Squash Eudora
In the introduction to her splendid Southern Hospitality Cookbook, Jackson epicure Winifred Cheney states that a signature dish is “a tribute in the field of cookery.”
Here Winifred misinforms. A signature dish is a recipe that identifies or is directly associated with an individual chef or a particular restaurant. For instance, one could say that blackened red fish is a signature dish of Paul Prudhomme’s, or oysters Rockefeller of Antoine’s. Dishes named for people, either in honor of them—as in the Rockefeller—or made for them—as with Melba toast—don’t have a specific term of reference. They’re just recipes named for people, which are (predictably) created constantly. Winifred created two dishes for her neighbor Eudora Welty: Apples Eudora and Squash Eudora.
In hometown Jackson, Winifred is notorious for her excruciatingly detailed recipes with ingredients unlikely to be on hand.. Such is the case with her apples Eudora, which she describes as “tart apples cooked in a delicious syrup, drained and baked in a rich custard, then filled with an apricot rum (my italics, jly) filling and topped with a dollop of whipped cream.” If that doesn’t wear you out just reading it, cooking it’s going to make you bedridden. Then she gives us squash Eudora, which is absolutely wonderful, and certainly somewhat less tedious.
Wash but do not peel two pounds tender yellow squash. Slice thinly and parboil with a pat of butter until tender. Drain and season with black pepper and salt to taste. Drain and wash a half pound (8 oz.) livers, cut into halves and sauté in butter with a bit of Worcestershire. Drain livers and set aside to cool, then mix with squash, about a cup of chopped green onions, a teaspoon curry powder, one egg lightly beaten and a half cup grated Parmesan. Spoon mixture into a shallow casserole, dust top with more Parmesan, and bake at 350 until firm.
Winifred says that you can substitute lump crab meat for the livers. If you’ve got the bucks, go for it.
Mystic Mayonnaise
It’s difficult for us now to imagine mayonnaise as anything even approaching exotic, but Eudora Welty remembers its advent in Jackson, Mississippi as an event of near carnaval proportions.
Welty’s use of foods in her fiction brings two notable examples to mind; the “green-tomato pickle” in Why I Live at the P.O. and the shrimp boil at Baba’s in No Place for You, My Love, not to mention the groaning boards in her Delta Wedding. She also wrote introductions for three Jackson cookbooks: Winifred Green Cheney’s Southern Hospitality Cookbook (1976); The Country Gourmet (1982), put out by the Mississippi Animal Rescue League; and The Jackson Cookbook (1971), which was compiled by the Symphony League of Jackson.
Mark Kurlansky, in his The Food of a Younger Land (2009), includes an essay of Welty’s entitled “Mississippi Food” that he claims was “a mimeographed pamphlet that she wrote for the Mississippi Advertising Commission” distributed in the 1930s.
The introduction to The Jackson Cookbook, “The Flavor of Jackson”, is a savory dish of Southern culinary exposition, rich with Welty’s seasoned voice. Eudora’s essay is a finely-seasoned piece with a wonderful flavor all its own. Most of the city’s culinary history concerns home cooking, of course, since restaurants here were rather much a novelty until the mid-twentieth century, but Jackson’s storied hospitality has always featured a superb board. I’m including a part of the introduction here, specifically that section dealing with mayonnaise because it explains to a “t” just how exotic this now-prosaic kitchen item was then.
“As a child, I heard it said that two well-travelled bachelors of the town, Mr. Erskin Helm and Mr. Charles Pierce, who lived on Amite Street, had ‘brought mayonnaise to Jackson’. Well they might have though not in the literal way I pictured the event. Mayonnaise had a mystique. Little girls were initiated into it by being allowed to stand at the kitchen table and help make it, for making mayonnaise takes three hands. While the main two hands keep up the uninterrupted beat in the bowl, the smaller hand is allowed to slowly add the olive oil, drop-by-counted-drop.
The solemn fact was that sometimes mayonnaise didn’t make. Only the sudden dash of the red pepper into the brimming, smooth-as-cream bowlful told you it was finished and a triumph. Of course you couldn’t buy mayonnaise and if you could, you wouldn’t. For the generation bringing my generation up, everything made in the kitchen started from scratch.”
Welty elaborates by describing a typical Jackson kitchen in the twenties and thirties, and mentioning a great many people who made significant contributions to the local cuisine. If you can find a copy of The Jackson Cookbook, buy it, read about Jackson’s culinary history from a master of her craft and cook the superlative recipes. No wrong could come from it at all.
Parking
Charlotte Capers: Clio in Our Time
In her acceptance speech for the 1969 First Federal Foundation Awards given by the University of Mississippi, Charlotte Capers said, “I had the good fortune to be in the right place at the right time, and most especially, with the right people, to be able to make a contribution to my home state.”
That’s half the story. Capers was able to achieve what she did because she was the right person in that place and time and had the strength and malleability to withstand the upheavals in a watershed era for Mississippi. Moreover, she had the intelligence and initiative to know what needed to be done and how to do it. She also had the perspective and character to maneuver with dignity, efficiency, and relentless humor in a highly volatile political landscape.
Let me be the first to say that this monograph is inadequate; Charlotte Capers at the very least deserves the sort of biography afforded Fannye Cook. Might I add, given the firm conviction that Capers would agree, that a Pulitzer awaits the person who bring Evelyn Gandy from behind the curtain.
Ellison Capers, known as “the Fighting Bishop,” joined the Confederate Army as a major, saw the action at Ft. Sumter and was later promoted to lieutenant colonel of the 24th South Carolina. In May 1863 the regiment joined General Joseph E. Johnston for the Vicksburg Campaign. Capers was wounded in the leg at Jackson, Mississippi, promoted to Colonel, and then to Brigadier General shortly before the end of hostilities. In December 1865, he was elected secretary of state for South Carolina. Ordained as an Episcopal priest in 1868, he served as the Episcopal bishop of South Carolina from 1894 and cHancellor of the University of the South from 1904, until his death in 1908.
Bishop Capers officiated at the marriage of his youngest son, Walter, to Louise Woldridge, on June 29, 1904, in St. Peter’s Episcopal Church in Columbia, Tennessee. Walter Branham Capers was born in Greenville, South Carolina, in 1870, attended Furman College and the University of South Carolina, and served as rector of St. Johns Memorial Church, Farmville, Virginia, after his graduation from Virginia Theological Seminary. From Virginia, Capers was called to Tennessee, where he was president of Columbia Institute, the diocesan school for girls, and rector of St. Peter’s Church, Columbia, from 1902 until 1918. He received the degree of Doctor of Divinity from the University of the South at Sewanee in 1917. In Columbia, he met and married Louise Drane Woldridge. Here the two Capers children, Walter Woldridge (1905) and Charlotte (1913), were born. Capers was called to St. Andrew’s Church, Jackson, in 1919, where he served as rector until 1946. He died in October, 1952.
In Jackson, the Capers family lived in the new rectory on the corner of North State and George Streets. Charlotte later wrote,
“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.”
“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.”
Capers graduated from Central High School in 1930. That June, The Jackson Daily News reported: “Miss Capers Entertains with Lovely Dance”—No graduating affair has been more enjoyable than was the beautiful dance given by Miss Charlotte Capers on Wednesday evening from 9 until 1 o’clock in the ballroom of the Edwards Hotel. Miss Capers in a most becoming creation of green lace with her escort Mr. George F. Woodliff, was assisted in receiving by her parents Dr. and Mrs. Walter. Capers. Mrs. Capers was charming in a dress of apricot satin. The ball room had been converted into a lovely scene with palms and other greenery, forming a pretty background for the beautiful dresses worn by the high school and college girls, who with their escorts participated in the delightful occasion. Joe White’s orchestra furnished the wonderful music and dancing was enjoyed until a late hour.”
With the goal of becoming a journalist, Capers attended the University of Colorado and Millsaps College. She was awarded a BA degree in English from the University of Mississippi in 1934. After a brief stint with Condé Nast’s publicity department in Boca Raton, Florida, Capers returned to Jackson.
The year 1938 would prove pivotal for Charlotte Capers. The Capers family suffered a tragedy in the loss of her older brother, Walter Woldridge Capers. Born in 1905, Capers earned his LL.B. at Vanderbilt University, and attended the International School of Law at The Hague, Holland. In 1936 was chosen to serve in the state senate for the four-year term and was appointed chairman of the judiciary committee. He was also dean of the Jackson School of Law He died in December, 1938, from complications of rheumatic fever, in Biloxi, Mississippi, and was buried in Lakewood Memorial Park in Clinton, Mississippi.
In 1938, Charlotte Capers joined the staff of the Mississippi Department of Archives & History (hereafter, MDAH) as a stenographer. Capers later wrote, “I managed to avoid the responsibilities of hard times of bringing home some bacon during the Great Depression, I wanted to play on, until the Right Man swept me away to some swinging tune from A Great Big Band. When the R.M. failed to appear and the wolf was at the Rectory door, I was offered a job in MDAH, and was persuaded to accept it by a family increasingly nervous about making ends meet, and tired of supporting me.” She was to quip, “I came in for a cup of coffee and stayed 45 years.”
MDAH was established by an act of the Mississippi legislature. Governor A. H. Longino signed the bill into law on February 27, 1902. Mississippi became the second state after Alabama (1901) to establish such a department. The first director was Dr. Dunbar Rowland, a lawyer, from Coffeeville. The Department’s first quarters were the rooms adjoining the House of Representatives in the Old Capitol. The department moved to the ground floor of the New Capitol in 1902. Dr. William D. McCain was appointed Director of MDAH in 1938. The Department remained in the basement of the New Capitol until 1940, when slightly more commodious quarters were provided in the War Memorial Building.
When McCain was called to active military service from 1943-45 and 1951-53, Capers was promoted from her position as research and editorial assistant to Acting Director. On May 25, 1955 McCain accepted the position of president of Mississippi Southern College in Hattiesburg and on June 1, at a special meeting of the Board of Trustees of MDAH, Charlotte Capers was unanimously elected Director of the Department to serve out the unexpired term of Dr. McCain, and to begin a six-year term beginning on January 1, 1956. She also became editor-in-chief of The Journal of Mississippi History and chairman of the Mississippi Historical Society.
Capers soon exercised her new authority in a spat with another state agency. Plans of the State Highway Department for the proposed route of a new lane for Highway 49 North, between Jackson and Yazoo City, called for the leveling of a pyramidal mound near the town of Pocahontas. From archeological source materials in the Archives, it was determined that this mound was an important archeological site of prime importance by Moreau B.C. Chambers, former archeologist with MDAH.
