This is a recording of Raymond Bailey performing “The Last Train through Vardaman” that Barbara Yancy made sometime in 1975-76. I lost the first part of Raymond’s narrative because the tape was so old and broke at both ends during recording, but I did hear it on the first playback. Raymond begins with saying, “This is ‘The Last Train through Vardaman.’ I remember we were loading the train that day, and my brother said, ‘Pile it high, boys, because this is the last train through Vardaman!’ So, we loaded her up (and away she went!)” I have him doing a couple of other songs, including ‘Nellie Gray’ and a version of ‘Casey Jones’ that I’ve never heard. The locomotive is the OH&CC Number 9 at Okolona. Listen to Raymond here.
You’ll find imitation smoked sausages in supermarkets across the Lower South, but in central Mississippi, our signature brand is Red Rose. The sausage was originally produced by the Jackson Packing Company, which sold processed meats from their plant on South Gallatin Street from 1945 to 1990. Red Rose was marketed under the company’s flagship “Magnolia” brand, which was purchased by Polk’s Meat Products (“Picky People Pick Polk’s”) in Magee . Sold in ropes and most often found in the freezer section, Red Rose is usually either grilled or peeled, crumbled, and fried. Two landmark restaurants in Jackson, the Beatty Street Grocery and the Big Apple Inn on Farish, offer both.
You’re certain to find many people who consider imitation smoked sausage a culinary/nutritional atrocity, but the Polk’s company gets mail orders from all over the country sent by people who grew up in Mississippi, and remember (and loved) Red Rose on the table.
On July 15, 1975, Jackson was stunned by the brutal murder of a man whose cultural contributions to the community still reverberate in the city.
Frank Woodruff Hains, Jr. was born July 7, 1926 in Wood County, West Virginia. After graduating from Marietta College in Ohio and serving two years in the military, Hains began a radio career that took him to Vicksburg, Mississippi, where he became active in both the Vicksburg Little Theater and the Jackson Little Theater. A few years later he moved to Jackson, beginning his twenty-year career with the Jackson Daily News as literary critic and champion of the arts. He remained active in the Jackson Little Theater and was one of the founders of New Stage Theater in 1966.
In addition to his position at the Jackson Daily News, through his work as actor, director, and set designer for the local theaters as well as his contributions to the New York Times, Hains helped high schools and colleges in the area with their productions. In 1958 he received the National Pop Wagner Award for work with young people, and in 1970 the Mississippi Authority for Educational Television presented him with its Distinguished Public Service Award.
Hains was murdered in his home in Jackson. Two weeks later, this memorial written by his close friend Eudora Welty appeared in the combined Sunday Clarion-Ledger and Jackson Daily News (27 July 1975):
By Eudora Welty
For all his years with us, Frank Hains wrote on the arts with perception and clarity, with wit and force of mind. And that mind was first-rate — informed, uncommonly quick and sensitive, keenly responsive. But Frank did more than write well on the arts. He cared. And he worked, worked, worked for their furtherance in this city and state. He was a doer and a maker and a giver. Talented and versatile to a rare degree, he lived with the arts, in their thick.
So it was by his own nature as a man as well as in the whole intent of his work that he was a positive critic, and never a defeating one. The professional standards he set for art, and kept, himself, as a critic, were impeccable and even austere. At the same time he was the kindest, most chivalrous defender of the amateur. And it was not only the amateurs — it was not artists at all — who knew this well: his busy life, as he went about his work and its throng of attendant interests, was made up of thousands of unrecorded kindnesses.
I speak as one working in the arts — and only one, of a very great number indeed — who came to know at first hand, and well, what ever-present perception and insight, warmth of sympathy, and care for the true meaning, Frank in his own work brought to a work of theirs. The many things he has done in behalf of my own books I wouldn’t be able to even count; his dramatic productions of my stories are among the proudest and happiest events of my working life. He was a dear and admired friend for twenty years.
Frank gave many young talents their first hope, sometimes their first chance, and I am sure he never could have let any talent down. He didn’t let any of us down, but was our constant and benevolent and thoroughgoing supporter, a refresher of our spirits, a celebrator along with us of what we all alike, in the best ways we were able, were devoting our lives to.
What his work contributed — the great sum — had an authority of a kind all its own. I wonder if it might not have had a double source: his lifelong enchantment with the world of art, and an unusual gift for communicating his pleasure in it to the rest of us. Plus the blessed wish to do it.
We are grateful.
By the middle of the last century, Mary Frances Kennedy Fisher, known to the world of letters as M.F.K. Fisher, had established herself as the preeminent culinary essayist in the English language. Her visits to Dijon, Vevey and Provence resulted in works such as Serve It Forth (1937), Consider the Oyster (1941), How to Cook a Wolf (1942) and The Gastronomical Me (1941). Those and her translation of The Physiology of Taste by Brillat-Savarin (1949) had garnered her praises from around the globe. W.H. Auden said of her, “I do not know of anyone in the United States who writes better prose,” no small acclaim in the age of Faulkner, Hemingway and Steinbeck.
In 1964, Fisher had just finished the stunning Map of Another Town, an excerpt of which was published in The New Yorker in January. Subtitled “A Memoir of Provence”, the work marks a departure from her gastronomical memoir-cum-recipe format since the book is built not around food but around places: the cours Mirabear, the Deaux Garcons, La Toronde and other sites associated with Aix-en-Provence. She had established herself as a writer, but she had already told friends she wanted to do something different: she wanted to teach. Other than a writing workshop in Utah in 1954 and various public speaking engagements, she had no teaching experience.
She also lacked sufficient academic credits to qualify for certification at public schools, but private schools like Piney Woods offered leeway in the matter of credentials and she entertained the idea of teaching English literature, basic composition, home economics (try to imagine taking home ec from M.F.K. Fisher) and tutoring students in French, Spanish and Italian. “I’ll be working with students in advanced high school and junior college who are preparing for the ministry, the law, teaching and medicine. I’ll also be working with students who have come from the most God-forsaken rural areas in the state. The main thing is that they will be there because they WILL it, and not because it is the easiest, coziest and most indicated way to social and economic success.”
Fisher first heard about Piney Woods in the early 1920s when their gospel choir performed at The Bishop’s School in La Jolla, California, where the teen-aged Mary Frances and her younger sister were enrolled. For some time afterwards, her mother Edith subscribed to the Piney Woods bulletin and regularly sent donations of money and books, which her daughter continued to do for decades. In her letters to family and friends in the early months of 1964, M.F. wrote of her preliminary discussion with Dr. Laurence Jones, the founder of Piney Woods, about her plans to volunteer her services at the school and her reasons for doing so, saying that she had “almost finished the active mother-role and that I am destined to go to waste unless I make some strong move.”
