Cuties on Farish
Dixie’s Blue Cheese Dressing
Chef and author Dixie Grimes lives in Water Valley, Mississippi.
This sinfully delicious and beautifully iconic blue cheese dressing will make your mouth water and your taste buds sing: silky and salty with a hint of sweetness, a perfect showcase for your favorite Maytag or Stilton. It is a beautiful thing; that is, until you have had to make it for a fine dining restaurant on the fly.
This recipe is by far one of the most temperamental that I have ever used. Everything has to be just right, including proper alignment of the stars and planets, and even then it might not work. However, I highly recommend giving it a whirl. The depth and flavor of this dressing is not like anything I have had before or since I worked at the Downtown Grill. We eventually retired it, and I came up with an easier alternative for the prep cooks to make; it would do, but it’s nowhere near as good as this one.
I started my professional culinary career at the Downtown Bar and Grill. I was a prep cook which meant I was the low man on the totem pole, the grunt; it was my job to do whatever the chefs needed me to do and get yelled at constantly for either not doing it properly or quick enough or both. That being said, I could hold my own and for the most part the guys gave me as much respect as a chef will give a prep cook (which ain’t much). I was allowed and expected to make everything and anything the guys needed for service, except of course the blue cheese dressing. Why would they not let me make it? And why did I never see it being made and why was only one person allowed to handle this recipe?
I would soon find out when I saw my name on the prep sheet aside the blue cheese dressing on a football Friday of an Ole Miss home game, in other words no room for error. Had I finally moved up to the upper echelon and was so bad ass that I was going to be allowed to make the sacred and secret blue cheese recipe that only Alison Wilkes was allowed to make? Alison was the Queen of the Downtown Grill and the most difficult recipes were given to her and her alone. It was at that moment I realized that for the first time during my shift Alison was off that night; she had worked earlier in the day and during the chaos the blue cheese was overlooked. The chef forgot to put it on the prep sheet! It was not the call to greatness I thought I had earned, it was out of pure necessity that I was allowed to make this recipe for the first time, much to the trepidation of the chefs as well as me.
There was really no room for failure now, all eyes were on me. I had no idea of the tediousness of executing this recipe, how everything has to be perfect: the measurements, the order of the ingredients as you add them, the temperature of the kitchen and the weather (not even kidding). I had no idea that this recipe had a 99% failure rate for anyone who tried to make it besides Alison. As I was reading through the recipe I remembered two things that Alison had told me prior to my employment at the Downtown Grill when we were just lifetime buddies. I remembered Alison talking about this recipe and that it gave her great pleasure basking in the joy of being only 1 of 20 people in a professional kitchen who could make this dressing that the Grill was so famous for; I also remembered her telling two key pieces of information as to why her always turns out, two things that were NOT written in the recipe. One, that there are three separate ingredients which are incorporated in one at a time, and they have to be added in alphabetical order: EOV; eggs, oil and vinegar. Two, everything has to be basically the same temperature, the bowls for the mixtures, the ingredients, air temp, all the same. Again, these instructions were not included in the recipe, so who knew? Well, Alison, of course.
So armed with this key information, I started the process, praying the whole time; please God let the dressing turn out. As I added the final mixture of vinegar the angels started to sing. ‘Holy crap!’ it’s working, I thought. I could see it coming together. To my surprise, I had done it, but instead of jumping up and down and screaming, which is what I wanted to do, I quietly tucked into my corner, not saying a peep, just getting the sacred dressing ready for service and storage. Then I casually walked up to the chef, container in hand. “Here you go chef. Do you need any on the line?”
Y’all, his jaw literally dropped. “What the hell!” he said. “You actually got it to turn out! We were planning on cussing at you for your futile attempt to make something that couldn’t be made.”
“Guess I just got lucky chef!” I said, remembering something else I learned from Alison: “Never tell the bastards anything.”
Downtown Grill Blue Cheese Dressing
2 eggs, whole
2 cups vegetable oil
2 teaspoons minced garlic
1 teaspoon white pepper
1 teaspoon dried mustard
1 teaspoon salt
1 tablespoon brown sugar
1 tablespoon white vinegar
1 tablespoon lemon juice
1 teaspoon white wine
1 tablespoon Worcestershire sauce
a generous slash of Tabasco
6-8 ounces blue cheese
Using a blender, whip eggs for a minute, then slowly pour in the vegetable oil, a teaspoon at a time, until it starts to come together, then trickle in to consistency. Add a vinaigrette made with all the other ingredients. Mix for a minute. Pour dressing in a bowl, stir in crumbled blue cheese, and refrigerate.
Farish: Jackson’s Dead End Street
After over forty years and $25 million, the prospect of transforming Farish Street into an urban oasis of bright lights, great food and memorable music has lost its luster.
In January 1980, a month before Farish Street was listed on the National Register of Historic Places, the city of Jackson launched plans to revive the area by making a contract with the National Business League for a $200,000 revitalization study. The contract as well as the cost of its extension a year later (an additional $34,000), was paid out of a Community Development Block Grant (CDBG) from the U.S. Department of Housing and Urban Development. The result of this study was the city’s ambitious 1984 Farish Street Revitalization Plan, which proposed to restore commercial and cultural activity in the district by enforcing codes, upgrading the infrastructure, improving housing and constructing a park between Farish and Mill streets. These improvements were to take place over a five-year period, but by 1989, the effort had failed; businesses had not moved into the area, crime was rampant and what housing existed was substandard.
