, he’d need to be able to tell the story of Appalachian food, but writing on the region’s cuisine was mostly focused on single mothers dressing up SPAM in a sugary sauce and other relatively recent ways that Appalachian cooks respond to the poverty that is, for most, coal’s legacy in Appalachia.
Then in 2016, Ronni Lundy published Victuals: An Appalachian Journey, with Recipes. Her work won the James Beard Foundation Book of the Year and Best Book, American Cooking awards. In Victuals, Lundy claims that European settlers adopted native Cherokee foods almost wholesale. Wild game, wild herbs and greens, nuts, and berries augmented produce from small gardens of beans, corn, and squash using the “Three Sisters” method.
Appalachians let animals range freely, keeping prized breeds adapted to the landscape. Settlers raised pigs on acorns, berries, and chestnuts, which produced the famous hams of Virginia, Kentucky and Tennessee. After the Civil War decimated the region, residents of isolated Appalachia embraced their gardening traditions, developing thousands of hybridized varieties of apples and pears, squash, tomatoes, collard greens, and other foodstuffs.
While Victuals establishes a benchmark, the font and source for Appalachian food writing is The Foxfire Book of Appalachian Cookery: Regional Memorabilia and Recipes. First published in 1984, Appalachian Cookery has little resemblance to any other publication involving Southern foods. The Foxfire Project was the brain-child of Eliot Wigginton, a man from West Virginia who received an advanced education in the north and began teaching at a rural school in northeastern Georgia during the late 1960s. Called “foxfire” after a will-o’-the-wisp in mountain woods, his students collected folklore and customs in a series of oral histories that were first published in a 1972 anthology. Many more editions have followed as well as other volumes documenting Appalachian culture.
According to the text, some of the research and the photographic essays included in Appalachian Cookery were gathered for previous Foxfire books but were not selected for inclusion into an earlier volume. Appalachian Cookery stands out as the most complete and comprehensive record we have of the food, cooking and home life of southern Appalachia in early to mid-20th century. Most of the recipes are very simple; pound cake has four ingredients in equal measure. The book is also a primer on how to use homegrown or wild-gathered foods. Appalachian Cookery opens a door to a world far away from arugula and alien to star anise, a world where cooking was simple but not coarse, having a balance and symmetry all its own, dictated by the lessons of long-ago voices set in concert with the rhythm of the seasons. For those of us from the upland South, these are our roots.
CRY-BABY COOKIES
Cream 1 cup plus 2 tablespoons shortening with an equal amount of sugar. Add one cup molasses and two beaten eggs. Sift together 4 ¾ cups plain flour with 1 tablespoon baking powder, 1 teaspoon salt and 1 ½ teaspoons soda. Then combine with 2 cups grated coconut, 2 cups chopped walnuts and 1 ½ cups raisins. Add dry ingredients alternately with 1 cup milk to creamed egg mixture. Drop by spoonfuls onto a greased baking sheet. Bake in a moderate (350) oven for 10 minutes. YIELD: approx. 7 dozen cookies.
Few things in life are more enjoyable than a walk in Greenwood Cemetery. There I remove myself from the hurly-burly noise of the city, imagine myself in Arcadia and feel close to a that peace of mind everyone speaks of so highly. For all that, the walks are more delightful in your company, when I can drink deeply of your wisdom and smile at your gently biting wit
I can’t remember how we first met, but it might well have been in Greenwood, which has been my refuge for nigh on fifteen years, years, though it may well have been at The Oaks, which I’ve been walking past on my way to the Welty Library for just as long. However we met, I’m grateful we did. Knowing you reminds me that agents are in place to ensure that in time all will be well. What others do in the name of saving history is most often cosmetic and self-serving. You’ll not see such people clearing a grave of choking weeds or freeing a beautiful camelia from the smothering caresses of some upstart vine.
But I’ve seen you do it. I’ve also listened as you speak of plans to keep Greenwood and The Oaks peaceful and beautiful. I want to thank you from the bottom of my heart you for all the work you do. I know I’m not the only one who appreciates it. The entire state of Mississippi owes you a bow of gratitude. You should know that.
While I’m at it, thanks for the rain lilies. I’ll plant them safe from marauding landscapers, where they will drink in the thunder and raise their pretty faces to the morning sun.
So far, I have written hardly anything to make you smile, which I certainly like to do, so I will tell a story featuring our late pal L.W. Thomas, one of the funniest boys who ever lived and a very nervous character who owned many peculiar phobias. For example, he was afraid of milk in any form. Also, when he bought a six-pack of beer at the Jitney Jungle, he would not touch the can with the price-tag on it (this, of course, was when things had price-tags). You could be sure L.W. would have a beer for you at his house, because there were always fifteen or so cans with the price-tag in his icebox. For Thomas, flying in an airplane was out of the question. Once, when he and Randy Cross and I flew on Delta Airlines to Washington, D.C., we had to render him comatose with three Ativan tablets before he would even get in the taxi to the airport.
Capt. Jung and his trusty Taylorcraft
Another late friend of ours, Captain R.A. Jung, owned a 1943 Taylorcraft tail-dragger (an old Army spotter plane) he named “The Yellow Peril.” She was canvas-covered (painted bright yellow) and could accommodate two persons in tandem seating. For instruments, she had an altimeter, an air-speed indicator, a horizon bubble, and a compass. That was it. We all enjoyed flying in this antique crate (sometimes we’d buy two or three bags of flour, then go hunting along the Illinois Central for a train to bomb), but, as you might expect, L.W. steadfastly refused to have anything to do with her. Finally, one evening at the local tavern, Captain R.A. Jung beguiled Thomas with the news that he had just installed a radio in the cockpit of “The Yellow Peril.” (Heretofore, the ship had been incommunicado, which meant the Captain could only land at strips without a tower.) This apparatus, claimed Captain R.A. Jung, made the old bird safe as a Chevrolet station wagon. L.W., girded with the bravado of a half-dozen draft beers, and no doubt embarrassed by his legendary reluctance, uttered the fatal words, “Why, there ain’t nothin’ I’d rather do than scale the airy heights with my old pal, Captain R.A. Jung. Excelsior!” After that, there was no turning back.