In July, 1956, Director Capers invoked for the first time a little-known law which makes MDAH responsible for the safety and preservation of “ruins and archeological sites” in the State of Mississippi. House Bill No. 62, Chapter 161, General Laws of the State of Mississippi, 1938, provides that “any person who shall appropriate, excavate, injure or destroy any historic or prehistoric ruin or monument, or any object of historical, archeological or scientific value, situated in the State of Mississippi without first securing the permission of the Director of MDAH shall be guilty of a misdemeanor . . .” The Director informed the State Highway Department of the historical and archeological significance of the Pocahontas Mound, and the 1938 law; as a result, the new lane of Highway 49 North would by-pass the mound, and the State Highway Department would make a roadside park, appropriately marked, nearby.
The Highway Department had its revenge almost sixty years later, however, when in July, 2013 a newly-opened rest area on U.S. High-way 49 at the Pocahontas Indian mound was named for three people instrumental in saving the historic site from development. What Miss Charlotte would say about the Capers-Blake-Scales Rest Area is a matter ripe for speculation.
THE BASIC EIGHT
In the 1950s and ‘60s, Capers was a member of a small, exclusive social circle.
(Eudora) and seven other friends gathered almost weekly for dinner, conversation, and parlor games; they called themselves the Basic Eight. Charlotte Capers, then assistant director of MDAH, which she would eventually head, was a central figure in the group. One of the world’s great raconteurs, even if the world beyond Mississippi did not know it, Charlotte also wrote a regular column for the Jackson Daily News under the pseudonym of Miss Quote. Charlotte’s young assistant Ann Morrison and Ann’s architect husband, Bill, were also members of the Basic Eight as were Jacksonians Jimmie Wooldridge and Major White. The seventh and eighth places were filled variously by friends who returned to Jackson on regular visits—Frank Lyell and Hubert Creekmore most frequently. A different group member would entertain each week-once at the Morrisons’ the guests saw their hosts climb into a bathtub in order to wrap a large roast in layers of wet, salted newspapers, emerging to place the wrapped meat in a barbeque of hot coals. Another time the group painted a mural in the stairway that led from the Morrisons’ basement apartment to Charlotte’s house above. One evening they met to see a moonflower bloom at the home of Major White. At anyone’s home they might play word games: each person writing one line in the set pattern of a story, folding a piece of paper to conceal what he or she had written on it, then passing the paper to another, who would complete a second part of the pattern and so on. Eventually all eight or more lines would be revealed to the assembled group. The results could be hilarious. One exchange led to this sentence:
The beauteous
Marlon Brando
Jocosely
Accosted
the luscious but naughty
Greta Garbo
by the sea
He said, “I want you.”
She said: “It couldn’t matter to me less, one way or the other.”
They rode off on a bicycle built for two.
The Basic Eight never themselves rode bicycles built for two, but they did make excursions together. A favorite overnight stop was twenty miles north of Jackson at Allison’s Wells, a notably eccentric spa. There one evening soap bubbles began to waft from the laundry up through the dining room, and the proprietor, Hosford Fontaine, made the best of a bad situation: “Aren’t they beautiful, aren’t they lovely?” she rhetorically inquired. Like Hosford, the Basic Eight knew how to find amusement and pleasure wherever they gathered.
Members of the group entertained, together or separately, notable writers, editors, agents, and photographers who came through Jackson to see Eudora. In February 1952 Robert Penn Warren delivered a lecture at Belhaven College and then spent an evening with Eudora and Charlotte. “Not a serious word was spoken,” Warren later recalled with pleasure. (Suzanne Marrs, Eudora Welty: A Biography)
THE OLD CAPITOL
Capers was learning to develop the directorship of MDAH into an effective agent not only to enforce the antiquity provisions in the Mississippi constitution, but also as a spearhead to carry out the directives of the executive branch. It wasn’t long before she would use her good offices to carry out an objective that had been cherished not only by her predecessors but also by the new officers in state government: the restoration of the Old Capitol.
The Old Capitol had been saved from total destruction in 1916, and Dunbar Rowland, as well as McCain and Capers all recommended a “Hall of History” in a restored Old Capitol, and both Rowland’s successors, McCain and Capers, included such recommendations in their biennial reports. In the late 1950s, Governor J.P. Coleman personally charged MDAH was with planning and creating a state historical museum to be housed in the restored Old Capitol. He was supported by Secretary of State Heber Ladner, Speaker of the House Walter Sillers, and State Tax Collector William Winter.
The Building Commission would perform the restoration, but the MDAH Board of Trustees was to plan the museum. As director, Capers was responsible for carrying her board’s policies into effect. While Capers had a large and direct stake in the restoration, she had no authority over the architect, John Ware. What she did have was a powerful personality and enormous personal influence. She was a friend of Secretary of State Ladner and of Speaker Sillers as well as Sillers’s wife and sister. She and Governor Coleman had been schoolmates at Ole Miss, and Speaker Sillers and State Tax Collector William Winter were on the MDAH Board of Trustees.
Capers had no museum experience, no museum staff, and no budget. She was attempting to create a historical museum in a building on which work had yet to begun. In addition, she had to develop policies for a state historical museum as well as an exhibit plan, and she had to match her rationale and her exhibits plan to Ware’s restoration plans.
Charlotte Capers rose to the occasion. She began by educating herself and by establishing contacts within the museum world. During 1957 and 1958, Capers wrote hundreds of letters seeking advice and help, and she joined professional museum associations and attended their meetings. By the beginning of 1958, she had established a close professional relationship with Dr. Arnold B. Grobman, director of the Florida State Historical Museum and president of the Southeastern Museums Conference. For exhibit expertise Capers turned increasingly to Ralph H. Lewis, chief of the National Park Service’s museums branch. From Grobman, Capers could get expert advice on museum policies, space allocation, budget, and staffing. From the National Park Service, she could get expert help in designing exhibits.
Two years later, in January 1959, plans had been completed. The ambiguous division of roles in the restoration produced some disagreements between architect John Ware and Charlotte Capers. Capers recognized that Ware was ultimately responsible to the Building Commission, the final authority for the job. Although she knew that she had no direct authority over the architect and that her primary duty was to create the museum, Capers nevertheless had a mandate from the Board of Trustees to advise and consult on the restoration. Governor Coleman, the Building Commission, and the Board of Trustees of Archives and History all agreed that the restoration should be as pure as possible. The restored building would be the centerpiece for MDAH’s state historical museum, thus making the entire building, in a sense, a grand exhibit.
In 1956, Capers had a staff of seven, including a janitor and three clerical workers. In 1958, another clerk was added. None was a museum specialist. In her biennial report of 1959, Capers assured the legislature and the general public that the planning of the Mississippi Historical Museum had not been haphazard, and that it “represents the best thinking in the museum profession in America.” Over the next three years, Capers visited key legislators to enlist their support and made countless speeches to civic clubs and patriotic societies. The staff and budget request Capers submitted for the 1960-62 biennium included money for museum staff and exhibits. Her request included eight additional full-time employees and one half-time. When she submitted the budget to the Commission of Budget and Accounting on August 24, 1959, she noted that she was asking for “a sizeable increase” from $95,165 in the previous biennium to $246,492, more than a one-hundred-percent budget increase. When Capers heard a rumor that her request would be cut by $12,000, she wrote her friend Speaker Sillers asking for help. The department received $248,075 for the 1960-62 biennium and a new museum staff of five, headed by a museum curator.
When the Old Capitol opened on March 21, 1961, Governor J.P. Coleman gave the principal address, stating that the building was “an emblem of the faith that was new and shining in 1839, 122 years ago, and which continues today.” Charlotte Capers presided.
THE CIVIL WAR CENTENNIAL
In the Clarion-Ledger of Friday, March 10, 1961, columnist Tom Ethridge, in his “Mississippi Notebook,” noted that “the total cost of the restoration for the Old Capitol was over $1.5M—a sound investment as an historical asset and tourist attraction. It will play a big part in Mississippi’s observance of the Civil War Centennial.”
The restoration of the Old Capitol was important because in the late Fifties, due to the state’s violent reaction to Brown v. Board of Education, Mississippi’s reputation was at a very low ebb and state officials were struggling to present a more positive face to the nation.
In the committee assignments of the Society of American Archivists, in December, 1959, Capers was named liaison to the Civil War Committee of the Civil War Centennial Commission along with Dallas Irvine of the National Archives and Sidney Foreman, archivist and historian of the U.S. Military Academy at West Point. The seven-member committee was appointed by Mrs. Mary G. Bryan of Georgia, president of the American Association of Archivists, at the request of General U.S. Grant III, chairman of the Civil War Centennial Commission. In a talk to the Downtown Kiwanians at the King Edward on March 23, 1961, Capers mentions a two-volume Mississippi in the Confederacy to be published by MDAH “One of the finest collections of material on the Confederacy is in the Department and available to researchers.” Capers also published a feature essay, “Mississippi’s Civil War Role Extensive,” in The State Times, Tuesday, March 28, 1961, prior to the opening of the Old Capitol on June 3.
The nation commemorated the centennial of the American Civil War in the midst of the Cold War and a civil rights struggle at home. Mississippi Governor James P. Coleman had envisioned a conservative commemoration and looked to the state’s heritage organizations and historical community, including MDAH Director Capers, who was slated in a leading position, to shape a respectful remembrance. However, his successor, Governor Ross Barnett, used the centennial to publicize his views about the “southern way of life,” emboldening support for his stance against integration. One of the state’s largest centennial events, the March, 1961, celebration of Mississippi’s secession from the Union, featured Barnett costumed as a Confederate general, marching at the head of several thousand similarly dressed “Mississippi Greys” in downtown Jackson. Tens of thousands of spectators roared to the sounds of “Dixie” and cheered the University of Mississippi’s half-block-long Confederate battle flag. In 1989, she recounted,
“You just cannot imagine the to-do that was going on. We wanted a lot of people to see the museum. It had been the big plan and it worked. Fourteen thousand people attended. And they were wild people; we had complete chaos. They hadn’t understood a museum at all. And they mainly said, “Where’s the bathroom?” And we lost a baby that day because there was a baby buggy with a baby in it that somebody noticed and then later they noticed the buggy, but the baby was not in it, a lot of peanuts were in it. Governor Barnett came and the elevator kept going up with him, but they wouldn’t stop to let him out. So, somebody remembered the buggy and the baby and Governor Barnett in the elevator, so when we found peanuts in the buggy and didn’t find the baby, we thought he was still in the elevator with Governor Barnett. I don’t know where he was, but he wasn’t dead. It was the wildest thing you’ve ever seen. I just wanted to kill myself.”