But the revitalization of Farish Street retained its glamour, and in 1999, by far the largest infusion of money came from the State of Mississippi and Fannie Mae, $6 million from each. This money went to upgrade the infrastructure of the historic district, which began in 2002, the same year the city signed a contract with Performa Real Estate to develop the area at an estimated cost of $20 million. Six years later, Performa left the city after a bitter imbroglio with Mayor Frank Melton.
*(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, among other costs.)
1) Hester, Lea Ann. “City expected to extend study of Farish Street.” The Clarion-Ledger 19 October 1981: 1B. Print.
2) Ibid.
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.
5) Ibid.
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.
9) Ibid.
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.
12) Ibid.
13) Mayer, Greg. “$1.5M grant going to Farish Street.” The Clarion-Ledger. 22 March 2001. 1B: Print.
14) Ibid.
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)
Prospective investors have been discouraged by the unaccountability of financed development in the area, particularly by the Farish Street Historic District Neighborhood Foundation, the steering organization for the revitalization project, which was founded in 1980, moved to the Office of City Planning in 1995 and disappeared (along with its documentation) in 2006. The ensuing decade brought diminishing appeals for Farish revitalization, and in 2015, Mayor Tony Yarber, faced with what was to become a chronic city-wide breakdown of essential infrastructure, stated in 2015 that the project was “on the back burner”.
Once considered the keystone project towards the revitalization of decaying downtown Jackson, Farish Street has instead become a byword for boondoggle and corruption as well as a forlorn Potemkin village in the heart of the city.
Red Sweeper
Ars Voces: Anthony DiFatta – A Precarious Balance
I call myself a painter; I paint, so I’m a painter. A teacher of mine, William Baggett, said, “Too many students call themselves artists, and they’re not artists; they’re students.” That stuck with me. I’m still learning, so I’m a student too, and I never want to get past that.
At USM, Jim Meade became my mentor. Meade steered us towards the formality of composition. He would talk about the Golden Mean, the Golden Rectangle, the Fibonacci sequence, and how all those tied into aesthetics. We would draw forms and divide them up, explore the geometry of formats just to get us geared into recognizing that this is the way things can be arranged so that your brain knows it’s there, even though it’s not drawn out. It was so boring! I often thought to myself, ‘What am I doing? I came here to become a good artist and to find something that nobody’s ever done before and become famous; that’s why I’m here!’ But it ended up becoming a completely different experience.
The first class I took I failed. The teacher said that I could render things okay, but that I didn’t know anything about drawing. At that point I realized that I either had to dump all my preconceived ideas about art and begin learning, or I’d have to find something else to do, and there was nothing else I wanted to do. I’d just gotten out of the military, I was 24, one of the “old guys” in the class. And these young kids were, well, drawing circles around me. I had to humble myself, tell myself that I had to learn, and if I want to discard it, I’d discard it. So we did gesture drawing, weight drawing, blind contour, taking the works of Renaissance painters, placing tracing paper on top and finding how they lined up their compositions, learning from masters of their art. When we were given more freedom to start making decisions, form was so ingrained it was natural. We didn’t even have to think about it. Then Jim came up with a great phrase, which I attribute to him because I’ve never heard anyone else use it except myself, but he called it cultivated intuition. You cultivate a visual idea so much that it becomes intuitive.
Meade would also tell me not to worry about coming out with my own style. He told me that style is either going to happen or it’s not; it’s going to be you coming out. He would tell me, “Miles Davis didn’t get a trumpet and start writing his own music and improvising; he learned the notes, he played the scales, he did the boring stuff over and over and over. Once he got good at the boring stuff, then he played other people’s music. Then, when he became proficient in other people’s music, people he admired, he took all those things and was able to push it further out than it had ever been pushed before.” That made complete sense to me. I wasn’t in college to make paintings, I wasn’t studying art to make paintings; I was studying to learn how to paint, the paintings would come later.
Visual strength is seeing something that connects deeper than ‘Wow, that’s a pretty horse in that painting.’ Or ‘That painting looks just like a photograph.’ It might be a great painting that looks just like a photograph, or it might be a shitty painting that looks like a photograph; but the fact that it looks like a photograph is irrelevant. It could simply consist of a few squiggly lines in the right place and it would be charged. Dali’s work is cool and interesting and psychological, but it relies so heavily on the subject matter being shocking that it’s a matter of diminishing returns: the more often you see his work it doesn’t grab you like it did the first time. I’m not sure if what he was doing defeated his purpose visually. Van Gogh’s Chair is powerful on both levels. I think good art engages with precariousness in balance between the linear composition and the color; you want unity, but you don’t want so much unity that it’s boring. You have to have some contrast. I guess I’ve allowed for this chaos and order by allowing all the chaos and accidental stuff to happen at first, so I’ve got to put it together. I don’t want to take away that spontaneity, but I want it to eventually look like a flat piece of art with everything fitting within the frame.
Every art professor in the world would probably cringe to hear someone say this, but art is something that you hang on your wall and you look at every day. If people didn’t have art hanging on their walls, then artists wouldn’t exist. I have a painting by Ellen Langford that see every day, and every time I look at it, it re-engages me. And I notice something different about it; either I’ll look at it formally, at the composition, the way she treats the negative space between the trees and around the house, or I’ll look at the expressions on the faces and see the animals in there. There’s a lot going on, but at the same time it’s simple; it’s got this juxtaposition, this push/pull, so what jumps out at me most often is what’s farthest away. Arnheim talks about this in his book, about flattening the space by making what’s farthest away in the painting come forward.