Next afternoon, a Sunday, the boys gathered at the Oxford airfield to see L.W. Thomas off on his maiden flight in the Taylorcraft. Having steeled himself beforehand with a half-pint of Cabin Still (no Ativan or Xanax in those days, and, at the moment, none of us had any reefer), Thomas squeezed into the cockpit and buckled himself in the rear seat, clutching to his chest a Gideon Bible he had swiped from some fleabag motel back down the line. Present as observers were Frank Walker, John Schorfheide, Steve Cook, Tommy Freeland, and I, each man enjoying the balmy day, each man uttering words of comfort and encouragement to our jittery comrade:
“C’mon, L.W.–if you crash, it won’t hurt–you’ll be killed instantly.”
“Don’t listen to him, pard–you’re back aft and may only be injured for life–”
“If that happens, man, try to keep your arms and fingers so you can play the
the guitar on the sidewalk by the bus station.”
“But . . . what if he’s only injured and the wreckage catches fire?”
“Good point! Lotsa guys survive a crash, only to perish in the flames.”
Meanwhile, Captain Jung ran through the pre-flight checklist:
Flaps: OK
Horizontal Stabilizer: OK
Rudder: OK
Brakes: OK
Fuel: OK
Loaded Revolver Under Seat: OK
Peach Brandy: OK
Cigars: OK
L.W. Thomas : Sitting quietly hating the Wright Brothers; hating Mr. Taylor who designed the Taylorcraft; hating all of us who, safely on Terra Firma, could afford to make light of hideous injury and death; most of all hating Captain R.A. Jung who, when satisfied of the craft’s readiness spoke up as follows:
“Awright, girls–knock it off and pay attention.” He rummaged around under his feet and produced a mare’s nest of wiring from which, after a few minutes of muted invective, he extracted two sets of headphones fitted with throat mics. The leather earpads were cracked and dry, like the antique Bakelite mics and the confusion of black wires that connected one apparatus to the other, then disappeared beneath the instrument panel where, presumably, they were somehow connected to the generator[1]. Captain Jung explained that, while the device was not exactly a radio, it was a revolutionary, if makeshift[2], intercom system assembled from genuine WWII Naval Aviation components he’d discovered in a surplus store in East St. Louis, Illinois. As a result, the Captain pointed out, those in the cockpit would no longer have to scream at one another over the clattering of the engine and the wind howling through the wires and wing struts. L.W. Thomas–lucky boy!–was the first passenger to show up since the installation, and this flight would be the intercom’s initial trial.
Thomas revealed later that, in that moment, he did not feel lucky; his confidence was further eroded by the knowledge that Captain Jung had installed the rig himself. Not that the Captain wasn’t handy! It was he who built a muzzle-loading black-powder cannon from a length of steel pipe, so effective it could fire a dirt-packed tomato sauce can clear across the Mississippi River. His work with plunger-activated black-powder aerial bombs was pure genius.[3] However, the Captain’s craftsmanship was generally applied to automobile repair, heavy machinery, and crude explosive devices; his experience with electricity was limited to hot-wiring cars in his youth. Thomas was aware of this deficiency, but his thought was, What could possibly go wrong with an intercom?
Now, to start the motor of the Taylorcraft, a ground crewman had to turn the propeller until he felt pressure on the pistons, whereupon that person would announce “Contact!” whereupon Captain Jung would flip the magneto and reply “Switch on!” whereupon the ground crewman would grasp the propeller blade and give it a heave counterclockwise. This is a very old-timey way to start an airplane, but she was a very old-timey airplane. After the engine was started and the prop spinning, pilot and ground crewman would exchange a hearty thumbs-up and “Cheerio!” (see illustration below), Captain Jung would take a draught from his flask of peach brandy, and off he’d go.
Capt. Jung in the cockpit, the author giving him a thumbs up.
So it went on the day of L.W.’s first flight. We watched the little machine trundle onto the grass runway–in a moment, she began to roll forward–Captain R.A. Jung opened the throttle–the mighty sixty-five HP engine began to buzz–the tail came up–and in a moment “The Yellow Peril” was gracefully aloft and disappearing southward over the trees. Meanwhile, the boys walked back to the office to drink coffee and listen as the airfield manager, the late Mr. Jeff White, told us tales of flying in World War II.
Well, I started out with the intention of telling about the time our friend S. Cragin Knox beguiled L.W. Thomas into accompanying him to Texas to work on an oil exploration crew, and the foreman out there gave Thomas the job of driving the dynamite truck, which made Thomas very nervous indeed, especially when, one day, and without thinking, L.W. Thomas flicked his cigarette out the open window of the truck cab–but now I am all tangled up in the story of L.W. Thomas and the Taylorcraft. However, as I think about it, the two stories have a similar narrative thread. As a modern person (no offense), and especially a modern person (no offense) married to an Air Force fireman, you might question the wisdom of L.W. Thomas smoking a cigarette while driving a dynamite truck. Also, you might contemplate the photo above and ask yourself, “Should Captain R.A. Jung really be smoking a cigar in the cabin of a fabric-covered airplane swirling with gasoline fumes that is about to sail into the Wild Blue Yonder?” This behavior was perfectly routine in those times; today, it would most likely be considered poor judgment, if not moronic.
