This Alice B. Toklas Cookbook recipe was omitted in the first American publication (1954) but was included in the second (1960). Here’s Alice’s recipe from the 1984 edition:
(which anyone could whip up on a rainy day)
This is the food of Paradise—of Baudelaire’s Artificial Paradises; it might provide entertaining refreshment for a Ladies’ bridge Club or a chapter meeting of the DAR. In Morocco it is thought to be good for warding off the common cold in damp winter weather and is, indeed, more effective if taken with large quantities of hot mint tea. Euphoria and brilliant storms of laughter; ecstatic reveries and extensions of one’s personality on several simultaneous planes are to be complacently expected. Almost anything Saint Theresa did, you can do better if you can bear to be ravished by un évanouissement revelle’.
Take 1 teaspoon black peppercorns, 1 whole nutmeg, 4 average sticks of cinnamon, 1 teaspoon coriander. These should all be pulverized in a mortar. About a handful each of stoned dates, dried figs, shelled almonds and peanuts; chop these and mix them together. A bunch of cannabis sativa can be pulverized. This along with the spices should be dusted over the mixed fruit and nuts, kneaded together. About a cup of sugar dissolved in a big pat of butter. Rolled into a cake and cut into pieces or made into balls about the size of a walnut, it should be eaten with care. Two pieces are quite sufficient.
Obtaining the cannabis may present certain difficulties, but the variety known as cannabis sativa grows as a common weed, often unrecognized, everywhere in Europe, Asia and parts of Africa; besides being cultivated as a crop for the manufacture of rope. In the Americas, while often discouraged, its cousin, called cannabis indica, has been observed even in city window boxes. It should be picked and dried as soon as it has gone to seed and while the plant is still green.
Bessie Mae Evans kept house for us when I was a kid. She was a fountain of the sort of lore that fascinates young boys, especially when it came to snakes. Bessie knew snakes chapter and verse. She would tell about those snakes that could hoop up and roll downhill, the ones that would sting you with their tails if they couldn’t bite you and snakes that would wrap you to a tree with their coils and beat you to death. She claimed that those snakes would stick the tip-end of their tail in your nose every now and then to see if you were still breathing, and if you were, they’d keep whipping.
Serpents were Satan incarnate to Bessie: I once watched her lob a Molotov cocktail made from a Coke bottle full of gasoline and a dirty sock into a thirty-foot culvert next to her house because a neighbor said she saw a snake crawl into it. The resulting explosion registered on a seismograph at Ole Miss, whose geology staff dutifully sent a team of graduate students to investigate the phenomenon. (I heard they took a wrong turn near Paris and ended up in Pontotoc.)
When we weren’t discussing reptiles, one of our favorite things to do together was to plant ourselves in front of the television on Saturday afternoons and watch old Tarzan movies on Channel 13 out of Memphis. She’d pretend to iron, and I’d pretend to do my homework. One afternoon my mother busted us watching Tarzan Escapes during a scene when a scantily-clad Johnny Weissmuller is being pursued by a hoard of Hollywood extras brandishing spears and slathered in Man Tan. Momma pointed to the screen and said, “Just think, Bessie, you might be kin to those people,” at which point Bessie mustered up all of her considerable dignity and said, “No, ma’am; I am a Christian lady.” And that was that about that, with Bessie leaving Momma’s relation to Cheeta open to question.
Bessie taught me how to take care of “pot plants” (which is what we used to call houseplants), how to grow greens in the winter (usually in a burnt-over spot) and how to cook poke salad. Euell Gibbons lauds poke as “probably the best-known and most widely-used wild vegetable in America.” In Stalking the Wild Asparagus, Gibbons writes that the Indian tribes eagerly sought it and early explorers were unstinting in their praise of this “succulent potherb.” They carried seeds when they went back home and poke soon became a popular cultivated garden vegetable in southern Europe and North Africa, a position it still maintains. In America it is still a favorite green vegetable with many country people and the tender young sprouts, gathered from wild plants, often appear in vegetable markets, especially in the South.”
Much like ramps, poke salad was eaten as a spring green because it was one of the first edible herbs to appear, giving a much-needed break from the beans, cornbread and salt pork diet of winter. In April 2000, Allen Canning Company of Siloam Springs, Arkansas canned its last batch of “poke sallet” greens. As late as 1990 at least two processing plants continued the tradition, Bush Brothers of Tennessee and Allen of Siloam Springs. Surprisingly, one of the best markets for canned poke was southern California due to the many “Oakies” who settled there in the ‘30s. John Williams, the canning supervisor at Allen Canning, said, “The decision to stop processing poke was primarily because of the difficulty of finding people interested in picking poke and bring it to our buying locations.” Also, poke processing was never a significant item in their multimillion-dollar enterprise, so it just became more bother than it was worth.
The only drawback to poke salad as a food is that it’s poisonous. The mature parts of the plant and the roots contain significant amounts of a violent but slow-acting emetic. Having said that, you’re probably wondering why in the hell anyone would even consider eating it, but prepared properly, poke salad is not only safe but delicious. Here’s how you do it: harvest only the youngest, tenderest sprouts of poke. Wash, stem and trim. Boil them for about ten minutes in plenty of salt water. Then drain, rinse and simmer for a while with just a bit more lightly salted water and a bit of oil of some kind. A slit hot pepper pod of the slender sort is a nice touch, and adding big pinch of sugar is something you just ought to do. Trust me.