Even in my non-representational pieces, I’m very much concerned with the negative space and the picture plane. If everything doesn’t look like it belongs there, if everything doesn’t relate to that flat surface, then it doesn’t work. I try to put a sort of weird overlapping depth in there, but it also has to be flattened. So you’re tricking the minds of your viewers with this push/pull going on; it’s a visual element I use to re-engage the viewer. When people say ‘This artist is so talented,’ it’s almost an insult to the hard work it takes to be decent at something. That’s also what’s exciting about it. My work has continued to change and evolve, and I still learn things. They can refer to me as an artist when I’m good.
Faulkner’s Marble Faun
According to Fred Smith, appraiser for Mississippi State University’s archives and former proprietor of Choctaw Books in Jackson, “When it comes to the ‘Holy Grail’ of Mississippi book collecting, Faulkner’s The Marble Faun is it.”
“For one thing, he’s the most important literary figure this state has ever produced, and this book of poems is his first work,” Smith explained. “Faulkner thought he wanted to be a poet, and Phil Stone had it printed or helped him to get it printed. Stone bought many of the unsold copies and stored them in the attic at his home in Oxford, but they were destroyed when the house burned. I’ve only had one copy in my 31 years in business, and it wasn’t in good shape; the spine was really fragile, and the binding had come off. Whatever the print run was, and I’m sure it wasn’t big, a lot of the original copies didn’t survive.”
“Signed copies are worth tens of thousands of dollars,” Smith said. “The absolute best copy came up for sale at Christie’s, a copy he had inscribed to his mother and father. Ole Miss has a couple of copies, and someone donated one to Mississippi College a few years ago. But that book is one thing that I’ve kept searching for all these years. I did buy one from a lady in Oxford some twenty years ago, but because of its poor condition it wasn’t worth a lot then. I think I sold it for $750, but if I had one to resell now, it would bring ten times that much, probably up to ten thousand, because there just aren’t any around.”
The Christie’s first edition of Faulkner’s The Marble Faun (Four Seas Press: Boston, 1924) sold for $95,600 in October, 2002. In the lot description, Christie’s adds:
“Four Seas agreed to issue Faulkner’s collection of poems in 1923, provided he pay for the manufacturing costs (their standard arrangement). They offered him a royalty arrangement, but Faulkner declined to proceed, at the time not having enough money to carry the costs. Within six months, though, he’d received the encouragement and financial support of Phil Stone and the twenty-seven year old Faulkner contracted for the printing of 500 copies of The Marble Faun. The book sold poorly and quickly was remaindered. No records survive detailing the number of copies Four Seas actually sold prior to disposing the stock on the remainder market, but an early estimate suggested 100 copies. William Boozer, in William Faulkner’s First Book: The Marble Faun (Memphis, 1975), specifically located 56 copies. Boozer considered the existence of other floating copies for a total of near 70, and has since found more, but his total is still short of the 100 copies initially assumed.”
Jackson’s Culinary Canon
The culinary literature of any given city (or region) reflects the character of its peoples, and taken altogether, this selection, which I submit as the “best of the best”, shows Jackson as richly cultured, with an enduring commitment to the commonweal. Among its citizens have been talented cooks who were writers of surpassing ability. These books encompass an extraordinary amount of cultural history, contain the highest order of culinary exposition, and taken altogether could work as a syllabus for any tutorial on Southern cooking.
Allison’s Wells: The Last Mississippi Spa
(Muscadine Press: 1981)
In 1981, proprietor Hosford Fontaine—doubtless at the urging of countless friends—published Allison’s Wells: The Last Mississippi Spa. The book is a treasure-trove of history, with profiles of the people who kept the resort functioning as well as other unforgettable characters, musicians and artists such as Till Caldwell, Inez Wallace, Ted Faires, Marie Hull and others. Many of these people contributed to the illustrations, which are augmented by dozens of charming vintage photos including a poignant image of Hosford standing amid the charred ruins. Best of all, The Last Mississippi Spa also includes a sprawling section on recipes for almost anything to put on the table: hors d’oeuvres, soups, salads, dressings, breads, meats, seafood, vegetables, breakfast and brunch dishes, desserts, candy and cookies, all “tried and true” from the La Font kitchens. The book includes a warm and heartfelt Forward by Charlotte Capers and a brief introduction by Eudora Welty.
The Jackson Cookbook
(Hederman Brothers: 1971)
This cookbook could well be held up as an archetype of a Southern ladies’ cookbook; it’s stiff with tradition and understated elegance. Indeed, in a note “About the Cover,” the editors explain that Artist Carl Davis translated Welty’s comments about “the era of the Madeira tea napkin,” into a work of art using an heirloom tea napkin “hand embroidered by Miss Irene Anderson,” with Jackson’s monogram “J”. This note follows a short essay by the Women’s Editor of The Clarion-Ledger, Mary Alice Bookheart, “The Aesthetics of Eating,” which states in part, “This is not necessarily a cookbook of old Jackson recipes. … What (the cookbook committee) has attempted to do in compiling this book is to achieve a happy blend of old and new …” This book also includes some restaurant favorites, such as the “Edwards House (King Edward Hotel) Chicken”. The recipes are simple and use familiar ingredients as well as commercial items, and provide recipes for any occasion, ranging across the menu. The Jackson Cookbook is a wonderful addition to any kitchen library, but what sets it apart, raising it to a level no other cookbook in Mississippi can hope to achieve, is the Forward, “The Flavor of Jackson,” a jewel of exposition by Welty.