(At this point, I should insert an apologetic parenthetical. Beloved niece, you could not be blamed for assuming our gallant band were naught but a crowd of dissipated low-lifes and scoundrels. In fact, we were all in college at Ole Miss, save Schorfheide [a railroad detective on the Cotton Belt RR in Memphis] and Captain Jung, who, when he was not adventuring, worked as a millwright at a steel mill in Granite City, Illinois. Walker was an ex-Marine, Schorfheide and I were Vietnam veterans; Jung had served his Army time in Alaska as a ski-trooper; Steve Cook would become chairman of the graduate art program at Mississippi College. Tommy Freeland was a poet and intellectual from an old Mississippi family; he would grow up to become an excellent attorney, marry my ex-wife, and die of a heart attack at a tragically young age. S. Cragin Knox, in spite of his lowly beginnings slinging cable on an exploration crew, eventually became the State Geologist of Mississippi. As for L.W., he was a graduate student in theatre at Ole Miss, a musician, a restaurateur, and a fine writer. He died in his sleep at age fifty-two in ’02 as his beloved wife Jeanne watched by the bedside. Life was never the same for us after L.W. Thomas crossed the river, and I do not believe a man can own a higher accolade. The same can be said of Captain R.A. Jung, who was killed in the crash of “The Yellow Peril” on [fittingly] November 11th, 1976, just seven months after the events recorded here. These were lads who lived authentic lives, and I am proud to have been one among them, and I miss them greatly. Thus, though sometimes we were dissipated low-lifes and scoundrels, misbehavior was only part of the adventure.)
Anyway, since I am thus far into the airplane story, I will stick with it.
Time and again, we hear persons complain that Life is Unfair, and certainly it seems so at times. Some point to Fate; the Calvinist attributes every misfortune to God’s Inscrutable Plan; sensible people have no other recourse than to mutter the well-worn phrase, “Shit just happens.” Whatever one’s philosophy, it does seem patently unfair that events surrounding “The Yellow Peril” on that balmy April morning in ‘75 came to pass with poor ol’ L.W. Thomas, of all people, in the catbird seat. (As a writer, you will recognize this paragraph as intended to “stretch out the story” and “build up suspense” in order to delay the climax of the tragedy, so I will mention the wholly superfluous fact that, like old-timey barnstormers, Captain R.A. Jung always carried a number of wooden tomato stakes and a rolled-up bundle of cord affixed with colorful pennants like you might see at the state fair, a used-car lot, &c. so that, should he land in a cow pasture, as he often did, he could stake out a perimeter of wavy little flags around the ship. Remember that cows, though not very bright, are curious creatures; remember also that Captain Jung’s Taylorcraft was covered in a fabric treated with sealant [pilots call it “dope”]. Naturally, the local bovines would saunter over to investigate the big yellow insect that had buzzed down into their pasture; if Captain R.A. Jung neglected to set out a perimeter of wavy little flags to confuse them, the cows would commence to snack on the tasty, dope-covered fabric so that when Captain Jung returned from the nearby grocery with his sack lunch, he might well find a more or less portion of his fuselage gnawed down the the ribs[4]. I always wanted to use this arcane fact in a novel, but never found the opportunity.)
In any event, but a few minutes after takeoff found our intrepid aviators at a thousand feet and crossing over the Yokona River[5]. L.W. Thomas, of course, was not feeling intrepid. Below him lay the thin brown thread of the river, the greening woods, the checkerboard of cotton fields soon to know disc and plow, a sprinkling of white houses and, here and there, a wisp of cloud: truly a magical scene stretching to the blue hills and the world beyond. Alas, these aesthetic delights were not for Thomas. Later, he would freely admit that, from the moment the tail wheel lifted off the grass strip in Oxford, he shut his eyes tight and kept them shut. He white-knuckled the Gideon Bible and felt the rapid beating of his heart. He listened keenly to every variation in the motor’s rhythm and waited for the moment when it must surely quit altogether, all the while painfully aware that only a bit of wood and fabric lay between him and a thousand feet of empty air. Meanwhile, Captain Jung’s voice chattered amiably through the headphones clamped over Thomas’s Baltimore Orioles cap. Heretofore, L.W. had ignored the Captain’s observations, thinking them no more than the utterance of a madman indifferent to his own mortality. Now, high over the fields of Lafayette County, the Captain said something that made L.W. open his eyes and take notice: “Hey, man,” spake the Captain, “whatever you’re smoking back there smells like shit!”
This remark was an eye-opener for Thomas–first, because he wasn’t smoking at all, and, second, because he, too, all at once detected an unwelcome odor; i.e., the acrid smell peculiar to electrical fires. As the cabin began to fill with blue smoke, Thomas understood that the moment he’d feared was arrived at last, a realization confirmed by the Captain’s next announcement: “Well, hell, Thomas–we are on fire. Help me look for a place to set her down.”
Looking “for a place to set her down” was not among L.W. Thomas’s various array of skills. He’d never needed to “set down” from anyplace higher than his own bed, nor supposed he ever would. In addition, obeying the Captain’s order meant L.W. would actually have to look out the window! This he tried manfully to do, but the attempt was cut short when he realized (as he would later remark) that the distant ground, scary as it was from the sealed double-paned window of an airliner, was a hundredfold more so viewed through a vibrating half inch of cracked and oil-smeared plexiglass howling with wind. Thomas, heart palpitating, closed his eyes again and exclaimed “Oh, Jesus!” just as “The Yellow Peril” made a sudden stomach-churning drop. The Captain had chosen a field of broomsage nigh the river, and toward this he descended with dispatch, at the same time banking the ship hard over on her starboard wing in order to land into the wind, which direction he perceived by the smoke of a burning brush pile. The little machine hit hard, bounced high, hit and bounced again, and at last found her footing among the muddy ruts of the field. In a moment, she had rolled to a stop, whereupon Captain Jung shut off the engine and bailed out of the cabin door, pulling after him the still-smoldering remains of the intercom system, including L.W.’s headset. To say that Thomas was not far behind is to diminish the speed and agility of his exit.