The year 1964 was a sadly historic one for Mississippi; the state had become a battleground in the American struggle for civil rights. Fisher confessed that she was no martyr to the cause of racial equality, and “as for accepting and being accepted, I honestly think that would soon take care of itself, easily and thoroughly . . . there would be suspicion of my motives at first, as is very understandable . . . so many white people want to ‘help’ but, are conditioned too far back to be anything but self-conscious about it, and I seem to be born without a racial conscience or whatever it is.” She was not being altruistic at all, she was doing this for herself because after so many comfortable years in St. Helena and so many years of raising her daughters to be citizens of the world, she now had her back to the wall and needed Piney Woods as much as or more than the school needed her.
After sharing her plans with family (to mixed responses), Fisher boarded the California Zephyr in San Francisco on June 22. Once in Chicago, she boarded a train bound for Jackson, some twenty miles from Piney Woods. During that time radio broadcasts and news coverage focused on the disappearance of two white civil rights workers from New York, Andrew Goodman, Michael Schwerner and their black activist host, James Chaney, who were the first casualties of what was to become known as the “Freedom Summer”. On August 4, the FBI would discover the inhumed bodies of Goodman, Schwerner and Chaney, and the South would explode in acts of violence and bigotry
But at Piney Woods, the focus was on work and education. Fisher said that the students were “too busy for trouble.” She eased into teaching with noncredit courses on fables (“from Aesop to Thurber”) and also tutored a handful of students. She lived in the comparative luxury of an air-conditioned mobile home of a faculty member who was away on vacation and ate most of her meals in the dining hall, which she considered disastrous because of the emphasis on starchy foods. It should be noted that Fisher did dine at the famous Revolving Tables in the Mendenhall Hotel, but records of the meal and her impressions of it are if in existence unavailable.
Fisher was at Piney Woods for a very short time, less than six months all told: two school terms, a summer and a fall. Despite the miserable Mississippi summer heat, her first term was the happiest. She wrote, “For the first time in many years what creative energy I have is being directed toward other things than my professional and emotional self.” She spoke of “wooing the students” to make herself acceptable, and her non-credit courses were popular. She talked of her time with Dr. Jones, who was away from campus most of the time on fund-raising junkets. During his absence, the dean of the school Dr. Chandler was in charge, and Fisher described her as a “somewhat ridiculous little figure”. Fisher was soon to tangle with the steely Chandler and became outraged at a librarian who would not check out books “to NEGRO students!”
During the October break between the summer and fall semesters, things began to go awry. Even as she boarded the plane in Jackson, “I was surrounded by men and women and their frightened children speaking Mississippi dialects, several civil rights workers were flying out, the plane was stiff with heavily armed police, and I became more convinced that I could never come back.” Though she spent her break at a beach house in Bridgehampton, N.Y., attending Broadway musicals and dining with Truman Capote, her mentally unstable daughter Anna lost her job and became pregnant, her friend and editor Pat Convici became gravely ill, and her sister Anne was also in poor health. When she returned to Piney Woods, she threw herself back into teaching, but the daily grind soon began to wear on her. After a difficult Thanksgiving with her family in California, when she returned to Piney Woods in December she asked to be relieved of her teaching duties for the remainder of the fall semester. Her plans were to return to California to her daughters Norah and Anna, but, incensed that she seemed to have abandoned them in their time of need (Norah was by now caring for the pregnant and unstable Anna) for a group of Negro students in the middle of nowhere, they both insisted that she shouldn’t come.
Fisher left Piney Woods for Chicago in January 1965 and never returned. She had lost 20 pounds and was absorbed in self-reflection. Looking back on that time she wrote, “I began to come to life again.” She later described her time in Mississippi as “a pit of non-existence” she subjected herself to. In Chicago, she began writing again and sold some articles she had written long ago. “I thought a great deal about Piney Woods – the iron hand of Dr. Chandler, the librarian who didn’t want books taken out of the library, the conformity. People want me to write controversial stuff about it, but I am still too close, and I do not want to hurt the old man who founded the school. He is a rascal, but he is also something of a real saint, in my eyes. I am making many notes, of course, and may some day be able to tell what I think is the truth about the basically noble but infamous place.”
These notes were never assembled, much less expounded upon. In Conversations with M.F.K. Fisher, edited by David Lazar (University Press of Mississippi: 1992), Katherine Henderson in 1990 describes this exchange. “Mississippi?” I ask. Fisher sighs. “In 1964 the kids were all gone and I thought I’d find out if the South was as bad as I thought. So I went to teach at the Piney Woods School.” Piney Woods was a school for black students; the faculty, says Fisher, was half black and half white. She taught English. “The South was worse than I expected. I didn’t go to town at all while I was there.” But why did she go in the first place? Did she plan to write a book, to fight a fight? She looks slightly horrified. “God, no, I wasn’t planning on writing anything about it. And I didn’t go there to fight anything. I just went.” Fisher smiles a little, remembering. “I found it took six months before the kids would eyeball me. But after six months I was without color, and so were they.”
She smiles. “I was not invited back,” she adds with a certain amount of pride, “because I was a trouble maker.” She seems pleased by this, and then abruptly stops talking.
A writer, a scholar and an artist as well as the first and foremost chef of note from Mississippi, Howard Mitcham was a brilliant, stone-deaf, hard-drinking bohemian, raconteur and bon vivant who knew and corresponded with the great and near-great but who himself remains shadowed today. A name chef during what Anthony Bourdain called “the early happy days before the glamorization of chefs”, a historian and an artist as well, we should remember Mitcham with gusto, with horns, drums and strings. His Creole Gumbo and All That Jazz stands loud, proud and without a smidgen of pretension alongside any cookbook written in the past century, a robust ragout of recipes, music, art and lore. His Provincetown Seafood Cookbook, written with the same gregarious spirit, surely sates my fellow countrymen in Massachusetts as fully, but as his fellow Mississippian, Creole Gumbo strikes much closer to my heart.
Mitcham nurtured, cultivated and matured his sprawling genius in the rich enclaves of Provincetown and New Orleans. For decades he was a spectacular bird of passage, summering on Cape Cod, wintering in the French Quarter and coming home to Montgomery County, Mississippi at times. His books trumpet a passion for seafood; his eloquence on oysters and clams, shrimp and fish seems to pant with restraint. Mitcham wants you to partake of everything he knows and loves with the same gusto he does in hearty sentences that growl with gruff humor and wry authority. “People think I’m sort of coo-coo to publish my trade secrets and recipes,” he wrote, “but to me good food is like love, it should be given as wide a distribution as possible.”