Use prepared poke much as you would spinach; Euell has a poke salad dip in his book, and Bessie used to put it in scrambled eggs. She always cooked with bacon drippings, using plenty of salt as somewhat of a talisman against poison of any kind, I suspect, since she used to sprinkle salt around her garden to keep the snakes out, too.
Bessie died Feb.8, 2013 at the age of 81. I cried all day.
This recipe from Katzen’s Moosewood Cookbook has a wonderful texture and flavor. Though the original recipe called for just zucchini, any squash will do. The crust can be made in advance and refrigerated or frozen. You can either line a pizza pan or casserole with the crust or bake the mixture on a cookie sheet before topping.
Use 2 cups grated squash to one egg (the original calls for a 1:1 squash/egg ratio, but that’s a little much). Squeeze the liquid out of the squash; add the eggs and mix well with a good slug of olive oil and ½ cup each grated mozzarella and Parmesan and a little grated onion along with enough plain flour to make sticky dough. I like to use a little more Parmesan for a somewhat drier mix and add chopped peppers. Season with, salt, pepper, a little basil and thyme; I do not recommend using rosemary as in the original recipe. Roll out and shape with a twisted edge. Bake in a medium hot oven (375-400) for about 40 minutes, or until nicely browned. Brush with olive oil before cooling.
As to the toppings, you can use those you usually like on your pizza, but I forego meats out of respect for the original recipe as well as for Molly herself. Go lightly on the tomato sauce, since too much will make the crust soggy. Bake pizza in a hot oven as you would any other.
The other day my car was being repaired. I had it in the shop for an oil pump problem. I say it’s a car; maybe it’s a truck. I don’t know. It’s a twenty-two year old Jeep Cherokee with crank windows. Nothing fancy and that’s what I like about it. It was cold that morning so I put on my insulated boots with warm packs placed in each toe like hunters do, bundled up with my fingerless gloves, packed my painting kit, and set out walking around the block.
I saw a few people who might have thought I was indigent. I know the look. I’m loaded down like all I have is what I’m carrying. These things are my most valuable possessions. Walkers pass by not saying anything when, if I were dressed nicer and not for painting in the cold, they would probably say hi. I saw some people who recognized me and wandered why I was in the neighborhood. I explain I got married last March and we live around the corner. I’m out looking for something to paint. Things always look different on foot. Nothing is speaking to me yet. Then I come upon a painter friend of mine. We chat about the things going on in each of our lives and I reach down to pet her three legged dog. We say our goodbyes and as they are walking away I see a painting there.
I make a quick mental sketch of her and her companion. I begin setting up. I turn my AirPods on and begin listening to shuffling music. A car stops and a person is looking for some keys that may or may not have been dropped nearby. No luck. A young lady stops with a Polaroid camera and explains she is working on a series of photos depicting the neighborhood. Another car stops to drop off a meal on wheels to an older person. Then I get a call from my mechanic who says he’s going to need another day to finish the oil pump job. It’s okay. It’s all okay.
It’s been a little over two hours and I’m nearly through. It’s best not to get too through. I take a phone photo and post it like I always do. It feels good but I am not sure if it’s the painting or the process of seeing; but it does feel good. Then, I’m flooded with another feeling that I am doing what I am supposed to be doing. All because an oil pump broke and a walk around the block.
I wrote a high school junior class paper on Absalom, Absalom!, and one day I pointed out to the teacher the passage describing Charles Bon lounging in an effeminate silk robe before the cloddish Henry Sutpen. “Does this mean they were homosexuals?” I asked. She replied that Mr. Faulkner “would never write about something like that.” Years later, as a more literate scholar, I found that William Faulkner did indeed write about “things like that”; he wrote about humanity from every angle, including sexuality and homosexuality. Furthermore, I found my assessment of Charles Bon and Henry Sutpen’s relationship supported by others.
Between 1929 and 1939, Faulkner puslished The Sound and the Fury, As I Lay Dying, Sanctuary, Light in August, and Absalom, Absalom! as well as dozens of short stories. These works have been thoroughly studied and analyzed, and it’s not surprising that scholars and critics have identified homosexual themes in them. Absalom, Absalom! has been the focus of much interest in homosexual matters, and as early as 1955, Ilse Dusoir Lind commented upon the “affection, mildly homosexual in basis” between Shreve and Quentin.
The first essay devoted to the question of homosexuality in Faulkner’s works was published by Don Merrick Liles in 1983. Absalom, Absalom! and “A Rose for Emily” spurred discussion about homosexuality in Faulkner’s works. The 1980s saw Queer Theory evolve from the increasing visibility of sexual minorities. These critical analyses resulted in a multiplicity of approaches that in turn became dialogues about homosexuality in the Faulkner canon.