Later, L.W. would admit that, once free of the cabin, he fell to his knees, pressed his cheek to Mother Earth’s welcoming bosom, and promised never again to leave her. It was, he said, not one of his finer moments.
For a time, Thomas and the Captain lounged under the wing, sipped peach brandy, and basked in the warmth of danger passed, peril overcome. Luckily, the Taylorcraft suffered no damage beyond a little bubbling of paint on the instrument panel; the intercom system, however, was hors de combat. One can imagine how, in that field to this very day, fragments of wire and Bakelite are turned up by harrow or plow, unseen and unlamented, their history lost to time like artifacts from a remote civilization. Here we must leave them, and here we must leave our tale of two gallant flyers–save for a final contemplation. When you feel safe, when the world seems in order at last and the Almighty has apparently wrapped you in His protecting arms–then look out, for the Cosmos is about to slap you up side the head. L.W. Thomas was still congratulating himself on his narrow escape when Captain R.A. Jung stood up, brushed off the seat of his pants, lit a fresh cigar, and said, “Awright, buddy–you ready to go?” Only then did Thomas comprehend that “The Yellow Peril,” having landed, must now take off again. With him aboard. True courage means that, when you’re scared shitless, you go ahead anyhow. This Thomas did, clutching his Gideon Bible as the ship bounced across the muddy broomsage field and struggled aloft. The last thing Thomas heard before he fell asleep was the brush of the landing gear through the greening branches of the trees.
The author with the irrepressible L.W. Thomas
[1] The generator was fixed under the starboard wing and had its own little red propeller. In flight, the wind spun the little red prop, and the generator generated. [2] When he told the story later, L.W. Thomas used a more colorful synonym for “makeshift,” i.e. “nigger-rigged.” Regrettably, the term has since fallen out of common usage. [3] In fact, we only had one; it was stoppered by a wooden plug so wouldn’t disintegrate; It made a most satisfying thump when dropped on an empty field, but when we landed, we had to get in the car and go retrieve it. The bomb in its experimental form wouldn’t hurt anyone, unless it hit him on the head. However, should any bad guys–Russians, Yankees, &c.–invade North Mississippi, we were ready to provide air support. Today, we’d be arrested as terrorists. [4] When I was a little boy in Primary School, certain children from poor families (known as “clay-eaters”) would eat library paste and even dirt from the playground to satisfy the cravings of vitamin deficiency. Perhaps this helps to explain cows’ tendency to chew on airplanes. [5] Originally called the Yoknapatawpha and so named in Faulkner’s novels and stories.
Cornbread is the South’s oldest icon. My Choctaw ancestors were making bread from maize long before the rest of my DNA was run out of the British Isles. The Choctaws made what is called shuck bread, or “bunaha”, by mixing water and cornmeal into a stiff paste, forming the paste into balls, wrapping them in cooked corn shucks and boiling them for about an hour. They stored well and were reheated by boiling before serving. The early settlers made a simple type of cornbread by mixing meal, water, salt and lard into a batter and cooking it on a flat metal surface like a pancake. These are called hoecakes or dogbread. Much later came what we know as cornbread. Or at least what I know it as.
When it comes to cornbread, I labored long under the impression that I was a confirmed orthodox. Yellow corn meal? A quarter cup of sugar? Nuh-uh, no way. That’s not cornbread, that’s corncake. A recipe using yellow meal, sugar and even (horror of horrors) butter just has Yankee written all over it. A Michigan-born hostess once served me such bread, and I’m sorry to say I was so rude as to point out what a culinary abomination it was. She set me in my place by being quite gracious about my gaffe, which made her a lady, and after dinner her husband offered to punch me in the nose, which made him a gentleman. (We still exchange Christmas cards.) I once ran up on a California recipe for cornbread using vanilla flavoring that confirmed a whole slew of suspicions I’d long harbored about the frivolity if not to say instability of the West Coast mentality. I’ve also come across recipes with dill, cheddar cheese, yogurt, skim milk, blue corn meal, creamed corn, and even (I swear to God) tofu. What passes under the name of Mexican cornbread is subject to all manner of atrocities, the most bizarre of which I’ve found includes beef jerky and cactus flowers.
As a confirmed orthodox, I thought I was sitting on the front pew with my recipe, which has only white meal, just a little flour, eggs, buttermilk, salt and baking powders. But I found out that there are those who would cry, “Backslider!” at the thought of using bleached meal or even eggs. I just had never considered making cornbread without eggs, then I found that among the recipes you see printed on most meal packages you see this is called “egg bread,” and my faith began to falter. These no-egg purists, I began to believe, were true cornbread devotees who enjoyed a more chaste form of elemental Southern sustenance. I felt horribly decadent, which was not such a new sensation for me, but a cornbread recipe certainly was a novel indicator of my moral turpitude (more official records exist). I got over it. After all, I had learned how to make cornbread at my mother’s knee, and she was a queen among cooks: “Honi soit qui mal y pense”, you heathen peasants.