The Southern Hospitality Cookbook
Oxmoor House: 1976
Simply put, Winifred’s The Southern Hospitality Cookbook is not only a groaning board of splendid recipes, but as a whole nothing less than an illuminating documentation of upper-class cooking in the mid-20th century South. The recipes are rich and varied, the ingredients often expensive and times for preparation are usually considerable. Indeed, the most frequent critiques of the book involve how “fussy” the recipes are, many calling for minute amounts of several various ingredients and elaborate stage-by-stage instructions on their preparation. But this is the way Winifred and the women of her class and generation cooked; they had plenty of time on their hands, and more often than not enough money to spend on costly and hard-to-find ingredients. Many of the recipes are true heirlooms from Virginia and the Eastern Seaboard. She also includes recipes from dozens and dozens of friends and neighbors. The Southern Hospitality Cookbook is a milestone in the culinary history of Jackson, but what takes it to a higher level is a short essay by her editor at The National Observer, David W. Hacker (“Savoring Miss Welty’s Wit at a Special Seafood Lunch”) and a preface by Eudora herself (“A Note on the Cook”).
Standing Room Only
Hederman Brothers: 1983
“With Narratives by Eudora Welty and Beth Henley,” announces the marquee on New Stage’s truly superb “Cookbook for Entertaining”. Henley’s short essay on theatre parties is quite fun, and Welty’s “A Note about New Stage” is the definitive article on this beloved Jackson institution. The posters and playbills, along with the accompanying texts, that separate the divisions are also marvelous diversions, but the true stars here are the recipes. This is hands-down my favorite Jackson cookbook because the recipes are sumptuous, clearly presented, and a lot of them are just damned fun. Most of them are written for more than four servings and are captioned with “can double”. Also included are the invaluable sections, “Buying Guide for 50 Guests” and “Setting a Bar for 50 for One Hour”. SRO throws in an herb and wine guide as curtain calls.
Southern Sideboards
Wimmer/JLJ: 1978
The most distinguished cookbook in this selection, and winner of the prestigious Southern Living Hall of Fame Award, Southern Sideboards is THE right cookbook for traditional Southern recipes before the “foodie revolution” of the 1980s. These recipes aren’t designed for health or with an eye to fussy ingredients, so if you’re the type of person who wouldn’t be caught dead in a checkout with a can of Cream of Celery soup, then it’s certainly not for you. But if you’re one of those hide-bound traditionalists who want to know EXACTLY how Granny made that Southern Cornbread DRESSING, then this is your book. Sure, the recipes are often complex and some do take a little time, but you know what? Time and preparation are keys to good cooking and good eating. The game recipes are truly superb, as are the desserts, particularly the cakes. Southern Sideboards is distinguished by a splendid, heartfelt essay by Mississippi native Wyatt Cooper, an author, screenwriter, and actor who is better known as the fourth husband of Vanderbilt heiress and socialite Gloria Vanderbilt and the father of journalist Anderson Cooper.
The Sweet Potato Queens’ Big-Ass Cookbook and Financial Planner
Three Rivers Press: 2003
Despite what you may think, I am not including Jill Conner Browne’s cookbook in this list because I’m afraid that if I didn’t, I’d in the very near future have a magenta sequined bootie up my patootie. No, I honestly think the Big-Ass Cookbook is absolutely fabulous. Not only does it have lots and lots of great—albeit indulgent—recipes, it also has reams of practical advice: “Hormones are serious juju, and if you don’t get them sorted out, you might find that you need money for things like lawyers and bail.” I think it’s Jill’s best book, though I must profess a weakness for cookbooks. Here you’ll find satire without (much) malice or rancor, some of the best writing—flat-out writing—to come out of Mississippi, and humor that’s deliberately earthy without being crass or (too) coarse. Of course, I’ll never be deemed worthy to sew a single sequin on an SPQ outfit, but I adore them from afar.
Cheesecake at the Hoka
Ron Shapiro opened the Hoka in Oxford in 1974. He showed much of what passed as “art cinema”, but included an eclectic blend of old “B” movies, and selections from cutting-edge favorites such as Russ Meyers and John Waters.
Sometime around 1978, Ron went into partnership with Betty Blair, a beautiful lady from the Delta, and together they opened up the Moonlight Café in the theater. A dining area was constructed, the plumbing was re-done, kitchen equipment and a storage room were installed. The Moonlight served sandwiches, salads and desserts, and in a short time the Hoka became a popular nightspot in Oxford, a place to see and be seen.
One of the signature desserts was a New York-style cheesecake that came to the Moonlight via two sisters, Marla and Lee Ann Frear, who hailed from Delaware. Both Marla and Lee Ann were big, buxom blondes. I vividly remember seeing them at a Halloween party costumed as Siamese twins, resembling nothing less than a battleship in full steam as their huge boobs plowed a wake through the crowd.
They got the recipe from their mother, who was a caterer in Dover, and sold the cakes to the Moonlight to abet their college allowances. After they graduated, they gave the recipe to Gene Duncan, who gave it to me some forty years ago. It’s a simple concoction, but you must take care to pack the crust evenly or it will singe on the outside and be soggy in the middle
Hoka Cheesecake
Filling: ¾ cup sugar, 3 large eggs, 2 teaspoons vanilla, 24 oz. cream cheese, room temperature, 1 stick melted butter. Beat eggs, add sugar and mix well at medium speed, then add cream cheese and melted butter.
Crust: 1 box Nabisco graham cracker crumbs, 1 ½ cup sugar, 1 ½ stick melted butter.
Topping: 1 pint sour cream, room temperature, 1 teaspoon vanilla, 4 tablespoons sugar.
