Mr. Moon
Comeback
This concoction has been used as a cold sauce across the South for a long time, but it’s often referred to as Mississippi comeback. I like that; if Mississippi were to have a signature dish, it should be one that beckons her weary children home.
As a Mississippian, knowing how to make a good comeback should be as much a part of your repertoire as knowing how to pass a tractor towing a bat wing bush hog on a two-lane highway. Most recipes for comeback involve an emulsion combined with chili sauce or ketchup. Some prefer salad dressing instead of mayonnaise. I suspect that because the main ingredients are kitchen staples, and since the resulting mixture looks and tastes a lot like commercial Thousand Island without pickles, this Ur-comeback became a popular substitute for store-bought. The basic combination was often taught in home ec, but many learned it at their mother’s knee.
My version of comeback is quite simple, involving no more than mayonnaise, chili sauce, Worcestershire, and black pepper with a smidgen of onion powder. For seafood, a little lemon juice is needed along with horseradish and fresh parsley.
Keepers of the House
In the summer of 1855, Miss Anna Sheegog died upstairs in the house in which I write. No token of hers remains, not even a hair ribbon; the grief at her passing was eased and forgotten long ago. Yet she is still fooling around up there, after al this time, and no wonder—she was only 16 and not ready to be done with life.
Something is always stirring in old houses, for they murmur in their sleep as people do. So much happens, and none of it wants to leave; it is laid up in the walls, left to leak out now and then when someone is listening. Ghosts, we call it, though it is really only memory. I have listened here—in all weathers, in the bright noon and deep watches of the night—longer than Miss Anna was alive, and I know something of the memory of houses.
This one is called Rowan Oak, for Mr. William Faulkner called it that, and he lived here longer than anybody. Because he lived here it is a literary shrine of sorts; for 20-odd years pilgrims have been coming up the walk to see what lies in the white house.
I, too, was a pilgrim once, come by a long road begun in a railroad yard. One night a switchman, Frank Smith, pressed on me a book, of all things, a paperback, greasy and bent to the shape of his blue jeans pocket. “Read this,” he said. In the yard office after the train was gone, I opened it and began to read, and the world was never the same again.
Years later, when I was curator of Mr. William Faulkner’s house, I happened on a page of manuscript behind a drawer in the library. I knew right away what it was; lines from The Hamlet, written in this very house. It was no small thing to meet, and as the morning light fell through the tall library windows, I remembered another light; the glow of Frank Smith’s lantern on that vanished summer night, when he put his copy of The Hamlet in my hand.
Ghosts again, and, always, time. In Mr. Faulkner’s house, time is the sum of all senses. It is in the light, in all seasons softened to twilight by the trees. Time lies in the creak of a shutter, rain in the downspouts, in a step half-heard in the empty rooms above. It is in the very smell of the place, which is the smell of all grandmother’s houses, made of dust and mildew, old books and years of fried chicken—and that almost palpable memory that will not go away. It is the smell of time.
No wonder pilgrims sometimes speak in whispers here. No wonder children often cling shyly to their parents’ legs, flirting with something only they can see. Time conjures them all, as it conjures us, who are stewards of time.
There have not been many of us. Dr. James Webb, the first and best curator, will always be chief. In the early years Dr. George Street was here, and Bev Smith. I have worked with Danny Toma, Terrell Lewis, Keith Fudge. Winfred Ragland was the first groundskeeper, and then Isiah McGuirt, whom I watched rake the leaves of 15 autumns.
These were all Southern men who knew not just Mr. Faulkner and his work, but also what it means to love an old house and earth whence it came. They were all pilgrims, come here by their own long roads, each to find his own doorway to the past.
Once, on one of those days when the sky is deep blue and every leaf sharp and clear and shadows haunt the fence corners—once, on such a day, Isaiah walked out in the north pasture to work his turnips and Dany went along to swap lies. I wandered out by myself by and by and leaned on the fence and watched them. On the whole place there were only three of us. Their voices drifted to me across the morning. Now and then, an acorn rattled on the tin roof of the cookhouse, the loft door creaked, the house drowsed white and solid in the sun.
I should not have been surprised to find Mr. Faulkner at my elbow, leaning on the fence with his pipe, nor to see Miss Anna in the kitchen door—for the streams of time had come together once more, the old proper rhythms of life were in cadence, and all that ever happened on this place narrowed to an old man and a boy in the pasture, talking quietly under the autumn sky.