James Howard Mitcham, Jr. was born in Winona, Mississippi on June 11, 1917. His father, a house painter, died when he was a year old. His mother moved to Vicksburg to find work, leaving the infant Howard with her parents on their watermelon farm on Sawmill Road. At sixteen Mitcham became deaf from nerve damage resulting from spinal meningitis. For the rest of his life, Mitcham spoke with a thick, booming Southern accent, but used sign language and notes to abet his frequent incoherence. He grew up loving jazz, a love silence didn’t kill. “The last song he ever heard was Billie Holiday’s ‘Am I Blue?’”, his daughter Sabina said. “Whenever he’d sing it, it would just break my heart. At his birthdays he would place his hand on the bell of a sax to get the beat.”
Mitcham attended Greenville High School with lifelong friend Shelby Foote as well as Walker Percy. A May 30, 1934 clipping from “The Pica”, the GHS school newspaper, includes a column by Mitcham (“Rigmarole”) and three poems by Foote. A news article in the same issue notes: “Walker Percy, freshman at the University of North Carolina and member of last year’s graduating class, will journey to Germany for a three months’ tour of that country,” adding that “the tour will be made on foot and on bycicles (sic)”. After graduating high school, Mitcham moved to Vicksburg to live with his mother and began attending Louisiana State University. As an art student at LSU in 1940, Mitcham came to the attention of the Baton Rouge Advocate for befriending a Negro janitor on campus, Felton Coleman, who according to the newspaper article Mitcham “forced” to paint. Reading the account of this incident is almost painful, since it is most likely from our perspective that little coercion was involved at all. Instead, Coleman probably expressed an interest in painting while he was sweeping a studio, and Mitcham, far from ordering him to paint, instead gave Coleman a canvas and paint to take home to his “cabin”, where he soon “spent his evenings . . . painting by the light of a kerosene lamp, intent neighbors (crowding) at his elbows.” A year later, one of Coleman’s paintings, the “brilliantly-colored and strongly composed ‘Baptism’, appeared by invitation at the annual exhibition of Louisiana artists at the capitol.” (The painting is now on permanent exhibit at LSU.) “Coleman can be the greatest artist of his race, at least in the South,” Mitcham is quoted as saying. “It’s a pity that the opportunities to learn are not in the reach of more of his people. They all have talent. Painting gives them a way to express themselves, and they’ve got a great deal to say.” It’s worth noting that to advocate more education for blacks in the South in the 40s was progressive, if not radical.
At some point in the late 1940s, Mitcham moved to Greenwich Village in New York City, where he ran an art gallery. During this time, he became the model for “the stone deaf man” in Marguerite Young’s epic work, Miss MacIntosh, My Darling. Sabina said that during Mitcham’s days in New York, Walker Percy would come to stay with him, often sleeping on the floor in Mitcham’s tiny apartment in the Village.
A little over a decade later, Mitcham’s support for civil rights was confirmed in another medium. Among the papers of Dr. James Silver at the University of Mississippi is a letter from Mitcham to Silver dated 1956 written in a strong articulate script thanking him for a letter and clipping from “the Jackson, Tenn. newspaper” and his vigorous support of Silver’s stance against a closed society. “You have certainly flung down the gauntlet in a manner that was badly needed,” Mitcham wrote. “I only hope you don’t get a potsherd in the urn with your name on it. To defend freedom of thought and expression in Mississippi these days is almost suicidal, they’re more afraid of truth than any other one thing, just can’t afford to face it, or the house of cards will fall down.” The year before, Howard received a letter from Faulkner thanking him for a painting.
The picture is here. It was all right, not bent but arch-ed a little but the paint did not crack. I flattened it with careful pressure, am trying to get a frame, something solid behind it. I will let the Buie people hang it for a while if they wish.
I like it. I have it propped in a chair at eyelevel across the room from my typewriter where I can look up at now and then.
I don’t know where rumor of illness came from. It’s not mine though. I had measles and such as a child but nothing since. Thank you for condolence though, and many thanks for the painting. I like plenty of dense color.
It’s not known if the painting ever did hang in the Buie Museum, but it is still at Rowan Oak. Fred Smith, owner of Choctaw Books in Jackson, pointing out the date as well as the elements of the painting (a Tokyo newspaper, a bottle of Tabasco sauce and a pipe) said, “Mitcham probably painted this to mark the publication of Faulkner’s New Orleans Sketches by Hokuseido Press in Japan on April 1. Faulkner also traveled to Japan that August on a goodwill tour.”
Mitcham’s first book, Fishing on the Gulf Coast, was published by Hermit Crab Press in 1959. “I don’t know much about fishing,” Mitcham confesses in his preface, but that doesn’t stop him from offering instructions on how to catch dozens of fresh and salt water species using methods anyone on the Gulf would use now. But Fishing on the Gulf Coast, in the final analysis, is a cookbook, Mitcham’s first, and it establishes his life-long love for seafood. Fishing includes many recipes you’ll find in later works (bouillabaisse, court bouillon, pompano en papillote and, of course a gumbo, in this instance from Antoine’s, no less). While the recipes are elaborate (and nowadays quite expensive to make), they’re easy to follow; they make perfect sense to anyone from south of I-10, with procedures for such things as smoking mullet (much beer-drinking seems to be involved) and incredibly detailed maps of the Gulf Coast along Louisiana, Texas, Mississippi and the Florida Panhandle.
What makes Fishing on the Gulf Coast even more of a treasure are Mitcham’s beautiful woodcut prints of fish and marine life. Art (along with a passion for antique clocks and clockworks) provided Mitcham with a fruitful outlet for his talents throughout his life. The 1963 summer and winter issues of The Carolina Quarterly featured two portfolios with six of his woodcuts prints. Like his fellow Mississippi artist Walter Anderson, who also made woodcut prints, much of Mitcham’s work reflects a strong interest in classical mythology. This is nowhere more evident than in his Four Tales from Byzantium (Wattle Grove Press: 1964). Incredulously enough, Wattle Grove Press was a small publishing house founded in Launceston,Tasmania by Professor Rolf Hennequel in 1958. According to a pamphlet issued by the Queen Victoria Museum & Art Gallery in Launceston, Hennequel stated that the purpose of the press was “. . . for printing unusual literature, which could not possibly be launched commercially. This was—and is—our only purpose, which also includes the desire to help young writers.” How Mitcham connected with this small, progressive press in a part of the world that could be considered almost the antipodes of Mississippi is an as-yet unfathomable mystery. Somewhat later, the book was re-issued by Hermit Crab Press in New Orleans.