Mix crust ingredients, pack in lightly oiled 9”x3” spring form pan. Mix filling ingredients well at medium speed for three minutes. Pour over crust, spread evenly and bake at 375 for 30 minutes. Remove from oven, spoon on topping, return to oven at 475 for 5 min. Chill before slicing and serving.
A Failed Southern Lady at Ole Miss
In this excerpt from her (somewhat fictionalized) Confessions of a Failed Southern Lady (1985), self-confessed misanthrope Florence King—celebrated by conservatives and liberals alike for her arsenical wit—renders a breezy, catty account of her brief career as a graduate student at the University of Mississippi in 1958.
King wrote Confessions in graduate school, which she never finished after embarking on a career as a writing putative first-person stories for pulp magazines like Uncensored Confessions. (Her first: “My God! I’m Too Passionate for My Own Good!”) Many might find her impressions of Ole Miss in the late ‘50s of interest, and fans will like the way King lays the overwhelmingly Southern-ness of Oxford on with a trowel. This selection also describes the beginnings of her affair with a young woman who was killed in a car accident shortly afterwards.
My South was a region of narrow red brick Federalist houses and vast rolling acres of cobblestones. I had never seen naked children playing with a dead snake, nor a four-year-old standing up to nurse at the breast of a mother seated on a porch, but these riveting sights were mine from the window of the Memphis-Oxford bus.
Oxford itself was a pretty town with a courthouse on the square and a Confederate statue in front of it. It was almost dark when the bus pulled into the depot. As I got off, a taxi driver spotted me for a student and jumped forward, tipping his cap.
“Carry you up to campus, l’il lady?”
His idiom for “drive” was another first; for a moment I visualized myself arriving in a swoon in his skinny arms. He loaded my luggage and I gave him the name of the dorm the dean had assigned me to.
“That’s Miz Arvella’s dorm,” he said, referring to the housemother the dean had mentioned. “A fine woman.”
Proctors had to arrive two days earlier than the other students, so the campus was empty and unlighted when he pulled up before a dimly outlined rectangular house set in a copse of dark overhanging trees. In the tradition of Gothic paperback covers, one light burned in the house. The driver shone his headlights on the walk so I could see and I mounted the porch and rang the bell. I heard footsteps and then the door opened.
“Hey, Miz Arvella!” the driver cried happily.
“Hey, Mistuh Reece! How you doin’? How you been? You have a good summuh?” She turned to me. “You must be Flarnz. Are you Flarnz? Are you the proctuh named Flarnz? They said you wuh comin’ tonight. The Dean said to me this mornin’, she said, ‘Flarnz is comin’ tonight.’ Did you get heah awright? How you doin’?”
Everybody started talking at once; the driver answering his questions, I answering mine, and Miz Arvella asking more. It made walking through the door difficult: other people enter houses but Southerners surge in on wings of speech. Miz Arvella was the same age and shape as every other old lady I had ever known, but there was nonetheless something un-Daughterly about her. The word “askew” came to mind. I was used to rigidly glued gray fingerwaves and personalities to match, but Miz Arvella looked as if she had been cut out of her own speech pattern.
I reminded myself that I was getting a free private room out of this. Miz Arvella took me upstairs and showed it to me as the driver followed behind with my bags. It was huge and attractively furnished and sans Granny-my first room-of-one’s own. I paid the driver and he left me alone with the fine woman.
“Come on down aftuh you wash up. We’ll have us some coffee and Ah’ll explain your duties,” she said, and waddled out.
I washed up and looked out the window but could see nothing except an amber patch made by my own light; beyond it lay the wet black velvet of a Southern night. It was as still as death, yet there was something pervasively alive about it, a sense of things unseen moving among the trees on soundless wings. No wonder so many of the early settlers had gone mad. (“One Nathaniel Upton was floggèd for shewing himself in publick unclothed.”)
I went downstairs to join Miz Arvella. She led me to a little room with a wall board that contained buzzers and corresponding room numbers. Next to the board was the proctor’s desk and a table containing the sign-out book. According to the dean’s letter, I was to alternate odd and even nights with Miz Arvella, each of us having every other weekend off. There was very little to do and I could study at the desk once the girls were out on their dates. I had to check them in, keep track of late records and grace periods, chase any boys out of the lounge when the witching hour struck, and lock the doors.
As a woman of legal age, I had no curfew. I could go out after I locked the magnolia blossoms in, and stay out all night if I wished. My job entitled me to a key to the dorm, which Miz Arvella issued me now.
Next she explained the buzzer system. This is what she said:
“When a guhl has a phone call, you know what Ah mean, when the telephone rings, when somebody is callin’ huh up. When a guhl has a phone call, you press huh bell once. When she has a calluh, when a boy comes in to get huh, you know what Ah’m tryin’ to say, when they’ve got a date that night and he picks huh up, when he comes in and asks for huh in puhson ‘stead of callin’ on the phone, you unnerstand what Ah mean? When she has a calluh, then you press huh bell twice. That way, she knows whethuh she’s got a phone call or a calluh. ‘Cause see, if she has a calluh and you press huh bell once ‘stead of twice, she’ll think it’s a call ‘stead of a calluh. She’d come downstairs in huh dressin’ gown with huh hair up in cullahs, and there stands huh calluh, just standin’ there right in front of huh just as big as life. She’d just die of embarrassment, you know what Ah mean, she’d just fall down dead is what Ah’m sayin’, she’d just perish!”