To make cornbread, put about an eighth of an inch of oil, corn or vegetable, in the bottom of a proper skillet, and stick it in the oven at about 450. Then take one and a half cups of white self-rising corn meal and about half a cup self-rising flour, mix in a bowl with a scant teaspoon baking soda and a dash or so of salt. Add about 1/3 cup of corn or vegetable oil and mix with dry ingredients until about the consistency of rice. Add one large beaten egg, mix well, and then add enough buttermilk to make a thick batter. Add just a couple of tablespoons of water to this to thin slightly; this enables the meal to swell and makes for lighter bread. Take your skillet out of the oven, tilt to coat the sides with oil, and test the oil with a drop of batter. It should sizzle a bit; if not, heat some more. When oil is sufficiently hot, pour in the batter and put back in oven. Bake until golden brown. Remove by inverting skillet. If your skillet is properly seasoned and your oil was hot enough, the cornbread should just pop out of the skillet with a fine brown crust. Eat with butter immediately and enjoy being alive.
Most Southern holiday dishes are home-grown recipes of family favorites, but it’s a sure bet that many tables will have one dish that was developed in a commercial kitchen in New Jersey. Unlike Grandma’s sweet potato pie or Aunt Sally’s ambrosia, the ubiquitous green bean casserole was developed in 1955 in the Camden, NJ test kitchens of the Campbell Soup Company by home-town girl Dorcas Reilly.
A 1947 graduate in home economics from Drexel University, Reilly began working at Campbell’s in 1949 as one of two full-time staff members in the company’s home economics department. Reilly became something of a prototype for today’s culinary celebrities in the sense that she was among the first to use multiple media outlets for marketing. Not only did her job with Campbell’s involve creating recipes from the company’s products, but she also sent press releases to print media, prepared food for photo shoots and cooked live on television. The difference lies in that Dorcas was not promoting herself; she was promoting Campbell’s, which was a good way to make a living.
“It was really a lot of fun,” Reilly later recalled. “Each Thursday, I would travel to New York to meet with the ad agency. They would tell me what I was to prepare for the live commercial breaks during The Henry Aldrich Show in Studio 3B on NBC. I did everything from shopping for what I needed to preparing the food on the set. Campbell’s sponsored the show from 1951 until it ended in May 1953.”
Since the show was live, Reilly prepared the dishes in a makeshift studio kitchen on two heating elements near a utility sink. When time came for the commercial to air, she would bring the hot dish to a table in front of the camera. “Most times there wasn’t time for me to get out of the shot, so I would hide under the table until the commercial was over,” Reilly said. Reilly led the team that created the green bean casserole in 1955. She says the casserole was invented as a recipe involving two things most Americans always had on hand in the 1950s: canned green beans and Campbell’s Cream of Mushroom Soup. Like all recipes typical of the period, the casserole requires minimal number of ingredients, takes little time and can be customized to fit a wide range of tastes. An estimated 15 million households will serve Dorcas’ green bean casserole this holiday season. The Campbell’s Soup Company estimates that $20 million worth of cream of mushroom soup are sold each year for use in this recipe alone.
In 2002, Reilly, then living in Haddonfield, NJ, appeared at the National Inventor’s Hall of Fame to donate the original copy of the recipe to the museum. In 2008, Alpha Sigma Alpha, Reilly’s sorority at Drexel, honored her with the Recognition of Eminence Award. And in January of 2013 Drexel established an annual $1,000 scholarship in her honor and bestowed her with its inaugural Cultural Contribution Award. Dorcas died on Oct. 15, 2018 in Haddonfield at the age of 92.
In his lyrical work on the Mississippi Delta, The Yazoo River, scholar-politician Frank Smith says of sharecroppers that “Spending habits throughout the fall inevitably reduced all but the most prudent tenants to a penniless state by Christmas,
“… and no money for Christmas finery and festivity plus peppermint sticks and oranges for the children, could wreck the morale of any tenant. Oranges were a standard Christmas delicacy for the poorest of family. Santa Claus tried to get one in each child’s stocking. If the mother was a good cook, she ordered the peeling saved for flavoring a Christmas cake or pie.”
Well after Reconstruction, my father, a child of the Depression, made sure of having plenty of oranges for Christmas. In his time oranges had become symbolic of the Christmas season in the way fruitcakes were for others, and we kept wide shallow bowls filled with oranges and nuts in the living and dining rooms throughout the holidays. Daddy gave sacks of Valencias to nearby families during the holiday season. Our mother would have us children pierce oranges all around with toothpicks and insert cloves in the holes. We would hang these on the tree and mantle and their sweet, spicy scent would fill the room.
In those days, the oranges we bought were exclusively Valencias, thin-skinned and tight with juice. They were all from Florida, and some of the sacks bore the name Indian River, a designated area on the east coast where the oldest orange groves grew. The Spaniards planted oranges St. Augustine, Florida in 1565, and the fruit was planted widely along the Gulf (viz.: Orange, Texas; Orange Beach, Alabama), but none survived the Great Freeze of 1895, which sent freezing temperatures down to the Keys.
Felder Rushing said that we’ve had had citrus growing on the gulf coast since the late 1700s, “But oranges they kept getting wiped out by hurricanes and the hard freezes of the late 1800s and again in the 1930 that sent freezing temperatures down to the Keys. The cold-tender citrus plants are grafted onto the strong, disease-resistant rootstock of trifoliate orange, and when the ‘good’ citrus gets killed by cold weather, the trifoliate part grows into a pretty little thorny shrub with sweet flowers and sour, golf ball-size fruits. A lot of the trifoliate rootstock survived along the Gulf Coast,” Rushing said, “but most of those acres have been reclaimed for other crops. There are still a few orange groves, but the big citrus crop is the relatively cold-hardy satsumas.”