The quirk of fate or fortune that first took Mitcham from his home in the Deep South to the distant shores of Cape Cod is a matter rich for speculation, but he claims to have made his first visit there as early as 1948. Thereafter for most of his life, Mitcham divided his years between New Orleans and Provincetown. An editor of The Provincetown Advocate described Mitcham as “Artist, block print maker, chef par excellence, pro-beatnik, draughtsman and one of the most talented ‘nuts’ ever to come into Provincetown.” Mitcham maintained an art gallery on the Cape, painted signs and repaired clocks (one correspondent claims he published an article on antique clocks in Gentleman’s Quarterly). In the 1960s, Mitcham wrote a column in the Advocate called the “The Cape Tip Gourmet” and another called “The Cape Curmudgeon”. He wrote that the first place he headed when he first arrived in Provincetown, and most likely from then on, was Town Wharf. “It made my heart jump to see the enormous hauls of herring that the trap boats were bringing in,” Mitcham said. “But my gourmet’s heart was broken when I found out that this wonderful fish was being knocked down for two bucks and fifty cents a barrel and shipped off to the cat food factory.”
His abounding love for Provincetown bore prodigious fruit in 1976 with the publication of The Provincetown Seafood Cookbook, an unsurpassed ode to a food, a place and a people. Bourdain, who worked in Provincetown during the mid-1970s when he was attending (of all places) Vassar, knew Mitcham and in his Kitchen Confidential writes that “Howard was the sole ‘name chef’ in town.”
“To us, Howard was a juju man, an oracle who spoke in tongues,” Bourdain wrote. “He could be seen most nights after work, holding up the fishermen’s bars or lurching about town, shouting incomprehensibly (he liked to sing as well). Though drunk most of the time and difficult to understand, Howard was a revered elder statesman of Cape cod cookery, a respected chef of a very busy restaurant and the author of two very highly regarded cookbooks: The Provincetown Seafood Cookbook and Creole Gumbo and All That Jazz—two volumes I still refer to, and which were hugely influential for me and my budding culinary peers of the time. He had wild, unruly white hair, a gin-blossomed face, a boozer’s gut and he wore the short-sleeved-snap-button shirt of a dishwasher. Totally without pretension, both he and his books were fascinating depositories of recipes, recollections, history, folklore and illustrations, drawing on his abiding love for the humble, working-class ethnic food of the area. His signature dish was haddock amandine, and people would drive for hours from Boston to sample it.”
“We might not have understood Howard, but we understood his books, and while it was hard to reconcile his public behavior with the wry, musical and lovingly informative tone of his writings, we knew enough to respect the man for what he knew and for what he could do. We saw someone who loved food, not just the life of the cook. Howard showed us how to cook for ourselves, for the pure pleasure of eating, not just for the tourist hordes. Howard showed us that there was hope for us as cooks. That food could be a calling. That the stuff itself was something we could actually be proud of, a reason to live.”
In Provincetown, Mitcham bonded strongly with the local Portuguese community, where he made many deep and lasting friendships and his love for them shines from his works. In Fishing on the Gulf Coast, Mitcham claims he contacted the Portuguese Embassy to obtain a recipe, and The Provincetown Seafood Cookbook contains many, many more. “Transplanting the Azores Islanders to Provincetown was a great step forward because they brought with them their beautifully rambunctious cookery, and this husky, euphoric cuisine has quietly worked its way into Cape Cod and New England cookery in general,” he wrote. “I have been observing Portuguese cooks for twenty-five years, and I find that they have the following relative units of measurement: (1) a little, (2) some, (3) a bit more, (4) a lot, (5) plenty, (6) enough.”
Mitcham’s best-known work in my part of the world is Creole Gumbo and All That Jazz (1978), arguably the most embracive and best-written book about the food and people of southern Louisiana. The exuberance of this work needs many readings to encompass. In Creole Gumbo, Mitcham celebrates his love for the kaleidoscopic, carefree world of the Crescent City: its food, its history and, astoundingly, its music. Reading Creole Gumbo, you discover Mitcham the bohemian, a Falstaff in the French Quarter, ebullient in his adoration for life and the bounty of the waters. Creole Gumbo could well serve as a textbook for New Orleans cuisine, since it not only includes the most recognized dishes of the city with authoritative recipes usually garnered from reliable sources but more so, it places the foods of the city within the demographics that shaped them. Like any knowledgeable writer on the subject — Paul Prudhomme, for instance — Mitcham takes great pains to distinguish between Creole and Cajun, two distinct populations often erroneously lumped together by less astute writers and epicures. He also describes other people that combined in the great cauldron: the native Choctaws, the immigrant French, Spanish, Albanian, Sicilian, Chinese and Filipino. Mitcham also offers a “Short Biography of a Creole Building”, that being the Skyscraper on the corner of Royal and St. Peter Streets, where he lived with his friends, artists Johnny Donnels and Maggi Hartnett, noting that the building was also home to Sherwood Anderson and William Faulkner during the 1920s and the site of jam sessions by legendary jazz artists like Kid Thomas, George Lewis, Percy Humphries and Lewis Nelson. Mitcham had an apartment in the 600 block of St. Peter Street in the French Quarter. His longtime friend, photographer Johnny Donnels, lived on the floor below, and on the efficiency stove in Donnels’ apartment was where Mitcham tested his recipes. “If it didn’t kill anybody or make anybody sick,” Donnels said, “we put it in the book.”
In her Sept. 12, 1979 article in The New York Times, “A Library of Creole-Cajun Cooking”, Mimi Sheraton said that Creole Gumbo is “a delightful book with excellent recipes for the gumbo, jambalaya, crab, shrimp, crawfish and other seafood dishes that distinguish both the Creole and Cajun kitchens.” She praises Mitcham’s “beautifully simple recipe for the pungent barbecued shrimp of the type made at Pascal’s Manale restaurant and some unusual folklore dishes such as the Chimney Sweep’s shrimp boil that Mitcham and his Guild of Chimney Sweepers (named in honor of a dinner that Charles Lamb hosted for the London sweeps) hosted yearly for French Quarter bohemians during the 1950s and 1960s.”
“At our last big party we boiled 400 pounds of shrimp and 400 fat crabs for 200 guests and we drank eight thirty-gallon kegs of beer,” Mitcham said. “For music we had Kid Thomas and his Algiers Stompers, the famous old gut-bucket jazz group from Preservation Hall, and the Olympia Funeral Marching Band”.