Occasionally, folks ask me what it is like to work at Rowan Oak. I do not know how to tell them about Frank Smith or Dr. Webb or Danny or the day Isiah went out to hoe his greens, but sometimes I try, and they are almost always satisfied. It is a good thing for pilgrims to carry away into the world waiting for them beyond the gate, for in that world ghosts are silly and magic is only for children. I don’t believe so myself, and neither does Miss Anna—but then, she is only 16, after all.
Howard Bahr lives in Oxford, Mississippi
Our Appalachian Table
Travis Milton, a native of Russell County, Virginia, high in the Alleghenys, became a chef on the East Coast. In 2010, at a New York restaurant, Milton was part of a group planning dishes that would “tell about who we are.” He wondered aloud about sourcing leather britches and greasy-backs, a type of beans common in mountain gardens.
The following afternoon, the head chef slapped a copy of Ernest Matthew Mickler’s White Trash Cooking onto Milton’s station. “He got in my face,” says Milton, “and started barking, ‘If this is what you wanna do in my kitchen then you can get the fuck out!’”
Having White Trash Cooking slammed in his face was a turning point. To overcome the stereotypes, Milton realized, he’d need to be able to tell the story of Appalachian food, but writing on the region’s cuisine was mostly focused on single mothers dressing up SPAM in a sugary sauce and other relatively recent ways that Appalachian cooks respond to the poverty that is, for most, coal’s legacy in Appalachia.
Then in 2016, Ronni Lundy published Victuals: An Appalachian Journey, with Recipes. Her work won the James Beard Foundation Book of the Year and Best Book, American Cooking awards. In Victuals, Lundy claims that European settlers adopted native Cherokee foods almost wholesale. Wild game, wild herbs and greens, nuts, and berries augmented produce from small gardens of beans, corn, and squash using the “Three Sisters” method.
Appalachians let animals range freely, keeping prized breeds adapted to the landscape. Settlers raised pigs on acorns, berries, and chestnuts, which produced the famous hams of Virginia, Kentucky and Tennessee. After the Civil War decimated the region, residents of isolated Appalachia embraced their gardening traditions, developing thousands of hybridized varieties of apples and pears, squash, tomatoes, collard greens, and other foodstuffs.
While Victuals established a benchmark, the font and source for Appalachian food writing is The Foxfire Book of Appalachian Cookery: Regional Memorabilia and Recipes. First published in 1984, Appalachian Cookery has little resemblance to any other publication involving Southern foods.
The Foxfire Project was the brain-child of Eliot Wigginton, a man from West Virginia who received an advanced education in the north and began teaching at a rural school in northeastern Georgia during the late 1960s. Called “foxfire” after a will-o’-the-wisp in mountain woods, his students collected folklore and customs in a series of oral histories that were first published in a 1972 anthology. Many more editions have followed as well as other volumes documenting Appalachian culture.
According to the text, some of the research and the photographic essays included in Appalachian Cookery were gathered for previous Foxfire books but were not selected for inclusion into an earlier volume. Appalachian Cookery stands out as the most complete and comprehensive record we have of the food, cooking and home life of southern Appalachia in early to mid-20th century. Most of the recipes are very simple; pound cake has four ingredients in equal measure. The book is also a primer on how to use homegrown or wild-gathered foods.
Appalachian Cookery opens a door to a world far away from arugula and alien to star anise, a world where cooking was simple but not coarse, having a balance and symmetry all its own, dictated by the lessons of long-ago voices set in concert with the rhythm of the seasons. For those of us from the upland South, these are our roots.
CRY-BABY COOKIES
Cream 1 cup plus 2 tablespoons shortening with an equal amount of sugar. Add one cup molasses and two beaten eggs. Sift together 4 ¾ cups plain flour with 1 tablespoon baking powder, 1 teaspoon salt and 1 ½ teaspoons soda. Then combine with 2 cups grated coconut, 2 cups chopped walnuts and 1 ½ cups raisins. Add dry ingredients alternately with 1 cup milk to creamed egg mixture. Drop by spoonfuls onto a greased baking sheet. Bake in a moderate (350) oven for 10 minutes. YIELD: approx. 7 dozen cookies.
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 yYou can still find old plantings struggling beneath mats of Asian jasmine throughout the city, and one November, many years ago, we freed an old street corner of choking vines, weeds, and rotting wood. In March, clumps of the old daffodil, ‘Butter and Eggs,’ came barreling out of the Yazoo clay.
Hats for Sale
Mississippi Old Capitol
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.
Yulan Magnolia