Though Charlotte toed the line in the state’s overblown celebration of the Confederacy, her personal political views were progressive, if not to say liberal, as Suzanne Marrs relates in her splendid Eudora Welty: A Biography:
“In February 1964 Robert Penn Warren paid a welcome visit. He was in Mississippi doing research for his book Who Speaks for the Negro? And one evening Eudora invited him to join her and Charlotte Capers for dinner. The three had a wonderful time; Warren reported that he “woke up the next morning with my stomach muscles sore from laughing.” Much of the laughter had been directed at former governor Ross Barnett. In November, Robert Penn Warren wrote Eudora for permission to use a fictionalized account of the evening he had spent with her and Charlotte (see above). He wanted to incorporate it in his book Who Speaks for the Negro? Eudora consulted Charlotte about the piece, and Charlotte was immediately opposed to its use, feeling that she would be easily recognized and that her criticism of Ross Barnett and Paul B. Johnson, Jr. would result in the loss of her job as director of MDAH. “I think,” Charlotte told Warren, “they would be reasonable in firing me when considering the use of the words: idiot, drooling, face like an old wash rag, ripped right open like a hog killing, and defective child, in connection with the chief executive and chief executive-to-be. Incidentally some of these expressions are not familiar to me.” Warren promptly replied “to hell with publishing it,” and the difficulty was resolved. Charlotte and Eudora’s dismay at the state of Mississippi politics was not.”
THE ARCHIVES & HISTORY BUILDING
Minutes of a meeting of the Board of Trustees of MDAH, held on July 25, 1963, include a plea from Capers to press for a new building. The Board unanimously adopted a resolution strongly recommending that $1,250,000 be made available to MDAH for the construction of “adequate, modern facilities to house the archives and records program of the State of Mississippi, and that these facilities be constructed in as close proximity to the State Historical Museum in the Old Capitol as possible.”
Little progress was made toward securing funds for the building until 1965, when Dr. R. A. McLemore recognized the opportunity of promoting a new archives building as part of Mississippi’s celebration of her Sesquicentennial of Statehood in 1967. Mr. William F. Winter, member of the executive committee of the Board of Trustees, drafted a bill calling for a new archives building as a permanent memorial to the Sesquicentennial of Statehood, but it never came out of committee. An Extraordinary Session of the Legislature was called on November 9, and Governor Paul B. Johnson, Jr. made a personal telephone call to Capers, asking the amount that would be required to construct an Archives building. Capers gave him the figure $1,250,000, which was the amount originally requested by the Board of Trustees. A few days after the Governor’s telephone call, the sum of $1,120,000 was provided for an Archives building in House Bill No. 7, Laws of Mississippi, 1966-1967 Extraordinary Session. This bill was signed into law by Governor Johnson on January 5, 1967.
Capers reported this belated triumph to the Board of Trustees at its January 13, 1967 meeting. On April 13, 1967, the State Building Commission appointed Overstreet, Ware and Lewis of Jackson architects for the project. E. J. Yelverton was executive secretary of the State Building Commission at the time. Mr. Joe Ware, partner in the Overstreet, Ware and Lewis firm, and Capers visited many archival establishments throughout the country to familiarize themselves with the special requirements of archival repositories, and put the plan for the new building which was eventually approved by the Board. (The design called for a largely windowless second floor, but Charlotte insisted an eastern window in the executive office so she could, “keep an eye on Rankin County.”)
It was not until February 6, 1969, that the matter of a site was finally settled. The State Building Commission again approved the Capitol Green site which had been approved by the Board of Trustees, the State Building Commission and the State Capitol Commission of the previous administration in 1967, and finally, four years after the Board of Trustees and the director began their drive for a new building, the stage was actually set for construction.
On November 6, 1969, bids on plans for the Archives and History Building were opened by the State Building Commission. Miss Capers, Dr. McLemore and Mr. Winter were present in the Woolfolk State Office Building auditorium when the bids were opened. Mid-State Construction Company, bidding on the plans of Ware Lewis Partnership, was low bidder with a base bid of $1,061,525, and a base bid plus alternates of $1,108,925. With the addition of architects’ fees, equipment, and contingencies, the total cost of the building came to $1,290,000.
On December 3, 1969, ground-breaking ceremonies were held on the site of the building. The ground was broken with souvenir shovels, each bearing a metal plate with the inscription, “Archives and History Building, December 3, 1969.” When Capers retired in April, 1983, the structure was renamed the Charlotte Capers Building.
THE GOVERNOR’S MANSION
Capers, director of MDAH since 1955, was reelected to a six-year term at the January, 1968) meeting of the MDAH Board of Trustees. But in May, 1969, she apparently decided she had had enough and informed the Board of her decision to resign from the directorship of the Department on July 1, 1969. Dr. R.A. McLemore, president of the board, said that the Board accepted Miss Capers’s resignation with “regret and appreciation for the distinguished contribution she has made in the State of Mississippi.” When she stepped down from the directorship, Capers was appointed to head the Department’s division of Information and Education, doubtless she anticipated a return to writing and editing. Instead she was named principal executive for the restoration of the Governor’s Mansion, a $2.7 million project begun in 1972.
By 1971, time again threatened the Mansion, which had been a focal point of Mississippi history for more than a century. Governor and Mrs. John Bell Williams moved out of the Mansion in July, 1971, on the advice of engineers who declared it unsafe. Mrs. Bill Waller, campaigning with her husband, said that if Bill Waller was elected, the Mansion would be restored. Waller was elected, and shortly after his inauguration in 1972 the State Building Commission appointed the Jackson architectural firm of Ware, Lewis, and Eaton (now styled Lewis Eaton Partnership, Inc.), as project architects for the restoration of the Governor’s Mansion.
Although MDAH had some responsibility for the Mansion under the Mississippi Antiquities Law of 1970, it was directly involved in the restoration only through a resolution of the State Building Commission, which asked the Board of Trustees of the Department to advise the project architects on the historical aspects of the restoration, and named Charlotte Capers as principal executive for the project. The Archives board recommended two consultants to the State Building Commission: Charles E. Peterson, architectural historian, restorationist and planner, best known for his Independence Hall restoration; and Edward Jason Jones, architect, interior designer, and consultant to the White House.
The restoration and reconstruction of the Governor’s Mansion was completed in May, 1975. Governor and Mrs. Waller opened it to the public on June 8, 1975. At that time Mrs. Waller accepted the National Historic Landmark designation from the U.S. Department of the Interior.
THE CAPERS PAPERS
When Dr. William McCain started The Journal of Mississippi History in 1939, then-stenographer Capers was made research and editorial assistant. She had still not abandoned ambitions to be a journalist. Between 1949 and 1961, Capers published fifty-two book reviews in The New York Times. Among the titles were The Secret Pilgrim, by Meridian, Miss. native, Edward Kimbrough (Oct. 30, 1949); The Insolent Breed, by Borden Deal, from Pontotoc, Miss. (Sept. 13, 1959); Tammy Tell Me True, by her fellow Millsaps College student, Cid Ricketts Sumner (Nov. 29, 1959); and two Louisiana novels, Victorine (Oct. 28, 1958) and The Chess Players (Jan. 22, 1961), by popular sentimental novelist Frances Parkinson Keyes. On Nov. 7, 1948, the Times also published a letter from Capers that begins, “Ask most New Yorkers what they know about Mississippi; even now they will answer, ‘Bilbo.’ The fact that a vital contribution to America’s literature is being made currently by this most-maligned state often goes unnoticed.” Capers introduces the Times readership to Elizabeth Spencer, Stark Young, David Donald, William Faulkner, Tennessee Williams, Hodding Carter, William Alexander Percy, Shelby Foote, Ben Wasson, James Street, and, of course, Eudora Welty. Capers wrote an additional forty-eight reviews for The New York Times Book Review. She also edited many books on the history of Mississippi and the South. She was editor-in-chief of the Journal of Mississippi History from 1956-1969, and wrote historical articles for Encyclopedia Britannica.
In a January 29, 1967, article in the Clarion-Ledger/Jackson Daily News, Louis Dollarhide wrote, “Charlotte Capers has made a very efficient and imaginative State Archivist. To her friends, she has always been one of the best raconteuses anywhere about. In recent issues of The Delta Review, we have been able to enjoy in print some of her best tales. The recent issue has another chapter in her odyssey. What we should expect of Charlotte is more and more writing.”
Friends had long encouraged her to publish some of her writings in a collection, which she did in 1982 with The Capers Papers contains the “Miss Quotes” essays that she wrote for The Jackson Daily News, Jackson Star-Times, and her “Good Life” pieces in The Delta Review. Her old friend Eudora Welty wrote the foreword:
CHARLOTTE CAPERS NEVER thought to collect her papers. Her colleagues in the Archives have now done it for her, making their choices from a large number that go back for several decades. Here they are for our delight.
We will all have to agree at once to this: they represent Charlotte but they cannot convey her. They weren’t written with that in mind, for they came about by circumstance. Many of them—some of the best, in fact-are samples of her warmly remembered Sunday newspaper column, “Miss Quote,” set down spontaneously in response to an occasion. The occasion would have been local; it might have been of public or personal import, might have been anything that flagged the author down as she came its way or it came hers. They were crowded by space limitations and pressed by the deadline, but they were tossed off with ease and speed. And they acutely reflected their day. They can still call it up, and remind us well that Charlotte Capers never missed a thing in the passing scene.
She’s such a part of it herself. Charlotte does a variety of things well and enthusiastically besides write. She’d rather rise up and dance than sit down and type. She favors the spontaneous, she enjoys the immediate response, the give-and-take of conversation, in which she is a virtuoso. Writing is something you do by yourself. This is the most serious strike against it, or Charlotte may jokingly let you think that; but in the judgment of another writer who has kept urging her on, she writes entirely too well not to take an honest satisfaction from doing it. When we read the collection here we want still more.
Most of these pieces were written to amuse, and they abundantly do so. If some of them are fleeting, so was, and so is, the passing scene. The point is that Charlotte caught something. Her perceptions are not only quick and bright but accurate and wise. She knows her world. She sees the social world we all move in with its history behind it, too, that built and shaped, and sometimes shadowed, our times. She is a viewer with perspective.
It is above all, though, the sense of people, of human nature and intractable human behavior that intrigues and stirs and delights her mind, and fairly often confirms her expectations. It’s the rest of us that set her off. Herself too she can take on as an equally qualified subject; her own adventures make her best pieces. Her writing might spring out of that sensitivity to human idiosyncrasy which very often brings about such a satisfactory evening of conversation between friends. (Southern conversation, as we know and practice it.)
They are wonderfully conversational, these flowing pieces. However, she makes it appear, the conversational style is not at all easy to get down on paper. Charlotte has mastered her style without seeming to try; this is characteristic of her. The Capers papers as in her character, is intuitive, receptive, hospitable, unpredictable but succinct.
To relish human nature (which is a talent all its own, you probably have to be born with it) is to pretty well know it, to be well-prepared and seasoned to its surprises and revelations. She applies the extravagant idiom, the outrageous now and then it offers her a reasonable amount of scope in a small column of type, and comes in generally handy for reporting what goes on here. Exaggeration is one of her splendid accomplishments. Just as a towering skyscraper can only be built on bed rock that goes deep and stands unquivering, to exaggerate as tellingly as Charlotte can, you need to be pretty firmly based in human truths.