Sheraton notes that Creole Gumbo, like its predecessor The Provincetown Seafood Cookbook, deals (almost) exclusively with seafood, for which Mitcham had an avowed and lifelong passion, but it’s worth pointing out that with few exceptions (bananas Foster springs to mind) the recipes we associate most with New Orleans are seafood-based: trout amandine meuniere, oysters Rockefeller, seafood gumbo, pompano en papillote, the aforementioned barbecued shrimp (which, it must be said, resembles no other type of Southern barbecue) and many others. This emphasis on seafood provides a convenient point for a brief comparison with The Provincetown Seafood Cookbook. Two points must be emphasized: first, that one city sits on the edge of the North Atlantic, the other at the mouth of the Mississippi River; secondly, the ethnic make-up of places, New Orleans a hodge-podge of race and nationalities, Provincetown a New England enclave with an important Portuguese community. Geography plays an important role in the types of seafood used. Recipes for clams of all sorts and the fish of the North Atlantic (cod, haddock, bluefish, etc.) dominate the Provincetown Seafood Cookbook, while the emphasis in Creole Gumbo is on oysters, shrimp and such fish that thrive in the warm waters of the Gulf of Mexico (redfish, snapper, speckled trout, etc.) as well as the denizens of the fresh and brackish water environments along the Gulf: alligators, snapping turtles and catfish.
In 1981, The Hermit Crab Press published Maya O Maya! Rambunctious Fables of Yucatan. According to a synopsis by Creighton University, which owns one of the 500 published copies, the book is “a collection of humorous parodies of ancient lore about gods, statues, and rites. The first, ‘The World’s Strongest Cocktail,’ presents Ixnib, the god who invented the drink balche. The woodcut figures are reminiscent of Mayan statues in museums.”
Mitcham’s final, and in many ways his most personal book, is Clams, Mussels, Oysters, Scallops, and Snails: A Cookbook and a Memoir (1990). Were we to judge by this book alone we might well concur that Mitcham’s favorite food among all the denizens of the sea is the clam, since well over half the book is a paean to this bivalve mollusk, it’s biology, its history as a foodstuff (particularly in New England) and recipes from all over the world. Mitcham delves into the American “Chowder War” (New York/Long Island tomatoes vs “Yankee”—New England—cream) and of course offers several Portuguese recipes. In addition, somewhat surprisingly to me because the idea of Mitcham as riveted to a New Orleans/Provincetown axis, he reveals himself as a far-ranging traveler, journeying not only to Portugal itself, but to southern Spain, the Pacific Northwest, Philadelphia and Chicago. He also introduces a cadre of chefs who were very much his fellow celebrities in the culinary world of his day: Joseph Poon, Louis Szathmary and Jeff Smith, among others. Many of his recipes for oysters are repeated from Creole Gumbo, which given their excellence is quite excusable, and he covers scallops, periwinkles and moon snails deftly and with expertise. As always, Mitcham’s style is light, breezy and wry, a delight to read. It’s in this book we also come to know many of the people who make up his world, an off-beat collection of people who clustered around Howard as the cynosure of a starry sky.
Mitcham shared his days between New Orleans and Provincetown, where he worked in local restaurants. He also became very much a fixture in the town; Jan Kelly, who wrote a food column for The Provincetown Advocate with Mitcham for years, described him as “brilliant, a great art lover and so well-read that there wasn’t a literary or mythical reference that he didn’t know. He was an absolute genius, terribly complicated at times, but never boring.” Mitcham died at the age of 79 on August 22, 1996, at Cape Cod Hospital. Mitcham once told Donnels he’d like to be buried in a Truro, Mass., cemetery beside an old clam digger friend of his, but at another time Donnels said, “We were sitting in Pat O’Brien’s, and he said if ever he died, he would like to be cremated and have his ashes scattered through the ventilating fan of the ladies room there.” Mitcham’s ashes were spread over the ocean off Cape Cod.
(My profound and affectionate thanks to Sabina Mitcham Donnamario for her friendship and help in writing this article. Thank you, Sabina.)
This delightfully warm and rambunctious account of a political barbecue in Mississippi was submitted to the Federal Writer’s Project in the early 1940s. It’s not such a stretch to imagine that the excoriating political jargon may well have been patterned after one of T.G. Bilbo’s more vituperative speeches. Finding that the cook and I share a surname was a pleasant surprise, but entirely coincidental.
Just as sure as taxes come due before the year is out, politics comes of age in Mississippi ere fall settles down. Our crop has been made and, plow-weary as the soil itself, we take to politics like some folks take to drink. It’s the only sure-fire emotional outlet we know.
An office seeker with his nose to the wind senses that this is the time to ply his trade. Being one of us he knows that the voting fruit is now growing in bunches and ready for the plucking. ware, too, that the common run of old-time picnics is as dead as last year’s boll weevil, he gathers his, cohorts about the conference table, calls for a pooling of resources, and schemes up a barbecue. For, voting year or not, Mississippi politics takes on the nature of an epidemic and we rely on the mass eating of barbecued meat as a counter-irritant.
Even the novice candidates are invited to show what they can do, but the cook and the principal speaker should be old hands, famous for miles around, for we have a long way to come and the fare must be to our liking. Certainly, if the candidate for high office is one of our most famous and able villifiers, and if the pit artist is Bluebill Yancy, we’ll be there.
Bluebill is a black man with a head like a cypress knee. They call him blood brother to the Ugly Man, but if he’s short on looks, he’s long on cooking, and barbecue meat is his specialty. Bluebill and his henchmen are hard at work when we arrive on the grounds so we know that the weather, at least, is favoring the candidates. For Blue bill works according to the stages of the moon and has been known to call the whole thing off at the slightest show of thunder on cooking night. We pass the time of day with Dicey, Bluebill’s wife, who isn’t allowed within smelling distance of the pit until she sees Bluebill sharpen up his knives for the carving; the meat can’t “breathe freely” with a woman cook around.
We pay our respects to Uncle Si Curtis who has already nailed a plank between two trees for his lemonade stand. Uncle Si is one of the best singing school leaders in the county, and when he swings into “Mercy’s Free,” where it says “Swell, oh, swell, the heavenly chorus,” he can be heard as far away as the old burnt schoolhouse. Using the same technique to drum up trade for his spring-water lemonade, he leans against a tree and opens up:
“Ice cold lemonade!
Made in the shade,
Stirred with a spade,
Good enough for any old maid!”
