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Tomato Gravy

Usually served over biscuits, rice, or grits, Bill Neale among others recommends it with fried chicken. I like tomato gravy with fried pork chops. Good summer tomatoes singed, peeled, and drained are best, but home-canned tomatoes run a (very) close second. Bacon drippings are traditional. Neale’s recipe uses chicken stock or water, while Robert St. John’s calls for stock and milk. If using canned tomatoes, always add a little juice.

2 cups chopped tomatoes
3 tablespoons drippings or oil
2 tablespoons flour
1 1/4 cups water or stock
1 teaspoon sugar
1 teaspoon salt
1 teaspoon pepper

Add salt, pepper, and sugar to chopped tomatoes, and mix well. Heat bacon drippings in a skillet, add flour to make a lightly browned roux. Add tomatoes, water/broth, reduce heat, and thicken.

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Comeback

This concoction has been used as a cold sauce across the South for a long time, but it’s often referred to as Mississippi comeback, a signature dish for the state, one that beckons her weary children home.

As a Mississippian, knowing how to make a good comeback should be as much a part of your repertoire as knowing how to pass a tractor towing a bat wing bush hog on a two-lane highway. Most recipes for comeback involve an emulsion combined with chili sauce or ketchup. Some prefer salad dressing instead of mayonnaise. I suspect that because the main ingredients are kitchen staples, and since the resulting mixture looks and tastes a lot like commercial Thousand Island without pickles, this Ur-comeback became a popular substitute for store-bought. The basic combination was often taught in home ec, but many learned it at their mother’s knee.

My version of comeback is quite simple, involving no more than mayonnaise, chili sauce, Worcestershire, and black pepper with a smidgen of onion powder. For seafood, a little lemon juice is needed along with horseradish and fresh parsley.

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Oysters Roffignac

With Roffignac, on one hand, you have an effete, fruity cocktail, on another, the roguish oysters Roffignac. Both recipes are from the most popular restaurant in antebellum New Orleans, on the corner of Royal and St. Peter Streets. Howard Mitcham  says that oysters Roffignac was the first baked/broiled oyster dish in New Orleans, and if Howard says so, it’s so. You’ll not find many oyster recipes that use red wine, and fewer using paprika for actual flavor; it’s a robust combination.

For four servings:
2 dozen fresh oysters in their shells
1/2 lb. peeled boiled shrimp (about a pound raw in the shell)
A half dozen scallions, finely chopped
About a dozen small button mushrooms, chopped
2 cloves garlic, minced
1 stick butter
2 tablespoons cornstarch
1 tablespoon paprika
A dash of cayenne
About a half cup of dry red wine

Clean oysters of mud and hangers-on, shuck, and reserve liquid. Heat butter, add scallions, garlic, shrimp, mushrooms, and seasonings. Cook until done through. Dissolve cornstarch in about ¼ cup water, add wine and oyster liquor, and drizzle into hot mixture until thickened. Cool before spooning over oysters and broiling.

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Keepers of the House

In the summer of 1855, Miss Anna Sheegog died upstairs in the house in which I write. No token of hers remains, not even a hair ribbon; the grief at her passing was eased and forgotten long ago. Yet she is still fooling around up there, after al this time, and no wonder—she was only 16 and not ready to be done with life.

Something is always stirring in old houses, for they murmur in their sleep as people do. So much happens, and none of it wants to leave; it is laid up in the walls, left to leak out now and then when someone is listening. Ghosts, we call it, though it is really only memory. I have listened here—in all weathers, in the bright noon and deep watches of the night—longer than Miss Anna was alive, and I know something of the memory of houses.

This one is called Rowan Oak, for Mr. William Faulkner called it that, and he lived here longer than anybody. Because he lived here it is a literary shrine of sorts; for 20-odd years pilgrims have been coming up the walk to see what lies in the white house.

I, too, was a pilgrim once, come by a long road begun in a railroad yard. One night a switchman, Frank Smith, pressed on me a book, of all things, a paperback, greasy and bent to the shape of his blue jeans pocket. “Read this,” he said. In the yard office after the train was gone, I opened it and began to read, and the world was never the same again.

Years later, when I was curator of Mr. William Faulkner’s house, I happened on a page of manuscript behind a drawer in the library. I knew right away what it was; lines from The Hamlet, written in this very house. It was no small thing to meet, and as the morning light fell through the tall library windows, I remembered another light; the glow of Frank Smith’s lantern on that vanished summer night, when he put his copy of The Hamlet in my hand.

Ghosts again, and, always, time. In Mr. Faulkner’s house, time is the sum of all senses. It is in the light, in all seasons softened to twilight by the trees. Time lies in the creak of a shutter, rain in the downspouts, in a step half-heard in the empty rooms above. It is in the very smell of the place, which is the smell of all grandmother’s houses, made of dust and mildew, old books and years of fried chicken—and that almost palpable memory that will not go away. It is the smell of time.