These pieces vary in subject and mood and kind. But they convey in common a warmth of feeling you won’t fail to recognize as Charlotte’s own. In reading the Capers papers we hear the Capers voice.
The beautifully written “God and My Grandmother,” an essay given the full development it deserves, has the power to deeply stir us. “Pawley’s Island” is a sensitive and very special evocation of a place. The exemplary portrait of the “Tiny Tenant” is made up of one part clear eyed observation, one part headlong devotion, and no part whatever of sentimentality. You will decide which are your own favorites. In any case, the last piece, “Autumn Light,” an elegy of our state in 1954, is likely to remain a picture in all our minds, not fleeting but indelible.
CAPERS CANINES
In 1999, Patti Carr Black published The Capers Canines a series of essays Capers had written about her beloved dogs, with charming illustrations by Mack Hunter Cole. All of these animals were in their turn the stars of her anecdotes, but none more so than the inimitable Fred Friendly, the Dog Who Came to Dinner.
FRED’S CIRCLE WIDENS
By the time Fred had been with me about a year, he was an accepted and respected member of the neighborhood. He had an active social life. Mr. Birch, who took his devoted peeka-poo for a long walk every night, still stopped by to pick up Fred, who was waiting, alert, for his call. Fred unleashed ran interference for Joey when he was threatened by a larger and more unfriendly dog. Their walk lasted about thirty to forty-five minutes, and Fred always returned peacefully after a friendly good-night to Mr. Birch and Joey.
When I had company, Fred liked to be indoors, so that he could be as helpful as possible. He usually greeted guests enthusiastically at the door, to the consternation of some gentleman callers when he gave them unnecessarily close check-ups. However, this was a brief encounter, and when the guests were seated, Fred went from chair to chair inquiring with his large and protruding brown eyes as to their needs. Of course, he shook hands, all around, several times, and even sat up while shaking: to prove his true hospitality. He was such a natural host I would not have been entirely surprised to hear him inquire, in his deep and husky voice, “Can I get you anything?” So time went along, Fred and I grew older, and his popularity steadily increased. He routinely received Christmas presents from the neighbors, and he seemed to accept his role as my friend and defender. The smooth tenor of our ways was occasionally interrupted by his overnight stays at the dog pound, where he made friends readily. In fact, when I missed him, I knew exactly where he might be found. The keepers were always sad to see him go. I never retrieved him without a parting message from his captors: “He sure is a nice dog. I hate to see him go.” Fred evidenced his love for one and all, even after he had broken the law and paid the price for it, and always seemed glad to be home again.
About this time, however, Fred began to travel. 1 think it was because I began to travel, too, farther and farther away from our home place, like England, and even Italy and Greece. This would not have been possible if Fred and I had not been supported by a large circle of friends. My office staff assumed some responsibility for Fred, in that his collar proclaimed their telephone number. The neighborhood support group included the Culvers next door, who fed him; Ann down the street, who had agreed to receive his missing-in-action calls; and of course Mr. Birch and Joey, who still kept their appointments with him when possible.
When I returned from my first stay in London, they all had tales to tell. It seems that Fred’s travels during my absence suggested that this country dog with a mysterious past absorbed some love for culture during his life with my friends and me. I was told that my office received a call from the state office for continuing education, where it was reported that a friendly dog had scratched at the door, come in, and indicated an interest in the program. He doubtless shook hands, and they reported, “He is such a nice dog, we wanted to get him safely home.” So they called my office, and the Committee for the Preservation of Fred swung into action. Ann picked him up and returned him to our home, and all was quiet until the next call came. It was not long in coming. “Do you have a dog named Fred?” The affirmative answer brought the same comment made by the education people. “He surely is a nice dog. I am at Dr. X’s office. He’s a dentist, and we found Fred at the door when we came in. He is here in the office and we will keep him until you come.” It seems that Fred, being speechless, was not able to say why he was there, but I have to admit that his teeth were not in perfect occlusion. By this time no one at my office discounted the evidence that Fred may have had unusual powers. No matter, Fred was brought home again, amiable as ever, and there he was when I returned from my trip a few weeks later.
We rocked along as usual, and Fred seemed settled and glad for both of us to be home. He was help with company, a great topic of conversation, and good company when I was alone. I thought Fred had missed me too much, and had naturally traveled to find company.
On these first travels, his moves were to the South. For many years the Butcher Shop was our town’s best and most expensive meat market and delicatessen. During one of my summer absences, left in charge of my – and his – faithful friends, Fred checked it out. In his mysterious manner he made it through heavy traffic and across Lakeland Drive unscathed. My friend and neighbor on Berkley Drive received the call. “Do you have a dog named Fred?” was the question. On admitting some responsibility for Fred, my friend was told that he had arrived at the Butcher Shop, and that, though dogs were not welcomed there, “he is such a nice dog” that the owner had presented him with a large bone and escorted him to one of the apartments above the Butcher Shop, that overlooked Lakeland Drive. There on the balcony my friend found Fred, tied to the balcony rail, lounging lazily while chewing on the largest and meatiest bone she had ever seen. Fred was especially interested in the incessant flow of traffic east and west and was not especially interested in being rescued. Nonetheless, he took his capture in a gentlemanly manner and went on home, there to dream of his one-and-only adventure with east-west traffic and prime beef.
The first indication I had of a northerly instinct in him came when my neighbor Mary Brister went grocery shopping at Kroger’s, a supermarket located several miles from Berkley Drive. She reported that when she came out of the store, there was Fred at the door, gravely shaking hands with everyone who came or went. She recognized him at once, and she asked him if he wanted to come home. Without any hesitation he got into the car with her, and she deposited him on my doorstep, where he seemed content to be.
RETIREMENT
On Feb. 24, 1983, Gov. William F. Winter issued a proclamation that read, in part:
WHEREAS, Charlotte Capers, writer, editor, literary critic, historian, raconteur, and administrator is now retiring after her distinguished and productive career in state service;
NOW, THEREFORE I, William Forrest Winter, Governor of the State of Mississippi, hereby make known the high regard in which Charlotte Capers is held by the executive branch of government of the State of Mississippi by declaring Wednesday, the 30th day of March, 1983, as Charlotte Capers Day, and order all state agencies to observe the day in an appropriate manner.
Charlotte Capers retired on April 1, 1983. When she joined MDAH in 1938, she was one of three employees; in 1983, the department had grown to include 150 employees in six divisions. Charlotte Capers had been a part of every step of that development. The fact that she retired on April Fool’s Day did not escape the notice of her many friends.
DARK DECEMBER
Charlotte Capers died December 23, 1996. Services were held in St. Andrew’s Episcopal Church, where she was the first woman elected to the vestry in 1968. Survivors were her friends and adopted family Ann K. Morrison, William D. Morrison III, Barry K. Morrison and Charlotte Morrison. Pallbearers were John Allin, Cecil Heidelberg III, Sam Lane, Dale Lane, Robert Wise and Harry Weir. Burial was in Lakewood Memorial Cemetery.
Hemingway’s Twister: The Candlestick Tornado
On March 3, 1966, a supercell thunderstorm developed over central Mississippi and produced a large tornado around 4:00 pm CST near the old Adams community in Hinds County, several miles south-southwest of Raymond.
Tracking generally to the northeast, the tornado moved through mostly rural areas, though several barns and a few homes were heavily damaged. Around 4:30 pm CST, the storm struck the southern limits of Jackson as an F4 or F5 tornado and leveled the Candlestick Park shopping center, which gave the tornado its name; cinder-blocks from the structure were scattered for long distances, a number of homes and businesses were destroyed, eyewitnesses reported pavement scouring and a few cars were tossed upwards of 0.5 mi (0.80 km). A brick church was destroyed with such force that it seemingly exploded. Once the storm moved through Jackson, it crossed the Pearl River and entered Rankin County, maintaining a nearly straight northeastward track through the county.
The tornado reached its maximum strength of F5 near the Leesburg community; multiple homes were swept away, large swaths of trees were leveled, pavement was scoured, and chicken houses were obliterated. In Neshoba County the storm began to weaken though not considerably as about a dozen more homes were destroyed before the system crossed into Alabama. The tornado finally dissipated near the city of Tuscaloosa around 7:45 p.m. CST. During the storm’s three-hour-and-forty-five-minute existence, it traveled roughly 202.5 mi (325.9 km), one of the longest paths ever recorded.
The Candlestick tornado touched down in what was in 1966 rural Rankin County, which like the area around Cooper Road is more heavily populated today. The tornado crossed Highway 25 (Lakeland Drive), and homes and businesses in the area around River Oaks, the north side of Jackson International Airport, Laurel Wood and Castlewoods lie in or very near where the tornado passed. The storm was also going through the Jackson metropolitan area between 430 pm and 5 pm, during the afternoon rush hour. In 1966, the interstate system was in the process of being constructed, but today the tornado would have been moving near the Stack just south of downtown Jackson where Interstates 20 and 55 converge. The tornado would have also been passing near or through the heavily trafficked areas along Highway 80, Flowood Drive and Lakeland Drive in Flowood.
The tornado’s story is told by Lorian Hemingway in her book, A World Turned Over: A Killer Tornado and the Lives It Changed Forever (Simon & Schuster; July, 2003). Hemingway, the granddaughter of novelist Ernest Hemingway (the daughter of Hemingway’s youngest son, Gregory, who left his wife and eight children when Lorian, the youngest, was 6 years old), moved to Jackson with her mother and stepfather into a house fifty yards north of Candlestick Shopping Center some years before the storm and moved to Nashville a month before the tornado hit, but in an interview after the book’s publication said the tornado, “… wouldn’t let me alone. I was haunted by it. I’ve been haunted by it all my life; I’ve been haunted by it in dreams. Each time I would go back to Mississippi — and I did not go back until I was well into my adult life — just by happenstance, just sitting around and hearing people talk, that tornado would come up. Not through any provocation of mine. I was amazed to see how much it had lived on and how much it had impacted people and become a part of their history.”
Hemingway’s book takes us back to Jackson with interviews of friends and neighbors. Included are the stories of Ronny Hannis, who was severely injured but helped dig survivors from the rubble, and Donna Durr, who was sitting in her Volkswagen with her child and was carried away in the air, only to be gently set down in a field. As you might expect, there are plenty of people who talk of God and their belief that there was a plan to nature’s savagery. Hemingway, who shares her contrary thoughts with the reader, brings a sophisticated yet sympathetic tone to the conversations, never passing judgment. In fact, she seems desperate to reconnect with the people who made Jackson seem like home for her. Her style is radically different from that of her grandfather’s; the story is told in fully-rounded sentences often brimming with emotion, and the descriptions of the area around Caney Creek along Cooper Road seem pastoral.