She invited me to dinner in her apartment but I pleaded travel fatigue and escaped to my room. I poured myself a drink from Herb’s Prohibition flask, which he had filled with Scotch and given me for a going-away present. I heard the phone ring in Miz Arvella’s bedroom. A call, not a calluh. I put my hair up in cullahs, had another drink-you know what I mean, I poured some more whiskey out of the flask and drank it is what I’m saying—and fell into bed.
I slept twelve hours and awoke to the kind of morning that can turn night people into morning people. The warm sunny air was so fresh and sweet that I actually stuck my head out the window and inhaled. Ole Miss had a bona fide campusy look that my city college had striven for and missed. It was enough to make a graduate student feel like a co-ed at last, instead of the strangely haunted, secret-drinking proctor of Miz Arvella.
No sooner did this thought pass through my mind than I heard a tap at my door.
“Flarnz? You there, Flarnz? Come on down and have breakfast. Miz Zaviola’s heah. She’s one of the othuh housemothuhs and she’s just dyin’ to meet you.”
I was starving to death, so with two of us in extremis there was no reason to try and get out of it. I dressed and went downstairs, sniffing appreciatively at the aroma of Miz Arvella’s home-baked biscuits.
The other housemother looked more like my kind of old lady but she sounded exactly like Miz Arvella. This is what she said over breakfast:
“When Ah heard they wuh lettin’ the freshmen guhls stay out till midnight on Saddy, Ah saw the handwritin’ on the wall. Ah said to myself Ah said Ah can just see the handwritin’ on the wall if they let those guhls stay out till midnight on Saddy. Ah said the same thing to one of the mothuhs that called me. She asked me what did Ah think about them lettin’ the freshmen guhls stay out till midnight on Saddy and Ah said to huh Ah said Ah can just see the handwritin’ on the wall.”
My stomach was shaking. I was sorry because I had always enjoyed old ladies and I wanted to enjoy these, but I had to escape the echo chamber. As soon as I could politely do so, I excused myself and went for a walk around the campus. It was nearly deserted without the students but I had an imaginary companion. As we strolled through the grove in front of the white-columned Lyceum, Somerset Maugham whispered in my ear: “It requires the feminine temperament to repeat the same thing three times with equal zest.”
Maybe. Probably. But there was something a little too sweeping about Willie’s theory. The most feminine temperament I had ever encountered belonged to Evelyn Cunningham, but though she was a chatterbox, she was not a repeating rifle. No matter how much she talked she always moved forward, usually too fast; her needle never got stuck. Compared to Miz Arvella and Miz Zaviola, Evelyn was taciturn.
I stayed out as long as I could, but with the campus closed and no car to take me into town I was thrown back on the dorm. That meant having my meals with Miz Arvella because I want to emphasize this-she was what the South calls “a good soul.” She would give you half of anything she had to eat and three of everything she had to say.
As long as I had to endure her echolalia, I decided to analyze it. Perhaps she had been the youngest in a large family and had trouble getting people to listen to her. When she told me she was the oldest of seven and had raised her siblings after their mother’s untimely death, I decided that her thrice-told tales sprang from saying “No, no, no” to children while she herself was still a child. When both housemothers told me their late husbands had been farmers, I blamed isolation in the country with laconic men. This did not explain the absence of echolalia in farmwives in other parts of America, especially New England, but by then I was in no condition to pick a fight with myself.
All of my theories collapsed on the first day of school when the dorm was invaded by girls and mothers from every part of Mississippi, representing every social background and sibling rank, who all said everything at least three times.
“Well, lemme tell you, Ah’ve been on the horns of a dilemma evva since we got up this mornin’ to drive Tulaplee up heah from Jaspah City. Ah’ve nevva seen a fuhst day like this one. Ah tole Jimmy Lee while we wuh drivin’ up heah, Ah said Jimmy Lee Ah said, Ah’m on the horns of a dilemma, that’s what Ah tole him. When we got to Clarksdale, Tulaplee remembuhed that she forgot huh opal necklace and we had to tuhn right around and go back home and get it. By the time we got stahted again, Ah was on the horns of a dilemma the likes of which you have nevva seen.”
“Mary Lou’s upstairs just cryin’ huh eyes out ’cause it’s the fuhst time she’s evva been away from home. But Ah tole huh, Ah said Mary Lou Ah said, there’s no point cryin’ your eyes out ’cause there comes a time when the Mama bird pushes the babies out of the nest. You know what Ah mean, Ah said Mary Lou Ah said, Nature tells the Mama bird to push the babies out of the nest, so you hadn’t ought to cry your eyes out like that, ’cause the time has come for you to leave the nest, that’s what Ah tole huh. But she kept cryin’ huh eyes out, so I went and got huh Daddy and Ah tole him Ah said T.J. Ah said, you make that chile unnerstand that she’s just got to leave the nest. So T.J. talked to huh a long time, a right good while, and finally she dried huh eyes and she said to me, Mama, she said, you’re right. Ah’ve just got to fly.”
The front door burst open, crashed against the wall, and shuddered on its hinges as an embattled mother and daughter surged through the foyer and stormed upstairs. This time it was the daughter doing the talking.
“Ah got sick and tard of listenin’ to all that ole hoorah so Ah tole him Ah said Purvis Lee Thornton Ah said, Ah don’t want to heah another word out of you, so you just hush your mouth right this minute, that’s what Ah tole him. And he said to me he said Jackie Sue he said, Ah know good ‘n’ well you been datin’ Lamar Creighton on the sly, and Ah said now listen heah Ah said, that’s the biggest bunch of hoorah Ah evva heard! Ah said you just take that up the road and dump it, Ah said, ’cause you’re just as full of hoorah as you can be, that’s what Ah tole him.”
