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.
When the courthouse clock struck the first toll of the noon hour, the complexion of the village changed. Shopkeepers and clerks hurried their over-the-counter trade so as not to be late for mealtime; little old ladies in their shawls and bonnets scurried home along side streets to their salads and tea-cakes; doctors and lawyers put aside the healing of the sick and matters at the bar to congregate in the public inn for a plate of the noon-day fare; farmers found a shadier side of the square and rested under tall oak trees while they took their dinner of canned meat and yellow wedges of cheese. It was a time for idle chit-chat, political forum, witty repartee, and peaceful rumination with a temperance and protocol like no other time of day. –L.W. Thomas
Written for the menu of The Warehouse Restaurant, 1984