She tells the story in her own words and those of other survivors. Weaving childhood nostalgia with apocalyptic images of that world “rolled onto a spear, of the sky punctured at its heart,” Hemingway draws the reader into the nightmare, describing the moments preceding the tornado and the instant when everything was turned upside down. Hemingway describes how a familiar setting is suddenly turned into a morass of shattered concrete, twisted metal, splintered glass, mangled cars and broken bodies and how everyone walks and speaks “with reverence because what is heaving and bending at jagged turns all around them is a burial ground they must undo.”
Even after Candlestick Shopping Center was rebuilt, local residents stayed away. They couldn’t bear to remember.
Mrs. Horrell’s Paperwhites
For many years I walked from my home on Poplar Avenue in Jackson, Mississippi down North Street to the Welty Library.
North Street is broad and level, making for an easy, leisurely walk. Long ago, the way was lined with splendid homes, but in my last year in Jackson, the only private residence on the street, a modest, sturdy, two-story cottage built in 1923, belonged to the Horrells’. When last I passed by a “For Sale” sign was planted in the front yard, where long before, Mrs. Horrell had planted masses of narcissus.
Warmed by a broad western lawn, her paperwhites were among the earliest in the city to bloom, coaxed out of the ground by the toddling sun of mid-winter. She also had clumps of old daffodils, a of beautiful swath of blue-and-violet bearded irises, and a row of gnarled, ancient rosemarys that filled the air with scent and the eye with points of powder blue in the warming winds. Mrs. Horrell once told me the narcissus lining front walk came from her grandmother.
The area has been zoned commercial, so once the property is sold, the house might be razed, and the in-place plantings will most likely be lost. Developers’ architects view landscaping as ancillary or incidental, and plantings in-place are expendable. New developments in old neighborhoods obliterate yards that helped define the character and delineate the history a neighborhood.
Yet place, too, has a memory, and you can still find old plantings struggling throughout the city. One November, many years ago, we freed an old street corner of choking vines, weeds, and rotting wood. In March, clumps of the old double daffodil, ‘Butter and Eggs,’ came barreling out of the Yazoo clay.
Ars Voces: Thomas Wilson
I was always interested in art, but it wasn’t until 2000, when I was in my mid-thirties that I began going to galleries and taking a serious interest in painting. When I was living in Monroe, La., a local college was offering a painting class through their community enrichment program, so I signed up for a course, six hour-long sessions, and I became hooked at that point. I completed one painting in that course, and after that put it down for a while. Not long after that I was driving through my neighborhood there and saw an easel set up in a window. I found out a lady was teaching a class there, so I took that. We painted from photographs of old masters and I didn’t like painting from a photograph even back then. I learned how to mix paints, some composition, and basic things.
Shortly after that, I moved back to Jackson, this was 2007, I was painting on my own, improving basically by trial and error, still painting from images and still life, but I wanted to be legit, I didn’t want to be just basically copying somebody else. My uncle, who had taken art from Bob Tompkins, saw my paintings and said I should go see Tompkins. He was very helpful; he just didn’t go as far as I wanted to go. I wanted to paint the landscape. I asked him about that once, and he said that he was a studio painter.
But I wanted to paint outside; the artists I was drawn to painted on location from life. So I took a workshop from Roger Dale Brown in Nashville, who is a very well-known plein air painter, and I learned a ton from him about painting outside. After that, I struck out on my own and simply painted what I saw. My still lifes were very tight, very realistic; but when you’re painting outside, you don’t have a lot of time to fuss around because you only have like an hour or an hour and a half before the light changes. The painting of Fenian’s was different for me. I wanted to try painting at night, which has never really worked out well, but I was riding around, saw the rain, found a good place to stand, and really the subject isn’t so much Fenian’s as it is the atmosphere, the feel of the street, the clouds, the telephone poles.
The one in Vicksburg is different because it’s earlier in the day than I usually paint; I rarely paint in the middle of the day. It was also cloudy, and I couldn’t find a sunny spot to paint, and I like to paint when there’s a lot of sun. I like light and dark and shadow. I wanted to paint with the sky as the subject, the main part of the painting. The sun had come out a bit, but the light wasn’t as intense as what I normally paint. I visited Wyatt Waters recently, and I asked him about painting things that don’t really inspire me. I asked him if he had a hard time finding something to paint when he’s not inspired, and he said, “Inspiration is for amateurs; you’ve got to get out there and start painting and the inspiration will come.” So I’ve been trying to make myself paint even when I’m really uninspired.
When I moved to Belhaven, I wasn’t impressed and thought about leaving, but I kept putting it off. Then I started painting outside, and I fell in love with it. When I first moved here, I was thinking I simply wanted to paint landscapes. I didn’t want any man-made structures in a painting. I wanted it to look like an old master painting with nothing modern in it at all. There’s a dictum in art about not painting anything that’s beautiful, that you really can’t improve on it, and I think there’s something to that. I like stuff that’s funky and gritty. Now I really don’t want to paint anything unless it has a city street or a sidewalk or a telephone pole in it. It all kind of came together moving here. Being immersed in a locale, you see more.
I’m not much for change, and I’ve stuck with the same basic palette Bob Tompkins taught me; I even still set it up the same way he showed me. But Jarrod Partridge was a big help to me developing my palette because he studied under the colorists, like a of Mississippi painters. Sammy Britt, Richard Kelso, John Pat Marbury all studied under Henry Hensche, whose lineage goes back to William Merritt Chase. Jarrod helped me with my color, and I need good color because I want to make beautiful paintings, but still the most important elements to me are the light and dark, the contrast. I think someone would say I’m a tonalist, working with light and dark. I’ve heard it said that if the light and dark are correct, that the colors will work no matter what they are, but I consider myself just someone who paints what he sees.
Eudora’s Jitney
“Guess who I saw at the Jitney today?”
Depending on the compendium of time it could have been Eudora Welty, Willie Morris’ grandmother, Marie Hull, James Canizaro, Mrs. Fred Sullins, Mrs. R.E. Kennington, Betty Edwards, or my mother who shared the aisles with them all.
Since around 1930, Jitney Jungle 14 has been a fixture in Jackson, Mississippi’s Belhaven neighborhood, providing food, conviviality, and a hub of small town news to those who shared its aisles on Fortification. While the Jitney served the culinary needs of a diversity of incomes and interests it was the equal servant of all. The price of eggs was always the same for everyone. This article will be primarily about Jitney 14 but in the course of its journey we will learn a few things about its famous corporation, early Jackson and two of its foremost families. Settle back, pour yourself a cup of Jungle Queen Coffee and enjoy shopping the aisles of our history at the Jitney.
There could have been no “14” if there had not been a “1”. That “1” was born April 19, 1919, the dream of three young men whose fortunes lay ahead of them in the risk and rewards of yesterday’s America where a man could fail and rise again to prominence and success with God’s help and a good plan. Such was the destiny of Judson McCarty Holman, William Henry Holman and William Bonner McCarty, the fathers of the little store where you could “Save a nickel on a quarter.”
A Bit of Family History
W.B. McCarty and Jud and Henry Holman were cousins who first operated a store together in September 1912, on the southwest corner of Adelle and Grayson (N. Lamar) Streets in north Jackson. Each of the cousins put up a third of the start-up cost. This business had relocated from a block north at the corner of Grayson and McTyere Streets which was torn down to build houses for the McCarty sub-division. That store was operated by W.B. McCarty, Sr. and Jud Holman and A.N. Brannon worked for him. It was a cash and carry store and had initially been operated by W.B. McCarty’s father W.H. McCarty and located in the 1200 block of N. West Street near Millsaps. It was called Jackson Mercantile Company, the name given to it by Mr. W.H. McCarty, its founder.
W.H. McCarty had moved his family to Jackson in 1905 after operating the McCarty Store in Hemingway, Mississippi in Carroll County. Jud Holman came to Jackson in 1907 after working in the grocery business for Greenwood Grocery in Greenwood and began work with W.H. McCarty in his Jackson Mercantile Store along with Anthony N. Brannan. W.H. McCarty died in 1909. W.H. Holman came to Jackson in 1910 and worked for Mississippi Motors in Jackson, run by Joe Coffee McCarty, bother of Will McCarty, until Holman and McCarty joined together in Jackson Mercantile. When Will McCarty and Jud Holman opened the first Jitney Jungle #6 on East Capitol Street in April 1919, W.H. Holman was in France during the end of WWI. He returned to Jackson in June 1919 and helped his two cousins proceed to convert their other stores from credit to cash and carry and self service with the Jitney Jungle name since that first self service store was doing more business than all the other five McCarty/Holman stores combined.
Mr. W.B. McCarty attended law school at Ole Miss in the early Jitney days and returned to continue with the operation and growth of the stores with his Holman cousins. His legal acumen came in handy with an early patent infringement suit which the Jitney stores won. Mr. W.B. McCarty continued to franchise grocery stores in those days in addition to being heavily involved in the chain’s wholesale and retail operations. In his later years, Mr. McCarty would continue to go to his office checking on sales volume as well as the back storeroom doors to be sure they were always locked or attended. Never would a Jitney store manager or worker leave the back door open lest a theft might occur. The Junior Food Mart convenience store company, JFM, Inc. is still in business today and operated by H. Russell McCarty. It had its beginnings in the supermarket franchising that W.B. McCarty started and W.B. McCarty, Jr. continued until his death in 2001. (1) A railroad strike in 1916, left credit customers in such a bind the founders decided to quit the credit business. Business improved and a second store was opened on South Gallatin Street and the McCarty Holman Store chain rapidly grew to seven including stores in Greenwood and Canton. (2)
The First Jitney
The first Jitney Jungle store was opened April 19, 1919 at 423 E. Capitol Street. A photo provided by Bill McCarty, III, grandson of co-founder William Bonner McCarty, shows the store’s interior as an open front surrounded by shelves alongside walls containing canned goods and other non-perishables. In the foreground was a glass case of tobacco products and sundries and in the rear a meat counter with glass bins displaying produce on beds of crushed ice. The prices were interesting. Bacon was 34¢/lb., salt jowls 15¢, veal steak 17¢, meat loaf 19¢ and baby beef roast 22¢. The manager was A.N. Brannon. (3)
How did Jitney get its name? According to Mr. Will McCarty, at the end of the First World War, returning soldiers would buy an old car for riding about town. They called it a “jitney”. The term “jitney” was slang for a London taxi cab and became jargon in the states for a nickel, the cost for a downtown cab ride.