Uncle Si’s crowd thins out as the preliminary speaking begins. We listen to the soaring oratory with one ear and the sizzling of Bluebill’s meat The beef has been cooking all night over the embers of green hickory wood and its peppery odor has had our nose twitching since we first drove up. Bluebill’s pit is a ten-footer with wire mesh stretched over a fire coaxed down to smokeless coals. We pace the pit with him on one of his endless rounds — up one side to turn the meat, down the other to baste it with his mopping sauce. As the moist, brown hunks of beef approach perfection, Bluebill continues his rounds, proud as a monkey with a tin tail.
While the main speaker is warming up, we move from one group of friends to another. The sonorous voice damns the tariff and the Republican party. We nod our head. He touches on the sacredness of the ballot, the virtues of Southern womanhood, and we are in accord. He promised to fight, bleed and die to keep the ship of state a float and we say “amen.”
He pauses for dramatic effect, and after mopping his perspiring brow, starts in to rant, abuse, belittle and attack the opposition. We edge closer because this is what we came to hear. The speaker describes his opponent as a “shallow-brained, slack-jawed liar; a bull ape of Mississippi politics; a grave baboon cavorting like a fat pony in high oats.” We push a bit nearer the speaker’s stand, anxious to hear every word, hoping he’ll let the hide go with the horns and the tallow.
“Like a parasite of the highest rank,” the candidate roars, “he has been feeding from the public trough for twenty years, fattening the bosom of his trousers. It is time that the voters of this commonwealth rise up in indignation and turn him out to pasture and elevate to office men who won’t jump down their throats and gallop their insides out.”
Whether we agree with the speaker or not, we admit it’s pretty pert language, We figure maybe he is right, but for the moment the mention of feeding has suggested something and soon we take ourselves over to the pits to see how Bluebill is getting along with the beef, which has been roasting over the hickory fire for fourteen hours. Taking his cue from the orator, Bluebill dabs on more hot stuff, dressing it down with the same vigor the candidate uses on his opponent.
There is always an outsider who doesn’t know any better than to ask Blue bill for his mopping sauce recipe. His answer is as evasive as it is voluble. He recites it like a grocery list: vinegar, bay leaves, lemon, paprika, pickling spice, onions and garlic. To make it “good and delicious” Bluebill says go heavy on the garlic and paprika. If he is really annoyed by the questioning, he will recommend the generous use of a butter substitute as the base for his concoction. If only mildly so he will suggest cow butter. Catch him off guard when things are going well in the pits, and Bluebill will admit that he, himself, uses nothing but chicken fat.
Bluebill, having made what he calls his “politeness” turns to mopping his beef, and the bewildered recipe-seeker has to listen once more to the politician who, at this time, is working up to the climax punch. In a moment he will let us have it with both fists and leave us groggy and hanging on the ropes. Recoiling from the political punches, a neighbor asks us to have a drink of his best corn liquor, and we don’t care if we do. The candidates, wilted and weary from their efforts on the speakers’ stand, likewise have a good stiff one back in the bushes.
Meanwhile there is a mass movement toward the long table. Dicey paddles over from the edge of the clearing and gets there just as Bluebill draws a blade across the first outside piece. Some of our own women lay off cooing at the babies and line up behind the table to make the same woman-noise over the cakes and potato salad. For our part, we pass up all such trimmings. Armed with a slice of bread and a hand quicker than Bluebill’s knife, we aim for the outside piece, and make it.
The crowd gives way a little for the speakers to be served. After having bethumped each other with hard words, the candidates chat over their food as though it had miraculously brought them to terms. We ourselves share a dipper of spring water with a man we never liked and politics for the moment is forgotten. Even a Mississippi man just can’t keep on devouring barbecued beat and political speeches without gradually losing appetite. But we sorta have to stick around in the afternoon to hear our neighbors who are running for local office. We sit back to watch their antics and stay ready to have a good time if they work up a spat about something. Actually, what’s on our minds is the need for getting along home to see about the stock. It’s a far piece and we want to be there before first dark.
|CDBG||Extension of study|
|Grant, National Endowment for the Humanities via JSU||Historical survey of Farish Street|
|CDBG||Infrastructure, business loans, housing|
|CDBG||Farish Street park|
|Jackson/Hinds Co.||Mary Means (Means Consulting)|
|State of Ms.||Alamo renovation|
|National Trust for Historic Preservation/State of Ms.||Renovation of Scott Ford House|
|“||Acquisition of property in Farish St. district|
|National Equity Fund; $600,000 from local banks; $350,000, CDBG (city)||“Rehab” of 37 historic houses|
|State of Ms.||Farish St. revitalization|
|Fannie Mae||Farish St. revitalization (matching of state funds|
|City of Jackson water and sewer fund||Infrastructure|
|($50,000 J. Paul Getty Trust; $12,500 Ms. Dept. Archives and History; $3,500 Gannett, Inc.; $8,000 ChemFirst, Inc.)||Farish St./Scott-Ford Museum|
|Civil rights grant(?)||Medgar Evers House Museum|
*(Community Development Block Grant – HUD)
Not included in this document are amounts for donations of real estate (e.g.: from state of Mississippi; donation of Alamo from Sunburst Bank), funding for the Smith-Robertson Museum and contract fees paid to Performa Entertainment and subsequent developers.
1) Hester, Lea Ann. “City expected to extend study of Farish Street.” The Clarion-Ledger 19 October 1981: 1B. Print.
3) Hester, Lea Ann. “Farish: Older than thought?” The Clarion-Ledger 23 July 1801: 1B. Print.
4) Scruggs, Afi-Odelia E. “Development plan fails to revitalize Farish Street.” The Clarion-Ledger 10 December 1989: 1A. Print.
6) Simmons, Grace. “Farish Street consultants to share info.” The Clarion-Ledger 9 October 1993: (no page cited)
7) Gates, Jimmie. “Renovation closer for Farish Street’s Alamo Theatre.” The Clarion-Ledger 22 November 1995: (no page cited)
8) Harris, Barbara. The Jackson Advocate. “Farish Street Historic District gets infusion of national, state funding.” 7 March 1996: 1A. Print.
10) Fleming, Eric. “Farish Street renovation under way.” The Mississippi Link. 26 March 1998. 1A: Print.
11) Henderson, Monique H. “Draft document targets Farish St. Historic District:12M allotted for development of district.” The Clarion-Ledger. 27 April 1999. 1B Print.
13) Mayer, Greg. “$1.5M grant going to Farish Street.” The Clarion-Ledger. 22 March 2001. 1B: Print.