No wonder pilgrims sometimes speak in whispers here. No wonder children often cling shyly to their parents’ legs, flirting with something only they can see. Time conjures them all, as it conjures us, who are stewards of time.

There have not been many of us. Dr. James Webb, the first and best curator, will always be chief. In the early years Dr. George Street was here, and Bev Smith. I have worked with Danny Toma, Terrell Lewis, Keith Fudge. Winfred Ragland was the first groundskeeper, and then Isiah McGuirt, whom I watched rake the leaves of 15 autumns.

These were all Southern men who knew not just Mr. Faulkner and his work, but also what it means to love an old house and earth whence it came. They were all pilgrims, come here by their own long roads, each to find his own doorway to the past.

Once, on one of those days when the sky is deep blue and every leaf sharp and clear and shadows haunt the fence corners—once, on such a day, Isaiah walked out in the north pasture to work his turnips and Dany went along to swap lies. I wandered out by myself by and by and leaned on the fence and watched them. On the whole place there were only three of us. Their voices drifted to me across the morning. Now and then, an acorn rattled on the tin roof of the cookhouse, the loft door creaked, the house drowsed white and solid in the sun.

I should not have been surprised to find Mr. Faulkner at my elbow, leaning on the fence with his pipe, nor to see Miss Anna in the kitchen door—for the streams of time had come together once more, the old proper rhythms of life were in cadence, and all that ever happened on this place narrowed to an old man and a boy in the pasture, talking quietly under the autumn sky.

Occasionally, folks ask me what it is like to work at Rowan Oak. I do not know how to tell them about Frank Smith or Dr. Webb or Danny or the day Isiah went out to hoe his greens, but sometimes I try, and they are almost always satisfied. It is a good thing for pilgrims to carry away into the world waiting for them beyond the gate, for in that world ghosts are silly and magic is only for children. I don’t believe so myself, and neither does Miss Anna—but then, she is only 16, after all.

Howard Bahr lives in Oxford, Mississippi

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Angelo’s Onions

A lady whose full name I’ve forgotten shared this years ago. Now, to have Angelo Mistilis teach you how to cook onions is on the level of having Yo-Yo Ma show you how to tune a bull fiddle. Angelo has without doubt cooked more onions than anyone in the state of Mississippi over the years in his restaurant on College Hill Road in Lafayette County and served them up to generations of Oxonians, Ole Miss students, and other assorted riff-raff.

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Willadean’s Spoon Bread

Willadean Monahan and her twin sister Geraldean used to perform on the local radio shows in north Mississippi back in the 1950s. They could sing up a storm, but the act never went anywhere. In time they both married and settled down, Geraldean in Kosciusko and Willadean in Como, where I became her neighbor. Panola County gets mighty cold in a deep winter, and when the north wind came whipping down on us like a blue devil, Willadean would call us up and say, “Y’all come on over and get some of this spoon bread to keep you warm. You know I make the best in the world!” And she did.

Preheat oven to 400. Sift 1 cup cornmeal into 2 cups of lightly salted boiling water. Lower the heat and stir vigorously to a stiff gruel. Remove from heat and mix in a cup of cold milk or cream–this is best done with a whip. Add 2 well-beaten eggs and 2 tablespoons melted butter. (I’m sure she added a little vanilla, and though she swore she didn’t, I’m just gonna put that out there.) Blend until very smooth and ladle into a heated, well-oiled 8-in. baking dish. Willadean used a skillet, which gives a nice crust. Bake until firm in the middle and nicely browned, about 40 minutes, less if you’re using cast iron. Serve hot from the oven with molasses or honey.

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Howard Mitcham, Bourdain’s Mississippi Mentor

One of Anthony Bourdain’s last works is an introduction to Howard Mitcham’s Provincetown Seafood Cookbook, originally published in 1975. In this tribute, Bourdain calls Mitcham’s cookbook “one of the most influential of my life.” Dan Simon, founder and publisher of Seven Stories Press said he and his team approached Bourdain because they knew that he was “an admirer of Mitcham.” Bourdain’s culinary career started in the early 1970s in Provincetown, where Mitcham was already a legend. “He was just so terrific,” Simon said. “I think he loved the gusto with which Howard lived his life and cooked and brought it all together.”

A writer, a scholar and an artist as well as the 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. A name chef during what Bourdain himself called “the early happy days before the glamorization of chefs”, a historian and an artist as well, we should remember Mitcham with gusto. His Provincetown Seafood Cookbook stands loud, proud and without a smidgeon of pretension alongside any cookbook written in the past century, a robust ragout of food, people, art and lore.

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 writings on oysters and clams, shrimp and fish seem 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 incoherency. 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. After graduating high school, Mitcham moved to Vicksburg to live with his mother and began attending Louisiana State University as an art student, and at some point, in the late 1940s, Mitcham moved to Greenwich Village in New York City, where he ran an art gallery. What 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 Mitcham divided his years between New Orleans and Provincetown.