Back when the establishments were McCarty-Holman Stores, it was the habit of Chancellor V.J. Stricker, who lived just up Adelle Street, to invite the three young merchants, who were living in a nearby boarding house, to his home for Sunday dinner. Mrs. Josephine Bailey’s boarding house at 343 Adelle, could be a dark and foreboding place. Mr. Will relates there was only one light bulb in the entire house and tenants would “borrow” it and pass it around from room to room. One Sunday the boys told the judge they were considering a strictly cash and carry business which would save the customer 20¢ on the dollar over their deliveries. Cash and carry could thus save “a nickel on a quarter.” The merchants asked Judge Stricker to suggest a new name for their stores. Since a cab ride to town cost a nickel, the term “jitney” became popular and it was customary for patrons to shop with “nickels jingling in their pockets.” Judge Stricker suggested the name “Jitney Jingle” but McCarty made a variation when he observed that a wide variation of stock in the new stores would make the store itself “look like a jungle of values.” The name stuck. (1)(2)
1920’s-30’s
Throughout the 1920’s, the owners added a number of stores, each with its own numerical designation which changed over the years. According to the 1930 Jackson City Directory, Jitneys were listed as:
No. 1 – 400 E. Capitol
No. 2 – 1077 S. Gallatin
No. 3 – 121 W. Pearl
No. 4 – 2908 W. Capitol
No. 5 – 209 S. State
No. 6 – 423 E. Capitol (formerly No. 1)
No. 7 – N. State and Fondren Ave.
No. 8 – 412 W. Capitol
No. 9 – 719 N. Gallatin (later 1209 N. State)
No. 10 – 146 N. Farish
No. 11 – 167 E. Capitol
No. 12 – 850 W. Capitol
No. 13 – 1241 N. West
This brings us to the birth of Jitney 14, which, according to the 1930 Directory, existed at that time. The listing contained the 904 E. Fortification Street address, a telephone number (9119) and a manager, Charles Alford. It is conjectured that the original store was small and became a “super store” some four years later. (4) Mrs. Betty McCarty Edwards, daughter of co-founder William B. McCarty, can remember when the new Jitney was just a hole in the ground. “My father had bought some cheap land around the Jefferson-Fortification Street corridor for investment. When the 1930 store was in its planning stage he offered to buy some fill dirt from a local vender. Mr. McCarty thought the price was too high and demurred. After a time the vendor went to him and said, ‘Just let me dump some of my dirt in that hole. No charge.’” Mrs. Edwards’s memories reflect back to when her brother (W.B. McCarty, Jr.) ran a Christmas fireworks stand as a youngster in front of one of the stores fronting Fortification. “He did well,” she said, “but would come home so cold on those December days he would question the wisdom of early entrepreneurship.
The new Super Jitney made a special point of catering to women. According to Mrs. Edwards, when you entered the store there was a platform area to the left for the ladies to sit and visit before they shopped. “There was a woman who taught knitting and the ladies would knit or read as they visited. It even had the first restroom for ladies in a Jackson grocery store. There were also chairs for children to sit in but keeping them still in those seats could be a problem.” There were “Jitney dresses” for sale at all store outlets. “They were not made by Jitney,” Mrs. Edwards says. “They were ‘house dresses’ as slacks were not in vogue at the time. They were good sellers but of course, no two were alike!”
As the business grew, however, more space was needed to display groceries and in time the ladies area was discontinued. (5)(6) Mrs. Edwards grew up in the Belhaven area living first on State Street at Manship, where the new Baptist Hospital building is being constructed, then moving with her family to St. Ann. Later the family moved to the Council Circle area. In the early years of her marriage while still living in Belhaven, Mrs. Edwards and her husband would walk to the store and shop. Few had cars during the war. She would bring home the perishables and her husband would bring the other groceries when he came home from work. (6)
The formal grand opening of “The New Super Jitney-Jungle Store” took place on Friday, November 10, 1933, when according to articles in the Jackson Clarion-Ledger of that year, “Jacksonians gave a hearty welcome to the newest addition to stores of the city Friday and Saturday when thousands of persons visited the new Super Jitney-Jungle at the corner of East Fortification and North Jefferson streets.” (7) (8) Back then 14 was known to the neighborhood as the “Big Jitney” and No. 9 on North State, the “Little Jitney”. 14’s manager was Charles Alford who got his start at the first store in 1919.
Mr. Alford brooked no sloppy doings. Clerks were dressed down for failure to dress up. Ties were compulsory. Alford, however, did have a sense of humor as related in Henry Holman, Jr.’s publication “Save a Nickel on a Quarter”. According to Alford, the store butcher waited on a customer late one Saturday evening who had come in to buy a chicken. The butcher reached into his case and brought out his last chicken. He showed it to the lady but she wanted to see a larger one. He put the chicken back in the case, bent over, moved his arms about, rattled the ice a little – as if looking for the right sized one – and ceremoniously came up with the same chicken. The customer replied with a satisfied smile: ‘Yes, that one is just fine. I’ll take them both.’” Oops! (5)
The new Super Jitney was a honey. Bill McCarty, III’s photo shows it facing two-lane Fortification with red and green awnings, tile roof and a glass front through which the shopper could see fresh fruit and vegetables displayed. The interior consisted of wooden floors, school room lighting and aisles of shelving. It contained a bakery, a refrigerated meat counter and a glass delicatessen. It became only the second grocery store in the United States and the first in Mississippi, to have air conditioning.
Its Tudor Revival style was designed by neighborhood architect Emmett Hull and contained only the grocery and the new Price Cain Drugstore at the Jefferson & Fortification corner. There was a small area for angular parking in front of the building and a loading dock and parking area around the corner on Jefferson. Belhaven was a rapidly growing neighborhood and shoppers came from throughout the area to see the new store which featured specialty items and select cuts of meat. (4)(9)
The Jitney chain had expanded rapidly throughout the “roaring twenties”, but by 1930, the Great Depression was beginning to take hold. On a typical Saturday you might drive your new $495, Ford coupe to the Jitney to shop. As you walked the aisles with your grocery basket you would notice green beans, three cans for 25¢; Wesson oil, 49¢ a quart; lemons, 12 for 20¢; cigarettes, 15¢ pack; roast beef, 19¢ lb.; bacon, 26¢ lb.; eggs, 25¢ dozen; lettuce, two heads for 15¢; sugar, 10 lbs. for 50¢; light bulbs, 20¢; fresh salmon, 29¢ lb.; mayonnaise, 29¢ pint; flour, 12 lbs. for 12¢; fryers, 35¢ lb.; Irish potatoes, 4 lb. bag, 55¢; and house coffee, 19¢ lb.
Most of these items you would carry home and place in your brand new $33.95 Ward’s refrigerator. (10) Refrigeration was just coming into play in the early 1930’s. Most people still had iceboxes. Meat was displayed in coolers on crushed ice and fresh fruits and vegetables, usually purchased from street vendors, went quickly early in the day. “Are the greens really fresh,” a housewife would keenly inquire of the store vendor in his white apron. “Yes ma’m,” he would respond. “Always.”
A trip to Jitney 14 was always a special event for the family shopper. An ad in the August 2, 1930 Clarion-Ledger announced “Your Jitney Jungle is arranged so that you can shop from front to back and from side to side without taking unnecessary steps. Your Jitney Jungle fixture arrangement not only provides a one-third more merchandise space than any other fixture plans in the world but is the most convenient. By shopping at Jitney Jungle you ‘save a nickel on a quarter’ on your grocery budget and many steps.” It was obvious these grocery stores were far ahead of their time. (11)
The 1940’s
In 1941, Jitney Jungle 14 underwent its first expansion, enlarging eastward to include space for several small businesses. By 1942, the original grocery and adjacent drugstore had added the Beauty Lounge, Marjorie’s Shop (notions) and Snow White Cleaners. It took on the name English Village after its Tutor design. America was at war and throughout the early 1940’s, food items were scarce and rationed and neighbors pulled together and shared what they had. No one minded the sacrifice for their country and its sons overseas. On occasion there were vacancies in the store fronts and Mr. McCarty would let the Junior Red Cross use an empty space rent free to pack boxes to send to the Europeans after World War II. (4) (1)
Henry Holman, Jr. relates this story of an event at Jitney 14 during the days of food rationing. “On a certain April Fool Day, my father had one of the office force impersonate an O.P.A. investigator (rationing enforcer), who telephoned, of all people, the personable switch board operator at the store to find out why she had been getting extra sugar stamps. Since it was strawberry season, she impulsively implied it was to can strawberries – a fruit she and her family never ate! A few moments later father had the ‘investigator’ call back and say he was coming by her house that afternoon to check on her canning. Immediately she scrambled to the warehouse and bought a whole crate of strawberries, then came by to ask my straight-faced father for permission to rush home and can the fruit.” (5)
My own memories of rationing were going to the store with my mother. She would hand me a ration book with pages filled with stamps and instruct me “Billy, tear out half a sheet of tanks and a third sheet of planes.” Regardless of how much money a person had to spend, they had to produce these stamps for sugar and coffee when they were available and a host of other scarce items. Soft drinks such as Coke, Grapette soda, Orange Crush and Royal Crown Cola (twice as much drink for a “jitney”)- like bubble gum and comic books – were mostly unavailable until after war’s end in 1945. There were red meat points for steak or bacon and blue points for canned goods. Tokens, worth a fraction of a penny, were used to “make change” for sales tax. Sometimes the most respectable ladies would don an old cloth coat and slip across the Woodrow Wilson bridge off South Jefferson and into the Gold Coast where black market items such as bobby pins and local beef were available without a ration book. Few questions were asked. A lot of commerce over the years has been done “across the river”.
I learned to shop at Jitney 14. I used to swing on its wooden turnstiles when I didn’t weigh quite as much as I do now. I was sent down one aisle for a five cent box of salt and another for ten cents worth of baking soda. I learned the brand names of foods and how beef and poultry were weighed. I looked for cookies and ice cream cones at Cain’s and helped carry grocery bags to our neighbor’s car since we did not have one. Later on, when I was a bit older, us neighborhood kids hung out near the freight dock on Jefferson. Mr. Elliott and his staff would unload oranges and apples and lettuce and onions and throw the boxes, crates and sacks out the back door for trash pickup. The orange crates were the prize catch. Made of sturdy wood, they had a divider in the middle. We would grab a couple, take them home, stand them on end and connect them with a board. The consummate lemonade stand was born with a shelf on either side for the cash register and the lemons. Profits were spent on Hershey bars and milkshakes at the drugstore. Our mothers loved the apple crates which were used as storage boxes and ideal for new bedding plants in the spring. Of course the lemons, sugar, paper cups and straws all came from inside the store where the high lights and lesser lights came and went. All were on a mission of their own, delighting in the plethora of food and furnishings made available at war’s end. Grand times!
Us kids, however, were only familiar with the outside of the dock area. Mrs. Betty Edwards’ son Steve, who began as a bagboy at “14” knew it as an assistant store manager from the inside out. “The only unusual feature of Jitney 14,” he said, “was the tiny back room area. When the trucks came in, many of the cases of fast moving large items, such as toilet tissue or seasonal extra goods were sent by a conveyer belt to the dark cavern beneath. It was the most challenging storage room of any store in the company except the Jitney in Philadelphia, MS., regarding truck unloading, dock area and storage.” (12) Since all our readers know by now there is or was a ghost in most of Belhaven’s early digs, this one might have lived in the stock room.