15) _______. “Black museum receives grant.” The Picayune Item. 12 January 2000. (no page cited)
16) Mitchell, Jerry. “$2M-plus in grants awarded to state civil rights sites.” (“$210,000 will help stabilize the foundation and repair the Medgar Evers House Museum in Jackson.”) The Clarion-Ledger. 3 August 2011. (no page cited)
The Illinois Central’s Green Diamond
by Howard Bahr
In the decades following the Great War, American culture shook itself out of the Nineteenth Century and woke to fresh ideas and new possibilities. Youth, having liberated Europe and ended war forever, had a voice for the first time in our history. Cynicism and joi de vivre found ways to cohabit, and under their common roof, Youth created a new way of living. Jazz was the soundtrack. Flappers in short skirts, long beads swinging, danced the Charleston, the Fox Trot, the Shimmy: girls smoked cigarettes and drank gin in public and were picked up from Mama’s house by sheiks in fast cars. The Imagists’ admonition–“Make it new!”–resonated everywhere.
Downtown, the staid dignity of the Chicago School gave way to soaring silver skyscrapers that transformed city skylines. In the suburbs, new houses traded a classical vocabulary for the sleek lines, portholes, and minimalist décor of the Moderne. Aluminum and glass replaced busy fretwork; cluttered, over-stuffed parlors vanished, and porches disappeared; tall Lombardy poplars, nature’s answer to Arts Decoratif, graced the landscaping. Even everyday objects like radios, toasters, pencil sharpeners, vases, clocks, mirrors, and telephones took on new forms in the up-to-date household. The automobile industry, ever alert to the public’s whims, abandoned the boxy bodies and spoked wheels inherited from horse-drawn carriages and began to experiment with streamlining, a movement that culminated in the startling 1936 Chrysler Airflow.
When that car and others like it appeared on showroom floors, they represented not only a revolution in style, but in movement as well. Newly-paved highways beckoned, and the motorcar, liberated from Sunday drives and trips to the park, was recast as a ship of dreams. The world was opened up in an unprecedented way: as Dinah Shore would sing in 1953, “See the U.S.A. in your Chevrolet! America is asking you to call!” Travelers, once bound to the railroads, could now set their own schedules, carry as much baggage as they wanted (no charge!), and rest in the friendly motor hotels springing up in the wilderness.
American railroad companies looked on this newfound Freedom of the Road with misgivings. Railroads had bullied steamboats off the inland rivers, now, in their turn, they were threatened by the automobile. Passenger revenue was still high, but the Detroit competition was available, cheap, and attractive to the public. In 1882, when the railroads were at the height of their tyrannical power, Commodore Vanderbilt of the New York Central could proclaim, in an unguarded moment, “The public be damned!” Needless to say, by the mid-1930s, this sentiment was no longer viable.
To meet this challenge, railroad engineering and PR departments tapped into the Moderne craze and created the Streamliner: a first-class, air-conditioned train with sleek aluminum coaches, specially assigned engines, and a color scheme that ran from the locomotive pilot to the end of the observation car. Design luminaries like Henry Dreyfuss and Raymond Loewy brought steam locomotives into the realm of high art: when the New York Central’s Twentieth Century Limited (Dreyfuss) and the Pennsylvania’s Broadway Limited (Loewy) raced each other eastbound out of Chicago on parallel tracks, they represented a pinnacle of design unequaled for American industry.
Another innovation was the articulated “trainset,” the railroads’ first great experiment with diesel-electric power. Articulation meant that the power car” (that is, the locomotive) and all the coaches shared wheel trucks and were permanently coupled together, save when they went to the shops for maintenance. Trainsets were short–five or six cars in the consist–ran on tight schedules, and were well-appointed. The CB&Q fielded several silver, shovel-nosed Zephyrs. The UP and C&NW ran a joint City of Denver, the Santa Fe’s Chicagoan/Kansas moderne aesthetic.
The schedule of the Green Diamond was ideally suited for businessmen traveling between the great cities of St. Louis and Chicago, with a stop at Springfield, Illinois’ capitol. Northbound, the train departed St. Louis at 8:55 A.M. and arrived in Chicago five hours later. Southbound departure from Chicago was at the close of the business day, 5:00 P.M., with a St. Louis arrival at 9:55 P.M. Along the way, passengers enjoyed such amenities as air-conditioning, a radio in every car, and excellent dining (see Jesse Yancy’s article below). In addition, the train carried a stewardess trained in dictation, and a registered nurse for the hangovers and heart attacks common among Capitalists in the Great Depression years.
The Green Diamond must have been quite a sight as she glided through the cornfields on a summer’s day, or flashed her green against the snow of winter. People accustomed to a steam engine’s mournful whistle no doubt looked up when #121 blatted her air horn at grade crossings: perhaps they heard in it the sound of the Future, but probably not. Locomotives would always and evermore be driven by steam, just as the Great War had ended all wars, and drugstores would always sell Paregoric.
In the end, the very success of the Green Diamond led to her demise. The St. LouisSpringfield-Chicago schedule proved so popular that passenger traffic began to exceed the limited capacity of the trainset, which could not accommodate the addition of extra cars during a surge of ridership. In 1947, eleven years after her glorious debut, IC #121 and her articulated companions were replaced by conventional, more practical diesel locomotives and coaches. The train’s name and schedule remained, but the moderne novelty was gone forever from the Land of Lincoln.
The final chapter of the trainset’s story began at the Illinois Central’s Paducah shops, where she was given an overhaul. When she emerged, she was freshly-painted in the same two-tone green, but the Green Diamond banner had been erased from her sides. Train crews, doubtless Bemused by the assignment, took her across the various divisions to Cairo, Memphis, and at last to her new home of Jackson, Mississippi. Why she was sent there instead of somewhere else is lost to history, but for the next three years–until she was sold for scrap–she traveled the Louisiana Division between Jackson and New Orleans. Now called the Miss-Lou, her timecard schedule was almost identical to that of the Green Diamond, and she once again provided the reliable, courteous service for which the Main Line of Mid-America was famous. The Miss-Lou moniker derived, of course, from the states through which she traveled, but, as Yancy explains below, it was by another name that she entered the folklore of the Deep South.
We are given some things in life–the Iris, for example, or a young girl’s face–that seem the more beautiful because we know their flowering will not last. We treasure less, perhaps, those things we foolishly believe will last forever. So it was with the great passenger trains that once flowed majestically across the Republic: colorful carriers of Dream and Promise in a time when pride was still part of the national character and anything was possible. They are vanished now, every one scattered across the trash-heaps of memory, and few remain who remember them at all. They will not come again; that they once passed among us is testimony to what we had, and to what we can never have again.