These exchanges allow us to see Faulkner’s work differently and over time come to new understandings. With Gay Faulkner: Uncovering a Homosexual Presence in Yoknapatawpha and Beyond, Phillip Gordon broadens our concepts of Faulkner and his works by examining his immersion in gay subcultures throughout his life, especially during the 1920s, and his strong and meaningful relationships with specific gay men, particularly his lifelong friend and sometime editor Ben Wasson. Gordon’s study focuses on male homosexuality simply because that is the most revealing perspective. He also concentrates his study on As I Lay Dying and the Snopes trilogy—with particular emphasis on Darl Bundren and V.K. Ratliff—rather than the major novels of the 1930s in order “to turn a light on other works to bring into focus themes that have not yet been deeply explored.”
Gordon states flatly that the question at the heart of his study is not if Faulkner was gay, but, “Is there a gay Faulkner?” Gordon seeks to reveal a gay presence not only in Faulkner’s work, but also in his life as well, establishing Faulkner’s awareness of homosexuality and homosexuals, and his acceptance and participation in gay culture. Gay Faulkner is a solid academic work; the notes are as absorbing as the text, and the bibliography constitutes a summation of Queer Faulkner studies. Gordon also offers insight, information, and even entertainment for the general reader.
Gordon’s documentation of Faulkner’s stay in New Orleans explores the bohemian atmosphere as well as the writers’ community of the Vieux Carré. Central to this section of the book is Gordon’s account of Faulkner’s relationship with his longtime friend and roommate, the gay artist William Spratling, including an intriguing account of a trip to Italy with Spratling, a journey that resulted in Faulkner’s most openly gay story, “A Divorce in Naples.” This period of Faulkner’s life, as well as the literary and artistic scene in the city at the time, is the subject of an essay by Gary Richards, “The Artful and Crafty Ones of the French Quarter: Male Homosexuality and Faulkner’s Early Prose Writings.” According to Richards, Spratling, not the literary lion Sherwood Anderson, stood at the center of the New Orleans artists and writers. He also points out that Faulkner’s early sketches for the Times-Picayune and the literary magazine, Double Dealer, as well as some of the characters and scenes in Mosquitoes (1927), are strongly homoerotic. Richards’s paper was presented at the 34th Faulkner Conference in 2007; Annette Trafzer states that conference’s subject, “Faulkner’s Sexualities,” is an “intentionally ambiguous” subject that “blurs the line between the author’s body and the body of his work .…” (Trefzer). This conference as well as “Faulkner and Women” (1985) and “Faulkner and Gender” (1994), featured other studies on Faulkner and homosexuality.
With Ben Wasson and the New Orleans-born gay writer, Lyle Saxon in New York City after the publication of Sanctuary (1931), Faulkner interacted with the Algonquin Round Table and met Alexander Woollcott. Faulkner toured Harlem’s gay clubs and cabarets with Carl Van Vetchen, where he attended a show by the famous drag “king” Gladys Bentley. This encounter was recounted by Wasson in the Blotner Papers at Southeastern Missouri State University, a rich source for scholarship that Gordon calls “fascinating, complex, and, for lack of a better word, beautiful.” Despite his earlier disclaimer concerning Faulkner’s personal proclivities, Gordon also avers that “there is evidence in the Blotner papers that suggest our understanding of Faulkner’s sexuality might not be what we have generally assumed.”
Gordon frames Faulkner within the literary milieu of early 20th century Mississippi–by any standards a cutting edge of the Southern Renaissance in American literature–and includes several prominent gay writers. The queer planter, poet, and memoirist William Alexander Percy of Greenville nurtured a clutch of writers, including Hodding Carter, Walker Percy, Shelby Foote, and Wasson. Gordon also illuminates Oxford’s fascinating and cosmopolitan Stark Young as well as the undeservedly obscure poet and scholar Hubert Creekmore of Water Valley.
Gordon and other queer critics focus on the meaning and nuances of a text, and amplify its implications. Some readers may think Gordon is reaching to make a point, but in the end, the words and their meanings are there for any to understand. Gay Faulkner has a great deal to recommend it; it’s interesting, educational, and entertaining. The book is also an excellent introduction to current and ongoing studies that seek to explore new avenues in Faulkner’s work.
In just a few short weeks, the Great State of Mississippi will inaugurate its 65th chief executive, Governor-elect Tate Reeves. In honor of this auspicious occasion, I’ve created a cake especially with a mind to Mr. Reeves and all the qualities he will bring to the office to commemorate the event.
Take a pound of frozen tater tots (the brand doesn’t matter; a frozen grated potato is a frozen grated potato) and cook according to package directions. It’s best to use the “fry” option, since the more grease the better. Fry a half-pound of bacon or cube a half-pound of ham, or do both. This recipe should include LOTS and LOTS of pork. Stir the tater tots and pork together with a half cup mayonnaise and two cups grated American cheese or Velveeta. Spray a Bundt pan with the nonstick cooking spray or grease with lard. Pack the tots, pork and cheese into the pan and bake for about forty-five minutes. Invert cake onto foil-covered surface and serve.
There you have it: greasy, ugly and no damn good for you at all. Not one bit. It’s even shaped like a big asshole.