Belhaven, from time to time, has been the haunts of several ghosts – most of them good. Rumor has it one lives in the water fountain at Laurel Street Park. One of these days we are going to have to look further into the adventures of these elusive creatures. Throughout the 1940’s and 50’s and into the 60’s, “the Jitney” was the neighborhood’s hub of commerce. And oh, the stories; some not always verified but all, of course, true.
One of the primary ways a young boy could make a little pocket money was to be a bag boy at a local grocery store. It didn’t pay much and was hard work, but rewarding back in the times of self-reliance and personal responsibility. Such a bagboy was Coleman Lowery who, as told by his daughter Maggie, “From the summer of 1946, when I was in the 8th grade at Bailey Junior High School, until the spring of 1951, when I graduated from Central High School, I was a package boy at Jitney 14 where Miss Eudora Welty was a regular customer.
She tipped the package boys a dime. We were making thirty cents an hour – so we fought over the ladies who tipped. Mrs. Fred Sullins and Mrs. Robert Kennington tipped a quarter! Sometimes Miss Welty did as well. “In the fall of 1951, I entered Vanderbilt University, where I graduated in 1955, and that fall in my freshman English class we read ‘Why I Live at the P.O.’ During the discussion that followed I raised my hand and said ‘I know Eudora Welty. I carried her packages at the grocery store at home.” And just to think, Miss Welty could have written “Why I shopped at Jitney 14”. (13) Perhaps someday a manuscript will be found!
Being a package boy was many a youngster’s first introduction into the business world. Both Henry Holman, Jr. and Bill McCarty, Jr. served in this capacity as they learned from the ground up the intricacies of their family business. Store manager Alford once said “All young men in Jackson should start out carrying packages for Jitney.” The Jitney Jungles back in the 1960’s published a little handbook which was given to all the newly hired boys. It began with a mission statement “The purpose of this manual is to show you in step by step fashion, what you should do to be successful in your Jitney Jungle job, and what the store needs and expects of you as one of its important employees.” (14)(5)
The manual goes on to outline instructions on neatness, promptness, making sensible decisions, care and packaging of the grocery product, courtesy and thoughtfulness and always leaving the customer with the comment “come back again and bring a friend.” It concludes “We welcome you into the organization. We hope you will like playing on the Jitney-Jungle team. The game is just beginning. We’d like to see you become a seasoned star – a veteran…you can – and will – if you do your best.” (14) What wonderful lessons for a 14-year-old boy to learn and practice. What good advice on which to enter the professional world.
Writer Willie Morris grew up in Yazoo City. He didn’t get down to Jackson often but many times when he did he visited his grandparents Mr. and Mrs. Percy Weaks who lived at 1017 N. Jefferson Street. The house left the tax rolls in 1968 and the home site has been a vacant lot since. A Tote-Sum Store once sat at the corner with Fortification with a loading area in the rear. Bill McCarty, III remembers as a child an artificial limb maker behind the Tote-Sum and several times going by with his dad at night and seeing prosthetic legs or arms reaching skyward from a pile outside. “That certainly terrified us!” Just north along the sidewalk a small, battle – scarred magnolia remains on which, according to Joanne Prichard Morris, Willie once carved his initials – but time has removed them. Willie Morris was familiar with Eudora’s Jitney. (1)(15)
Writing in his book “Homecomings” in the 1989 article A Return to Christmas Gone, the author tells of his purchase of a half dozen roses in Oxford and brought with him to the gravesites and former homes of his antecedents, the last of whom lived in Belhaven. “I retrace the Christmas journey – down Woodrow Wilson, right on North State Street past Millsaps, left on Fortification to Jefferson….My grandparents’ house is no longer there, long since a parking lot near the Jitney Jungle across the street. The magnolia is still in front, but where the house was is grim, bare asphalt, cold and wet now from the rain. ….Mamie and Percy, Maggie and Susie would be greeting us now, just beyond the magnolia where the front porch was. I close my eyes and hear their happy welcomes. Old Skip has raced beneath their feet into the house in search of turkey livers, and my great-aunts follow in their flowing black dresses.
“I stand in the parking lot where the parlor was. I feel the ripple of the lost voices. I drift back into the kitchen. Time, as one ages, is a continuum. Past and present consume themselves into the ashes. There is no good place for the last two roses. I put them on the asphalt where the dining room table was. Tomorrow someone will run over them in the parking lot. But who would disturb them today?” (16)
1960’s – 80’s
As the years approached the 1960’s, another expansion of English Village and Jitney 14 was underway. It was a massive undertaking of space increment and modernization. New businesses were Pridgens Florist, Collins Barber Shop, and the Beauty Lounge to accompany the older establishments. Cain’s had given way to Parkin’s. Other enterprises that have occupied English Village over the years included the Automatic Laundry Services (washeteria), Neal’s Barber Shop, Ben Franklin Hardware, Southern Pulmonary Clinic, the ABC Coin Laundry, the Village Inn & Pub and now Basil’s. (4) [Basil’s went out of business in early 2014, and a new restaurant, owned by Louis LaRose, is scheduled to open soon.jly] A new and enlarged parking lot was constructed to accommodate growing patronage. A major feature was a complete and enlarged bakery at the front of the store. The pungent odors of fresh bread, cookies, pies and cakes wafted through the store attracting shoppers like a magnet to the freshness and taste sensations of these delicacies.
A photo provided by Bill McCarty, III depicts modern floors and lighting, wider aisles, shelving throughout the store, frozen food cabinets, an up-to-date refrigerated meat market, two turnstiles, six efficient checkout lanes with new calculators and scales and a lunch counter near the front of the store. As a young man, Bill cut his Jitney teeth here. He tells of when he first went to work to learn the shelf stocking end of the business. “Wooden floors were under newer tile throughout the store. One of my jobs was to do shelving on the sales floor. When I stocked the orange juice, I had to put my foot beside one wheel of the cart as I loaded juice into the retail case or else the cart would roll across the aisle. This was simply the result of the wooden floor’s old age. The eastern most addition to Jitney 14, when the entrance was moved to that side from Fortification Street had concrete sub flooring throughout.
“One clear memory was the kitchen directly behind the former Fortification Street entrance where Mrs. Pitts, the deli manager, and the ladies who had cooked there for so many years used a gas burner as part of the stove to cook icings and other bakery items. I once tried to change her brand of flour but after being told that she only cooked with one brand, I went to buy that flour at the best price I could get since I knew I was not going to change her wonderful ways. Mrs. Pitts, who catered many a reception and social event with her great recipes, also had a hand in starting the development of the delicious pimento cheese still available for purchase in McDade’s deli.
“Extra thin sliced bread was so popular we spent hours preparing it on a noisy cast iron slicing machine that was in action every time I went into the kitchen. My personal favorite was the Old Fashioned bread in the wide loaf, one of six sandwich bread items baked in the Mill Street bakery. It came in a white bag with the logo printed on it and tasted much like real homemade. During the Christmas holidays we had red and green and other colors for each holiday that followed designed to compliment party sandwiches requested by our customers. You could just about tell the holiday by the color of the bread. In addition to governors, mayors, lawyers, legislators, doctors and everyone else in town, I vividly remember Eudora Welty coming by and talking with me as I stocked shelves or ran a checkout stand. Frank Haines (former Jackson Daily News entertainment editor) asked me when we were going to get a supply of George Washington Seasoning, so I ordered some for him. One item Jitney 14 always stocked was the small glass jar of Smithfield Deviled Ham spread. I learned to love it in 1972 and special ordered it for myself until it was recently discontinued by the distributor. I remember Mrs. Noone, an elderly lady from up around Madison Street with an Australian accent who came by every day to buy Ryvita Wafers for herself and a small bag of litter and a bit of liver for her 14-year-old cat. ‘The liver had to be tender,’ she told me, ‘or my cat will not eat it.’ On occasion she returned it the next day for more tenderization.
“I recall the Jefferson Street side entrance to Parkin’s Drugstore and going in to their soda fountain as a child where I either had a banana split or chocolate malt.” (1) How many young fellows in the Belhaven neighborhood running barefoot along the hot sidewalks of summer must have done the same.”
Jitney 14 was an icon, attracting patrons from throughout the Jackson metro area and beyond. The pace was quick, the new computerized checkout stands crowded and the clerks challenged with the need for speed and accuracy. One in particular caught the attention and love of many customers: Johanna Wade. Johanna, a native of Amsterdam, the Netherlands, was a 16-year veteran of Jitney 14 when she appeared in a local newspaper article. She was a popular favorite of Jitney shoppers and as the head checker knew many on a first name basis. “I know them by name,” she told the reporter. “I know their children. I like the people. I’ve got lots of friends here in the neighborhood. They’ve always been real good to me.” This goodness came through in 1986 when her husband died. They invited her over for the holidays to relieve her loneliness and they were happy to share their family day with her. When her parents died in 1988, and she made two trips to Holland in a week, customers expressed their sympathy by helping send her. “I came back and it was all in the office- money, checks, everything.” Then store manager Sam Holley called her not only an asset to the store “but to the entire neighborhood.” Such are the rewards of a friendly smile, accommodation and knowing the rhythms of Belhaven. (17)
The 90’s
Eudora’s Jitney rolled into the 90’s with a full head of steam. The company had expanded to hundreds of stores throughout the southeastern United States. Bill McCarty III reports that “business was brisk and by 1994 the Jitney-Jungle chain had expanded to 105 stores in six states and annual sales exceeded a billion dollars. That large volume continued to produce a profit for the company through hard work and efficiency.
“Beginning in 1987, the Jitney 14 structure was completely rebuilt from the inside out with the entire building being replaced except the exterior brick facades and walls along Fortification and Jefferson Streets and the north walls and east main entrance. This preserved the historic character of brick, tile and copper exterior with big improvements to the 30,000 square foot store. The store remained open during this period and the grand reopening was October 8, 1988. Parkins Drug Store was relocated to the structure occupied by Basil’s Restaurant today.” [See note above, jly](1)
The 21st Century
Times change; new generations take over and old ways are altered by current need and circumstance. The sale of the Jitney Jungle chain was finalized in March 1996 and at that time the annual sales volume was approximately $1.2 billion. After the sale, some difficult times followed with subsequent companies. However, Greg McDade purchased the old Jitney in 2005 just before it was to be closed forever and it flourishes today at the same location. Through the 84 years Jitney-Jungle was a McCarty-Holman enterprise it was state of the art as the store remains today. Its staff was courteous and well-trained, its stock and produce of the highest quality and its reputation a solid testament to what a family business can attain with vision, hard work and careful attention to the needs of its customers. Simply put, it did the right things at the right time in the right place.