Thus vanished my slim hope of blaming it on the menopause. I took four aspirin, helped Miz Arvella get everybody squared away, and then escaped to the allmale world of the History Department to sign up for my classes. I took Ancient Greece, Ancient Rome, the Age of Reason, Historiography and Historical Research, and Thesis I. After I registered, I had an interview with my thesis advisor.
“I see from your transcripts that you’ve had six years of French,” he said. “I assume you’re planning a topic from French history, since you can do the research in the original. How about Syndicalism?”
Ralph had warned me about professor-generated topics. (“You can bet he’s writing a book on it and wants a free research assistant.”)
“Labor movements don’t interest me,” I replied, “and besides, it’s too recent. I like the distant past.”
Having blurted these sentiments to the only liberal at Ole Miss, I was smoothly but quickly transferred to another advisor, but he too pounced on the French, albeit with much more chronological empathy.
“How about Pippin the Short?”
“I’ll think about it,” I lied.
I wanted to write on the historical Bérénice, but I hesitated to say so for two reasons. First, very little was known about her and I was afraid there would not be enough to make a whole thesis. Second, I did not want to suggest a female topic after two men had suggested meaty male topics. I knew what History Departments thought of “hen scholars poring over Godey’s Lady’s Book.” I decided to see if I could solve both of these problems by fleshing out Bérénice with Titus and her father and grandfather, Herod Agrippa and Herod the Great. The latter’s policy on watery moles was bound to be an inspiration.
Next I went to the library to get my carrel assignment. The study nooks for graduate students, smaller versions of Herb’s first alcove at Park Road, were on the top floor of the library. The room was blessedly quiet and deserted. My carrel was next to a half-moon partitioned window that faced east and got the cool morning light. The desk was a Formica slab bolted to the wall, which made me think of the stationary desks bolted to the floor in high school. I gazed around the partitioned little space and smiled. It seemed more like my first private room than the one I had in the dorm. I ran my hand along the bookshelf above the desk. I was going to like studying here.
I heard a chair scrape and turned around. A woman stood in one of the cubicles in the back of the room with her arm draped over the top of her partition. The sleeve of her white shirtwaist was rolled up to the elbow in a businesslike way but the arm was languidly, almost bonelessly Southern. Just then she moved, seeming to push herself off the partition with a conscious effort, and started up the aisle toward me. She looked slender even though she wore a gathered skirt, so the body under it must have been thin. Her hair was dark and wavy and twisted carelessly up on the crown of her head in a chignon from which a few strands escaped and straggled down. She was taller than I, and as she came closer I saw that she was older. She looked about twenty-seven.
It seemed to take her forever to get from her carrel to mine. Southerner she undoubtedly was but a repeating rifle, never. Her smile was slow and lazy, too, but her undernourished air did not extend to her teeth. They were strong, perfectly aligned, and as white as her cotton blouse.
“Hey,” she said.
It meant “Hi.” Her eyes were dark grayish-green with golden flecks. I wondered what she put down when she filled out an application. She wore no makeup at all.
“Saw you get in a cab last night. I was going to carry you up to campus but you got away.”
I was still not used to “carry” for “drive” but her voice was as soft as velvet. I introduced myself and she responded with something that sounded like “breast.”
“Beg pardon?”
She gave a resigned smile as though she had been through this many times before.
“B-R-E-S. Rhymes with dress. My mother’s maiden name was Le Brès. Huguenot. We’re from the Gulf.”
“Are you a graduate student?” I asked.
“Graduate assistant. Classics. I got my master’s last year. I’m doing independent reading this year.”
“You mean Latin and Greek?” She nodded. “But Latin’s my specialty.”
It explained her oddly un-Southern, elliptical way of speaking. The military precision of Latin would necessarily eliminate the Mississippi daisy chain. I was terrifically impressed. As I tried to think of something ungulpy to say, she looked at her watch.
“Want to go get some coffee?” The jukebox was playing “Tom Dooley” when we entered the snack bar. It would continue to play all that year and become the song I afterwards associated with her, incongruous as it and she were. Several people gave her a quick glance and then looked speculatively at me. She continued on through the main part of the shop and led me to a smaller annex around a corner. I put my books down beside hers on the table she chose and we went to get our coffee.
“That’s our section,” she said, jerking her head back toward the annex. “It’s known as the Poet’s Corner. The campus cuties and the meatheads always sit in the main section. It’s called segregation,” she added with light irony.
I decided to test her. “I call campus cuties malkins.”
She knew what it meant. “Yes, they are that, but campus cutie is a proper noun around here. Capitalized. An official title. An award.”
“You’re kidding.”
“No. The student newspaper picks a Campus Cutie of the Week. Black.”
“What?” “No, I mean the coffee.”
We returned to the table and I told her about my idea for a thesis on Bérénice. Once again she picked up the intellectual ball and ran with it-much farther than I could.
“Hmm. Not much to go on. Tacitus mainly. ‘Titus reginam Berenicem, cui etiam nuptias pollicitus ferebatur, statim ab Urbe dimisit invitus invitam,’” she quoted rapidly. Something that was pure joy went through me. “There’s a little more in Deo Cassius,” she continued. “And the New Testament. Saint Paul met her. Bet that was an interesting occasion.”
Two co-eds at a table at the end of the main section were peering around the bend and staring at us. When I looked at them, one smirked and jabbed the other with troopers looking for cars with low trunks. I heard about the bootlegger who ran “Johnny’s Grocery” who became so undone by hypocrisy that he eventually came to believe he really was a grocer and started attending meetings of the Retail Food Merchants Association.