A mature satsuma tree can survive down to −9 °C (15 °F) or even −11 °C (12 °F) for a few hours. Of the edible citrus varieties, only the kumquat is more cold-hardy. Satsumas rarely have any thorns, an attribute that also makes them popular. They can be grown from seed, which takes about 8 years until the first fruits are produced, or grafted onto other citrus rootstocks, such as trifoliate orange. The fruit is exceedingly sweet, easy to peel and many cultivars are seedless. The Louisiana crop ripens from October until late November.
Citrus taxonomy is recklessly convoluted, but satsumas are in the big mandarin category, which contains all the zipper-skinned [easy-peel] fruits. They probably originated in northeast India but like most citrus fruits were cultivated in China and then brought to the west. The Satsuma mandarin may have originated in China but is was first reported in Japan more than 700 years ago. Around 1878 they were introduced into the Louisiana citrus industry, where they were preferred for their sweetness and their cold hardiness. The name “satsuma” is credited to the wife of a U.S. Minister to Japan, General Van Valkenburg, who sent trees home in 1878 from Satsuma, the name of a former province, now Kagoshima Prefecture, on the southern tip of Kyushu Island.
Joseph Ranatza Jr., owner of Star Nursery in Plaquemines Parish, said he started picking on Oct. 7. “My season is going very well this year versus last year,” he said. “Last year, the grocery stores bought a lot of foreign fruit, and that really hurt us.” It’s hard for Louisiana growers to compete with foreign producers, who have lower labor costs and less restrictions, he said. “They can buy these clementine mandarins from Chile, Peru and Morocco, where labor is a lot cheaper, and call them ‘cuties’ and make it hard for us to compete,” Ranatza said. He said his answer to the “cuties” are his Cajun Babies, which are smaller-sized satsumas.
Its fruit is “one of the sweetest citrus varieties, with a meltingly tender texture” and usually seedless. The satsuma also has particularly delicate flesh, which cannot withstand the effects of careless handling, which means you’ll usually only find satsumas in local grocers or roadside produce stands. Satsumas are used very much as oranges in desserts, even entrees and salads, but if you’re feeling really froggy, here’s a particularly ambitious recipe from Louisiana Cookin’.
Satsuma Upside-Down Cake
Makes 1 (9-inch) cake
Ingredients
3¾ cups sugar, divided
4 cups water
24 (¼-inch-thick) slices of satsuma*
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 springform pan with parchment paper, and spray 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, and bring to a boil. Reduce heat, and simmer for 15 minutes. Remove satsuma slices with a slotted spoon, and place on a wire rack to let drain, reserving satsuma syrup. Let slices stand for 30 minutes. 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 satsuma juice. Gradually add flour mixture to butter mixture alternately with milk mixture, beginning and ending with flour mixture, beating just until combined after each addition. Gently spoon batter over satsuma slices, smoothing top with an offset spatula. Bake for 30 minutes. Cover with foil, and bake until a wooden pick inserted in center comes out clean, about 30 minutes more. Let cool in pan for 15 minutes. Loosen edges with a knife, and remove pan. Invert cake onto a serving plate, and remove parchment paper. Drizzle with ¼ cup satsuma syrup.
Indianola, Mississippi has the dubious distinction of being the subject of not one but two studies by Northern anthropologists. The more prominent study by John Dollard, Caste and Class in a Southern Town (1937) comprises a psychological perspective on how race relations in the Deep South were shaped by “caste” and class. While in Indianola, Dollard stayed at the boarding house of the formidable Kathleen Claiborne, who, when her guest complained that she was over-cooking her leaf vegetables, set a plate of chopped fresh turnip greens before the anthropologist and sedately walked away. Her son Craig was to recall this years later when he encountered Dollard in the offices of the New York Times. Dollard graciously asked of Mrs. Claiborne, and hearing of her demise, recounted that she was “a great lady”.
The second, lesser-known study was written by the delightfully-named Hortense Powdermaker, who, fresh from work with a “primitive” people, the Lesu of New Ireland in present-day Papua New Guinea, came to Indianola to study the black community. After Freedom (1939) is the first complete ethnography of an African-American community in the United States. Powdermaker’s goal was to use anthropological methods to give insight into American society. She considered race relations to be one of the most pressing social problems of her day—as indeed it was, and continues to be—and she hoped that her work would prove valuable to those in a position to promote change.
Needless to say, those who could affect a change ignored Hortense’s study, After Freedom presents us with a fascinating look at life in the Mississippi Delta during the Depression. Among the more interesting sections is “Lagging Beliefs” in which Powdermaker documents the folk superstitions then prevalent in the black community. The following is a short excerpt.
A large number of the superstitions practiced in the community today to be concerned with love, or connected in some way with the relations between men and women. Others have to do with luck in general, and still others are designed to bring bad luck to an enemy. Many are concerned with physical health. individuals are not really superstitious give a perfunctory observance to certain superstitions, much as a northern white person may knock on wood without really “believing” in the necessity for the gesture. Others take their superstitions more seriously. These for whom superstitions have most meaning go for assistance to the voodoo doctors who dispense advice, charms, and spells. The types and varieties of superstitious beliefs may be suggested by a small sampling:
Wearing a punctured dime around the ankle will keep trouble away.
Stray cats or kittens who wander into a house and stay there bring good luck.
Dreams foretell events. If a dream is told before sunrise, it is bound to come true.
A woman described a very vivid dream in which her dead father came to take away her mother, who was still alive and apparently well. Next day the mother died.
Throwing salt after an enemy brings him bad luck.
The hair of an enemy can be used to bring him disaster. Usually it is concealed under his doorstep or someplace where he will walk over it. An old woman who is a sharecropper believes this firmly that she never allows anyone to comb her hair or use her comb, and always takes great care to destroy her combings, so as “not to take any chances.”