Eighty-two years after the “Big Jitney” and Price Cain’s drug store first anchored the northeast corner of Jefferson and Fortification, McDade’s Market sits proudly on the site of Jackson’s very first air-conditioned supermarket. Our neighborhood owes a great debt of gratitude to the McDades for saving our store and making it viable. Road equipment churns down the new Fortification bustling with innovative ideas and the coming aesthetics resulting from countless hours of careful planning. Twenty-first century patrons pause along the aerated bins of fresh produce and the well-trained cashiers, stockers, sackers and department managers who hustle to fill their daily needs. The world is faster now but shoppers still pause to say “good morning” and “How are things?” And the employees say the same. It remains our neighborhood grocery.
As we shop McDade’s this Christmas season and gather together the spices and condiments of the year in anticipation of family reunited, we can reflect on Eudora’s tips to package boys and the spirit of Willie’s roses in the rain. Together they, as have we, been a part of the little store which became an exponent of the American dream as it brought its bounty to our dinner tables and conviviality to our lives. But remember also its journey. The early footsteps are stilled. The old hand-cranked adding machines have been replaced by computers. The aisles are brighter and bracketed with a plethora of universal foods, spices and specialty items. The turnstiles have given way to electronic doors. Roast beef costs a bit more than 35¢ a lb, but on sale days you can still save a nickel on a quarter. New writers and artists recreate its glorious past and its future shines like a freshly polished apple. But beneath it all, through the wooden and concrete floors clad in contemporary colors lies the ground that heard those footsteps in 1930 and above the main entrance, under the archway looking eastward into the sunrise, still stands a harbinger, a numeral that takes us from yesterday to tomorrow at Eudora’s Jitney: “14”.
Bill and Nan Harvey
Nan Ertle Harvey is a native of Yazoo County, a graduate of Mississippi College and has lived with her husband Bill in the Belhaven neighborhood since 1994. She worked in a research position in the Department of Microbiology at UMMC, retiring in 2003. Nan’s hobbies are photography, nature study and family research. She is a volunteer at the Mississippi Department of Archives and History. Bill Harvey is a native Jacksonian, living most of his life in Belhaven. A MSU Bulldog, he has had careers in journalism, education and as development director of the Andrew Jackson Council, Boy Scouts of America. Bill enjoys photography, music, writing articles for neighborhood sources and sharing experiences with friends at a local coffee shop. (Text copyright Bill and Nan Harvey, used by permission of Bill and Nan Harvey; photos of Jitney Jungle copyright Bill McCarty III, used by permission of Bill McCarty III)
Sources:
(1) Conversations with Bill McCarty, III, Nov. 2012 [Details are from memory, family members and an April 3, 1962 interview between W.B. McCarty, Sr. and his son W.B. McCarty, Jr.]
(2) “Lesson Learned from Strike Here in 1916 was Start of Jitney-Jungle organization” [Jackson Daily News, Oct. 1, 1950]
(3) Jitney Jungle is Celebrating Start of 12th Year of Service [Clarion-Ledger, Oct. 12, 1930
(4) Jackson City Directory, 1930, 1916
(5) “Save a Nickel on a Quarter: The Story of the Jitney-Jungle Stores of America” [Address by William Henry Holman, Jr. to Newcomen Society in North America, Jackson, Mississippi, April 18, 1973]
(6) Interview with Betty McCarty Edwards [Madison, Mississippi; Nov. 12, 2012]
(7) Formal Jitney-Jungle 14 Grand Opening Invitation [Clarion-Ledger, November 10, 1933]
(8) “New Super Jitney-Jungle Has auspicious Opening” [Clarion-Ledger, Nov. 12, 1933]
(9) Registration Application/National Register of Historic Places/NPS – P. 74.
(10) “Store with a thousand Items” [Clarion Ledger, June 26, 1930]
(11) Store ad, [Jackson Clarion-Ledger, August 2, 1930]
(12) Conversation with Steve Edwards [Nov. 14, 2012]
(13) “Knowing Miss Welty: I was Miss Eudora’s Package Boy” – Coleman Lowery as told by his daughter Maggie [Lemuria Book Store blog, Aug. 9, 2012]
(14) A Handbook for Package Boys (1960)
(15) Conversation with Joanne Prichard Morris [October 31, 2012]
(16) Homecomings by Willie Morris (University Press of Mississippi, 1989)
(17) “Check Her Out” by Sherry Lucas [Clarion-Ledger, Feb. 7, 1994]
Special thanks to Mrs. Betty McCarty Edwards, Steve Edwards and particularly Bill McCarty, III who provided essential information and much-appreciated assistance. [This article was first published in 2014.]
Sambo Mockbee: Legacy, Community, and the Empowerment of Myth
When the American Institute of Architects awarded Samuel (Sambo) Mockbee the AIA Gold Medal in 2003, he joined an elite company of architects (including Thomas Jefferson) who received the award posthumously. “The AIA does not like to confer a gold medal on people who are no longer living,” says architect Tom Howorth. “It’s an award for those who have the potential to continue contributing to the field of architecture. The fact that it was conferred on Sambo confirms he is continuing to shape the architectural landscape.”
Sambo Mockbee died in 2001. Hailed as a visionary with designs such as the Barton House in Madison, the Cook House in Oxford and the Magee Church of Christ to name a very few, Mockbee set an even higher benchmark when he and D.K. Ruth co-founded the Rural Studio at Auburn University. There in the heart of Alabama’s Black Belt, the studio continues to be a place where students learn the social responsibilities of architecture by creating homes and buildings with a spirit for poor communities.
“Sambo’s mission was to see about people,” Jackie Mockbee says. Jackie married Sambo in 1970. “We had two blind dates, we really did,” Jackie says. “The first was at a homecoming for Sambo when he was at Fort Benning. I’m sure he didn’t remember me; I just remember having fun watching everyone there. Two years later, my cousin called me and said they were going to a party and said there’s this guy that we all know who needs a date. They started telling me who he was, and. I said, ‘Wait a minute; I’ve had a date with him before.’
They asked me if I had fun, and I told them that we really didn’t get to know one another. That night, Sambo asked me if I went to MSCW, if I was a Baptist and if I’d marry him. I said, ‘Yes, yes and no.’ That was in August. We were married that December.” The Mockbees had four children, but Jackie remembers that at their home in Canton, “We had kids everywhere.” Jackie says. “They ran all around the neighborhood, but always ended up in our yard. Sambo was like the Pied Piper; he always had something going on, he was always the coach, and when he hit that door, the kids came running.”
“He was a gregarious, affable, lovable teddy-bear of a guy,” says Malcolm White, a long-time friend. “Once you became his friend, you were his friend for life. He loved collecting eclectic personalities. He was an engaging conversationalist and could sit up literally all night and carry on about Van Gogh or the Civil War or American history or Western civilization or anything else you might be interested in.”
“In the early 80s, Sambo had an office on North Street on a stretch of property that’s now parking lots,” Malcolm says. “On Friday afternoons, Sambo would gather people and would serve Heinekens, which he loved, and sausages or peanuts, whatever he had on hand. Sambo began to explain to us that he had this big idea that he was closing in on, this notion that was going to involve all of us,” Malcolm says. “He wanted to empower rural people of little means in the same way that wealthy people could empower him to design beautiful, elaborate offices. He wanted to incorporate not just architecture and design, but philanthropy and entertainment and recreation, all the components that build community. Basically what he was talking about became the Rural Studio.”
Former partner Coleman Coker first met Mockbee in Corinth. “I think in 1980 or 1981, and we hit it off, just sitting around and talking. Neither one of us had much work at the time,” Coleman says. “He was making a lot of collages, I was painting, and that’s where we found a commonality in translating the world as we saw it through our constructions and paintings into architectural compositions. We never were successful going out and marketing ourselves, particularly to corporate clients,” Coleman says. “Most of the work we were proudest of involved small residences for people looking for something different, looking for something that had a relationship to place, to locale. Most of those buildings were reflections of the clients, an extension of their personalities, and as we got more built, more people would see them and give us a call.”
“We didn’t sit around talking about the work of other architects; we’d talk about literature—Welty and Faulkner—looking for roots, connections to place, and we found that so much more directly through Southern writers,” Coleman says. “There’s no long tradition of Southern architecture outside of the classical, which comes from Europe, and we weren’t looking for that. We were trying to build on what was just beneath the surface here in the Deep South, whether it was black culture or the culture of the landed gentry, whatever mythology could be unearthed.” Mythology, Coleman admits, is “difficult to talk about.”
“Sambo, through the paintings that he did, was building a whole mythological world,” Coleman says. “Characters would repeat themselves throughout the paintings, and they started telling a narrative. It’s easier to render a narrative through literature, even through painting, than it is through architecture, yet you strive to expound those roots and reprocess them through design. Our concern with social responsibility in professional ethics fell in trying to reach out to a group that was estranged otherwise,” Coleman says. “We were trying to design in context with this locale, the locale in a social sense, when the abject poverty in much of Mississippi was virtually ignored by the great majority of designers and the great majority of people who could afford architects.”
In 1993, Mockbee and D.K. Ruth founded the Rural Studio. “Prior to the Rural Studio there were a few notable construction-focused, hands-on learning opportunities in architecture schools in the country, notably at Yale,” says Tom Howorth, also a former partner. “But there was nothing on the scale, level of commitment and pedagogical continuity that runs through the Rural Studio. Now there are those sorts of programs across the country. So much of what we do is picked from catalogues that the work of putting buildings together becomes a matter of picking the systems that exist and putting them together in a way that you solve the client’s problem,” Tom says. “That wasn’t what Sambo was interested in; he was interested in creating from scratch. He challenged students to think originally.”
Daughter Carol Mockbee recalls that “Papa (Sambo) first started talking about the Subrosa Pantheon in 1999. In the summer of 2001, they started digging in the Alabama clay. D.K.’s mother had died, as well as two young professors at Auburn, and that was probably when they came to the decision to build a memorial space for the Rural Studio, a place to remember and meditate and reflect. So they started digging out the site for the Pantheon in Newbern. By August, they’d poured the first slab. Papa got really sick that fall and passed away in December.”
“The project was suspended for two years,” Carol says. “After I graduated from Auburn in interior design I applied to the Rural Studio as an outreach student to finish the Pantheon. I knew the idea, knew my father’s mythology behind it, and knew that he loved the project. Had I known then what I know now, I don’t think I would have touched it. But, luckily, I was ignorant, young and energetic. For the first few months, I worked on other projects. I had to find my own way, find my role and boundaries. Everyone was skeptical; one engineer at Auburn said, ‘You know, if you were my daughter, I would not let you do this.’ I left that meeting thinking that I am Sambo Mockbee’s daughter and he wouldn’t want me to be doing anything else. I completed it on August 27, 2005. I was so preoccupied with my last pour three days before that I had no idea Katrina was coming.”
“Every June 21, you can go into the Pantheon and stand at different points, align yourself with stars and planets, then sit on a bench next to someone, lean away from them, whisper into a pipe on your side, and the secret travels back to them.”