Dining on the Green Diamond
by Jesse Yancy
In 1867, George Pullman introduced his first railroad “hotel car,” the President, a converted sleeper equipped with limited dining facilities. In 1868, Pullman built his next all-dining car, which he named the Delmonico after the famous New York restaurant. The Delmonico was placed in service on the Chicago & Alton Railroad between Chicago and Springfield, Ill. Meals were the lofty price of one dollar.
The 1940s and 1950s were the golden age of train travel and the pinnacle of railroad dining car operations. For many passengers, the ambiance of the dining car was the reason they rode the train. The Panama Limited maintained a high level of service until the Amtrak era. It was noted for its first-rate culinary staff and Creole fare in the Vieux Carre-themed dining cars, a service which the Illinois Central marketed heavily. A well-known multi-course meal on the Panama Limited was the Kings Dinner, for about $10; other deluxe, complete meals such as steak or lobster, including wine or cocktail, were priced around $4 to $5. The menu the Super Chief, called the “Train for the Stars” because it was the choice transportation from the East Coast and Chicago to Hollywood, rivaled that served in many five-star restaurants. A “Wake-Up Cup” of coffee was brought to one’s private bedroom each morning, on request, a service exclusive to the Super Chief. The elaborate dinner offerings generally included caviar and other delicacies, cold salads, grilled and sauteéd fish, sirloin steaks and filet mignon, lamb chops, and the like. For discerning palates, elegant champagne dinners were an option.
In that golden age of the itinerant epicure, the Illinois Central touted their schedules with its most famous advertisement stating, “Enjoy the fastest service ever offered and the supreme luxury of America’s smoothest riding train. Air-conditioned…radio in every car… Stewardess… Delicious inexpensive meals as low as: breakfast 25 cents, lunch 35 cents, and dinner 40 cents.” The ICRR original Green Diamond dining service carried on the railroad’s tradition of fine dining, with every element of complete passenger train service contained in four cars with 200 square feet. With dining seating for only 24, it would take 5 seatings to serve all 120 passengers in the dining space, and that had to be done in the five hour and 10-minute trip. Six serving tray stands were provided in each chair car for use in serving meals at the seats of the patrons, and this helped case the process.
The 22-square feet kitchen was provided with an oil burning range, broiler, warming ovens, urn and steam table. Polished stainless steel was used for the table tops, sinks, chipped ice wells, facings of refrigerators, range, work tables and lower lockers. The interior linings of cold boxes, refrigerator compartments, racks, etc. were also of stainless steel. Dry ice refrigeration, automatically controlled, was used in the large refrigerator, cold boxes, and ice cream cabinet. The kitchen was provided with a serving bay open on three sided to facilitate serving meals. Ornamental panels of inlaid Formica closed off these openings when the kitchen is not in use. An annunciator for waiter service was provided with push buttons conveniently located in the diner-observation car and at the dining section in the chair car.
The Green Diamond’s menu offered an impressive variety for what amounted to a glorified commuter train. Both the a la carte menu and the table d’hote included broiled codfish with anchovy sauce, lamb chops with spiced crabapple, pork tenderloin with yams, chicken a la king, and New Orleans-style pan-fried oysters served with succotash, French-fried potatoes, and Brussels sprouts. Lettuce and fruit salads, cold and hot soups, and freshly baked pie rounded out the menu. The bar offered cocktails, beers, and wines, mixed drinks, sodas (Seven Up and Coca Cola), and a selection of assorted cigars (5, 10, and 15 cents).
When the Green Diamond began her final runs as the Miss-Lou (MISSissippi-LOUisiana) between Jackson, Mississippi, and New Orleans, Louisiana, she left Jackson at 6:20 AM, arriving in New Orleans at 10:20 AM; the return journey left at 6:20 PM and arrived in Jackson at 10:20 PM. This articulated version of the original trainset probably offered little more to eat than cold sandwiches and sodas. Along rails running among the small farms and homesteads of south Mississippi, the farmers along its route noted the green train’s resemblance to an unwelcome denizen of their vegetable gardens, and before long became affectionately known the Tomato Worm. The train was finally retired on August 8, 1950, and sold for scrap.
This surprisingly poetic account of an all-day singing was submitted sometime in 1941 to the Works Project Administration by a Mississippi writer working on the “America Eats!” project .
There is an old axiom that fighting and feuding are easily plowed under with food and song. Certainly, a man can stand up by his neighbor and sing “Amazing Grace! How Sweet the Sound!” and then turn around and feud with him about a hog, a dog, or a fence line. Not a Mississippi man, anyway. For, although a Mississippian gets tempered up in a hurry, he is also believed to be form with a prayer in his heart, a sing on his lips, and an unwavering appetite for picnic food. All day singing with dinner on the ground has come to serve him as “hatchet-burying” time as well as a singing and easing session.
In one section of the state there is a tri-county singing association that meets twice a year, and when that group of voices bears down the mules hitched below the hill start in to bray. From the first notes that are sung until the last leader calls for “God Be With You Till We Meet Again,” singing sometimes throughout the day.
In the church the women sit on one side of the house, the men on the other. Those who read shaped notes take their seats on the front rows. The first leader calls out a number from his Sacred Harp song books and sets the pitch. He asks for the tune and the church house rings with the “fa, sold, la” of the Mississippian scale. The words come next and each leader tries to extract from the willing class its best. As the morning wears on the women present who say they don’t “sing a stitch” prepare the table for dinner. Near noontime, the smell of food begins to compete with the swell of rhythm. And when a tune as familiar as “On Jordan’s Story Banks” falls off, even the leader knows that it’s time for the Sacred Harp to be laid aside. He solemnly closes the book and announces that dinner will be served outside.
On the improvised tables the women have spread food for the hungry and weary vocalists. Chicken seems to be the songbirds’ meat for it is evident in great quantity and variety. There is chicken pie, crisp fried chicken, country fried chicken with gravy, broiled chicken, baked chicken, chicken giblets, and hard-boiled eggs. There are baked hams and country sausage, and no all-day singing dinner is just right without potato salad. Homemade summer pickle, peach pickle, and pickle relish eat mighty well with all this, and there’s plenty of cold biscuit and homemade light bread.
The best cooks of the community bring their cakes and pies and a man was hard put to choose between apple pie and devil’s food cake with coconut icing. It may be that he will pass them both up for jelly cake, especially if it is a ten-stacker.
Singing is resumed after dinner, but it takes a potent leader to get much spirit into the mind right after such a meal. But song finally takes hold again, and the singing of “Sweet Morning” takes on added meaning. The final number is heard at sundown, and the courting couples wander up from the spring to join their folks for the trek home. It is a quiet leave-taking, without many spoken good-byes. Those had already been said when the last leader asked for the words” “God Be With You Till We Meet Again.”