The strangest story they told me was about the local option situation over in the next county. Anyone with a powerful thirst could drive thirty miles to Batesville where there was a tavern that sold perfectly legal malt liquor. Not beer, malt liquor.
“Why malt liquor?” I asked.
Nobody knew. “That’s just the way it is,” Lucius said with a shrug.
It was an example of those recumbent QED’s that so infuriate Northern liberals. Another is: “It’s always been that way.”
Suddenly I found myself dying for a drink. I was not much of a drinker at this time, and it was only mid-afternoon, but going to live in Mississippi was like being transported back to the 1920s: I wanted it because it was against the law to have it. The others evidently felt the same way; all had a parched, panting look. I was about to suggest a drive to Batesville when Augustus spoke up.
“Hey, I’ve got a jug of Thunderbird wine in my room. How about if we take it down to Bres’s apartment and drink it?”
I had never drunk Thunderbird but like all city people, I was familiar with the vintage, having seen empty bottles bearing the label scattered in alleys. Bres agreed to the suggestion and we left the coffeeshop.
First, we had to stop by Augustus’s dorm and stand watch while he brought out the jug in his laundry bag, surrounded, for authenticity’s sake, by a bundle of his underwear. I expected to hear sirens closing in on us. It was a heartrending example of the sanctity of states’ rights.
The six of us walked down to the well-named Faculty Shacks, tiny frame houses like beach cottages whose peeling exteriors evoked the old saying, “Too poor to paint, too proud to whitewash.” Each little house was a separate apartment with its own driveway; Bres’s contained a 1954 Ford with Pearl River County tags. She opened the door of the house and we trooped in.
The uncarpeted living room was like an oven. While she was in the kitchen getting ice, I looked around. The furniture consisted of two mattress-on-a-door couches facing each other and separated by a cable spool coffee table; the lamps had been made out of green wine jugs weighted with pebbles, and the bookcases from planks of lumber and cinder blocks. All in all, bohemian done to a turn.
She was fairly neat but not shockingly so; her slut’s wool was coming along nicely and her window ledges contained that undisturbed layer of aristocracy to which I was accustomed. There were books everywhere, in and out of the bookcases, and an enormous collection of grant literature: prospecti and brochures on Fulbright-this and Guggenheim-that. Lucius noted my interest in them.
“If you want to know how to live on grants forever, ask ole Bres. Freighters to Europe, too. She’s got the schedules memorized.”
It was exactly what I did want to know. I imagined the two of us living in Paris, studying at the Sorbonne and sharing a Left Bank garret. It was an easy dream to realize in the fifties; grant money fell like rain and Arthur Frommer was the Vagabond King.
Bres brought in the ice and we started drinking the awful wine. I could barely swallow it but everyone else lapped it up. Still thinking about the Southern-ness of classical studies, I ventured my opinion and asked the others what they thought.
Bres shook her head. “That was true once but today’s Mississippians wouldn’t buy it. One way or another, Latin makes them mad.”
“Why?” I asked.
“Three reasons.” She shot a long index finger out of the relaxed curve of her fist. “Primo, it’s Catholic, so the Baptists hate it. Secundo, it’s the symbol of scholarship, so the anti-intellectuals hate it. Tertio, the campus cuties hate it because it has a reputation for being hard to learn, and that makes it unfeminine.”
She turned to me with the barest inquisitive glance. I had difficulty swallowing, but this time it had nothing to do with the wine.
“Actually, they’re right for once,” she went on. “It is unfeminine. It’s ideal for writing military reports, which is what Caesar’s Gallic War is. The g’s and c’s are hard. The Church has ruined the real Roman pronunciation, you know?-and then there’s that marvelous brevity. Southern women like to put things in, but Latin takes things out. Like “Where is the mirror?’ Ubi speculum est? You don’t need ‘the.”
Once again she looked at me. Her glance was wry at first, but as I held it her eyes widened with unmistakable meaning. Suddenly she put down her wineglass and raised graceful arms to her hair and began to reorder it in that half-abstracted, half-automatic way of women who wear their hair up, swiping at the nape of her neck to catch loose strands and tucking them into the chignon at the crown. As I continued to watch her, she removed a bobby pin and opened it with her teeth. There is no gesture more womanly, yet it has all the carelessness of a little girl who loses her sweaters and breaks her Thermos jars. Something melted inside of me, a hard tight ball in whose center lay a tenderness I had never acknowledged or expressed. I wanted to hug her, to pull her into my lap and rock her. When she smiled shyly up at me from under the bow of her bent arms, it was all I could do not to cry.
The ghastly wine was nearly gone. I had drunk only one glass but my tongue tasted like a Croatian army sock. I shuddered as the others drained their glasses in one gulp and smacked their lips appreciatively; evidently Mississippians would drink anything. Sorella suggested that we turn our afternoon into a night of serious drinking, and the Grope started discussing a gas station near Water Valley where, it was rumored, you could buy a pint of applejack. Not whiskey, applejack; not gin, applejack. It being impossible to telephone ahead and ask point blank if the gas station sold illegal hooch, they were willing to drive all the way down to Water Valley on the strength of this uncertain gossip.
Reluctantly, I looked at my watch. “I’m on the desk tonight.”
“We’ll make a hooch run when Florence can go with us,” Bres ruled, and the argument subsided at once.
We all went to the cafeteria instead. I should have been hungry but I could barely finish a hamburger. I had fallen in love at last.