Certain perfumes will “hold” a man by magic as well as by allure. A woman can hold a man by putting something in his food. No information could be obtained about what was put in, and this belief appears less widespread than those concerning “poison.”
“Poison” put into an enemy’s food will work him harm. One woman told how her husband died because an enemy put poison in his whisky. Snake poison is among the worst; a sloughed snake skin, dried and made into a powder, is sprinkled into the enemy’s food while he is not looking. The powder comes to life in his stomach and gives him fits. The tale is told of one man who had such fits, and finally the snake ran right out of his mouth.
The mother of a young boy who had recently died told that for four years he had been subject to fits, during which he would scream, kick, and twist his head “almost clear around.” The mother had a “friend,” and another woman was jealous of her. The jealous one made some “poison” to put into her food, but nobody would take it to her, and the woman could not come to the house herself. One day, however, when her rival’s little boy was playing near her house, she gave him food containing the poison, Immediately the child began to have fits. His mother took him to doctors, to hospitals, to a voodoo doctor, but nobody could cure him. Finally she carried him to an especially famous voodoo doctor, who gave the boy some medicine, which made the poison come out. It emerged in a terrific bowel movement—a long narrow thing, about five inches in length, which had given him the fits by running around in his stomach. At the same time there came out a lot of little things that looked like maggots. Now the child was cured of fits. But immediately after he grew very sick, first with flu and then pneumonia, and soon he died.
The voodoo doctors employ a variety of cures for an even larger variety of ills; they claim to restorc health, to revive fortunes, to unravel mysteries. Often they give a charm in the form of a “hand,” less commonly called a “toby.” A “hand” is usually a small bag, one to two inches square, made of silk or sometimes of cotton, said to be stuffed with spider webs and horse hair worked into a powder, Sometimes very fine bits of glass are added. The bags should never be opened. They are carried in a pocket or worn next to the body, and are to help the wearer in love, business, or some other venture, One of these bags may be used to hold the hair of an enemy when it is placed under his doorstep to give him bad luck.
Instead of the hand, some voodoo doctors give their clients a small piece of paper with writing on it. This is worn next to the skin, and should not be read. Herbs, roots, small bottles filled with oil or other liquids are also given. On one occasion, a woman was given a small sealed bottle to conceal in her bed as a love charm. Later she went to a voodoo doctor for help in repulsing the attentions of a man she did not want. For this he gave her a piece of paper sealed with wax so that she could not read the inscription. She wore it in her stocking, and after that she was able to rid herself of the undesired attentions.
A hand was considered responsible for the incessant quarreling of a couple. One day the wife saw a small black bag under the front steps. Trembling, she dug it up and found it filled with steel needles and spices. She was sure this had been planted by her enemy and had caused the quarreling. She destroyed it at once; the report did not tell whether the quarreling stopped.
In addition to their numerous charitable endeavors, the Junior League of Jackson has issued two quite remarkable publications. The first, in 1978, was their landmark Southern Sideboards, a truly luminous work that has since gone through fifteen printings, five of those Southern Living Hall of Fame editions. The recipes in Southern Sideboards altogether comprise nothing less than an exhaustive tutorial for home cooks in the Deep South, and if that weren’t enough also includes a heart-felt introduction by Wyatt Cooper.
Their second, more important work, is Jackson Landmarks (1982) dedicated to the Manship House, one of Jackson’s most beloved architectural treasures. Jackson Landmarks is important not only for the wealth of detail and historical data, but also because Jackson’s urban landscape has changed significantly in the 35 years since its publication, and an estimated 25-30% of these structures are gone.
Jackson Landmarks also includes this essay by Charlotte Capers. Miss Capers was director of the Mississippi Department of Archives & History from 1955-1969, and during that time saved the Old Capitol from destruction and saw to its renovation and establishment as the state historical museum. Miss Capers also oversaw the restoration of the Governor’s Mansion. In addition, Capers was a “world-class raconteur”, a writer (The Capers Papers as well as hundreds of magazine articles and book reviews) a wit and a close friend and companion of Eudora Welty. Charlotte Capers is a significant figure in Mississippi history and deserves a work of equal if not greater thoroughness than the one recently afforded Fannye Cook.
The House
My first opportunity to participate in this book was an invitation to write a brief and breezy history of Jackson.” Well, Jackson goes back to the 1820s and I don’t, so I declined. When I was reminded that I do go back to the 1920s, and what’s a hundred years more or less, I agreed to write a few recollections of my old home at 705 North State Street, as I remember it and as for me it was the heart of Jackson when I was very young.
When I first saw the house it was white, and I was five years old. Therefore, it remains in my memory as white, and only recently I learned that it was not white to begin with, but a darker hue much favored by home owners of the 1890s, when it was built. Perhaps it was buff or brown or gray. It doesn’t matter, except to point out that things are not always what they seem. The house was built by Mr. and Mrs. A. D. Gunning on the corner of North State and George streets. The Cunnings had a large family and must have been much given to hospitality, as the house was plainly built for entertaining. A large reception hall opened into a graceful living room on one side, and a dining room with striking midnight blue wallpaper and painted white paneling on the other. A mirror was built into the ornately carved hall mantelpiece; a central staircase which divided and curved upward from the landing was the architectural focus of the hall. Shining oak floors invited dancing, and of more concern to my mother, suggested more rugs than we had and required a good deal of waxing and polishing.
After the Cunnings, the house was owned by Mr. and Mrs. Arthur C. Crowder. Mr. Crowder was at one time mayor of Jackson; Mrs. Crowder was the former Mattie Robinson Saunders, whose family home was a block away on the corner of North State and Boyd streets. When the Crowders moved to Birmingham, the house was purchased by St. Andrew’s Church as a rectory for my father and his family. Subsequent owners were the Lamon Goings, who had a Studio of the Dance therein, and Mr. and Mrs. Harry Jacobs, who adapted the house for use as a retail outlet for their business, Greenbrook Flowers. The original architecture is essentially unchanged.
As I see the house now, it is big. As I looked at it with five-year-old eyes, it was tremendous. Adorned with every detail and conceit available to admirers of the Victorian style, it had towers, minarets, gables, a scary basement, a cobwebbed attic, cushioned window seats, and wonder of wonders, swinging doors for the dogs. Scaled to fit the family canines, these doors opened at the touch of a muzzle. When I tried to describe them to a contractor for my own house, he was confounded. My dogs have to bark to get in. So everything isn’t more convenient now than it used to be. Ask the dogs. Anyway, when I was a child I saw the house as a fairy-tale castle, and untroubled by the economic realities of maintaining such an establishment, I thought it was a perfect home.
This depends upon your point of view, of course, and I remember Our struggle to keep the house warm in the winter. Beautified by countless windows and French doors, 705 North State was a veritable cave of the winds. The windows called for draperies which we could not afford, so my mother settled for glass curtains. My childhood memories seem to return filtered through yards and yards of filmy material, which let in the light as well as the breezes. Another problem was the coal furnace. Coal was expensive, plus the fact that my father had to stoke the furnace and bring coal to the fireplaces throughout the house. My father solved this problem by rising above aesthetics and installing a pot-bellied stove squarely in the middle of the elegant reception hall. This at least indicates that he put first things first, like not freezing to death. The feature of the house which I remember with most affection, next to the dog doors, was my bathtub. It was splendid, something like a gondola, mounted on iron paws with a stalwart wooden rim. Into its watery vastness could submerge the vicissitudes of childhood, and dream great dreams as they soaked away. When I left that bathtub, and moved to a shorter and stubbier one, my dreams grew shorter and stubbier.
It seems to me that 705 North State Street was a fine place for growing up in Jackson and learning the lay of the land. Around the corner and less than five minutes by skate, foot, or bicycle, was Davis School. The New Capitol was only a few blocks away, and young skaters did not hesitate to skate through the tiled basement floor and admire the Egyptian mummy who was the star of the building. A streetcar track ran in front of the house. When we were very young, we would put two straight pins on the track, spit on them, and wait for the streetcar. As it rumbled past it fused the pins into a charming design of crossed swords. If you wished to travel, the streetcar could deliver you north, south, or west. East was the Pearl River, and the suburbs in that area were not yet developed. As St. Andrew’s was the only Episcopal church in Jackson for a long time, my father’s congregation was scattered all over town and from Clinton on the west to Madison on the north. Sometimes Father would let me ride with him in the family Essex when he went calling, and we covered a lot of territory. The Fairgrounds were within walking distance, as were the downtown picture shows. Beulah, my nurse, took me to the Fair every year on the five dollars my grandmother sent us. This included lunch. When we got home, Beulah became our cook. I should note that Beulah was not my nurse because I was sick, but because I was a child, and nurses were what children had in the 1920s. Nurses were for taking care of children, cooks were for cooking, and so far as I knew, maids had bit parts, like “Your carriage awaits, madam,” in the occasional stage plays which came to the Century Theater.
An interesting thing, at least to me, is the fact that I can remember the telephone numbers of the neighborhood children, I have always had a block in my head about numbers, and now I have trouble remembering my own telephone number. At any rate, to suggest the size Of Jackson in the 1920s, I could get Mary Woodliff at 2628; Winifred Green at 1210; Ann Sullens at 560; and Maude McLean at 247. As Maude’s father was a doctor, we thought we would help his practice, which did not need any help, by making up a jingle for him. It went like this: “If you think you’re going to heaven, call two-four-seven.” I believe you call the Fire Department nowadays, whatever your destination.
The Depression was an exciting time at 705 North State. There were a good many home weddings, as it was more economical to get married in the Rectory than in the home of the bride. Sometimes a drop-in bride and groom, having proven that they were of age and met other canonical requirements long since forgotten, got married in the living room, and if any of my friends were there Father might ask us to be witnesses. This custom ended when Winifred Green and I stood up with a lisping groom, and got the giggles every time he repeated his vows. Mother was good about entertaining, and we had a lot of company. I always had a Hallowe’en party and a birthday party, and during the Depression some of our company often included tramps. Tramps are now known as vagrants or street people, but they amount to the same thing. Our tramps knew the best places for a handout, and occasionally one would make a great impression on my father, who would invite him to spend a few days with us One of our favorites called himself Jiggs, and more than repaid us for our hospitality by his tales of travel and adventure. Jiggs left us wearing my father’s clerical vest, and some months later appeared in a news magazine, photographed in ecclesiastical garb while attending a Tramps’ Convention in Washington. It is interesting to observe that in spite of the real economic hardship of the Depression, I don’t remember it as a bad time. It was in the 1920s that we learned to dance, and perfected our skills later during the Depression at dances in our homes, including the Rectory, to the Dixieland jazz of Joe White and his combo, fifteen to twenty-five dollars for four hours, depending on the number of instruments.
This isn’t much of a “brief and breezy history of Jackson,” but it may recall a certain time in a certain place, both gone forever. North State Street has just about given up the ghost, the town has grown into a city, the city has spread into the suburbs, and sometimes I can’t remember my street address. •sour crowd” had a good time, there was room in our house for friends and my grandparents and my brother and his wife, and even for transients who could tell a tall tale. Much of what was once “old Jackson” was swept away by commercial development after World War Il, but as this is written, 705 North State Street still stands!