His abounding love for Provincetown bore prodigious fruit in 1975 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.”

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Collards at Tara

Fiction writers  concern themselves more  with the turmoil of the human condition (often theirs) than what’s on the table like the rest of us, but it’s inevitable that you’ll find food in many important novels; food is, after all, essential of existence itself.

Margaret Mitchell was born to an upper-class home in Atlanta at the turn of the last century, and her family roots sank deep into antebellum Georgia. Given the social dynamics of her upbringing, she was certainly well-informed when it came to that period’s Southern table, so we shouldn’t be at all surprised to find a notable description of an antebellum spread in Gone with the Wind.

When Ashley came home from the war for Christmas, the table was still graced with Aunt Pittypat’s Sèvres, but the only things to eat were sweet potatoes–a perennial staple of hardship from any quarter–and a skinny rooster Uncle Peter had put out of its misery, Scarlett remembered Tara’s groaning boards:

There were apples, yams, peanuts and milk on the table at Tara but never enough of even this primitive fare. A the sight of them, three times a day, her memory would rush back to the old days, the meals of the old days, the candle-lit table and the food perfuming the air. How careless they had been of food then, what prodigal waste! Rolls, corn muffins, biscuit and waffles, dripping butter, all at one meal. Ham at one end of the table and fried chicken at the other, collards swimming richly in pot liquor iridescent with grease, snap beans in mountains on brightly flowered porcelain, fried squash, stewed okra, carrots in cream sauce thick enough to cut. And three desserts, so everyone might have his choice, chocolate layer cake, vanilla blanc mange and pound cake topped with sweet whipped cream. The memory of those savory meals had the power to bring tears to her eyes as death and war had failed to do, the power to turn her ever-gnawing stomach from rumbling emptiness to nausea.

While most of these dishes seem apt for a wealthy, socially prominent Georgia plantation meal in the 1830’s, some people (admittedly me among them) might find the presence of collards in a porcelain tureen jarring because I’m such a stuck-up redneck, but stewed collards fit on the table in any damn thing that will hold them.

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Dirty Rice

A bone of contention with dirty rice comes between those who cook the rice with the meats and vegetables and those who cook them separately and mix them with seasonings before serving. I belong to the cook-separately-and-mix faction. I do the same with jambalayas. I’ve been called to the carpet for that more than once, but I stood my ground. I like the texture better.

Most recipes call for rice with chicken livers and/or gizzards. Some people use ground meat or game; onions and peppers typically round out the dish. First cook your gizzards. You can go to the trouble of trimming the membranes if you want, but I’ve found that if you stew gizzards for a very long time they’re going to end up as tender as can be, easy to mince, and the resulting broth is a thing of beauty. Sauté trimmed livers with a little garlic and minced white onion until just done through. Add chopped meats to cooked rice with whatever sautéed vegetables you like with a little oil to moisten. Season to taste. I like an Italian herbal blend with black pepper. Keep warm in a covered container, and add chopped green onion before plating.

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Pride and Potatoes

One day as a boy, a friend and I dared to enter his father’s tool shed, where among implements such as hammers, saws, screwdrivers, and girly magazines, we found a cabinet stocked with canned potato soup. When I asked why his daddy kept potato soup next to his chop saw, he said, “Momma won’t let him have it in the house.”

I was puzzled at the time, but now I understand. You see, a man’s house may be his castle, but his tool shed is his home, a sanctuary for the masculine spirit and as inviolate to intrusion as a nunnery. A man may keep things there which have no place in the house, even something as seemingly innocuous as potato soup.

Potato soup is neither good nor bad in itself; like Prince Hal, it is poor only in the company it keeps, and as is the case for so many of our foods, its company is often poverty itself. Memories of hard times survived among the men and women of my parents’ generation; after the hard years had ended and victory in the Good War made them members of the most affluent society on earth, they found themselves living in a world that stretched far beyond the dirt roads many grew up on, and they were obliged to learn the difficult lessons a newly-acquired middle-class life required of them.

For many, that meant ridding themselves of aspects of their lives that in this new world were not quite picture-perfect. Potato soup, to my friend’s mother, was not part of her perfect picture; it was Depression food, something people ate when they were poor and down on their luck. Now that they lived in town in a new brick house, had two cars in the garage, and she was secretary of the Twentieth-Century Club, potato soup —so simple, so basic, so very good—had been banished.

Others hearkened back, as my friend’s father did, to those days when a family’s existence was dependent upon making do. They also remembered—even as they trod the carpeted floors of the air-conditioned homes where their difficult children were growing into strangers in their midst—the foods they knew and loved, even if it were biscuits folded over a piece of fried streak-`o-lean they took to school, red-rind cheese and saltines from the store down the road, or chicken and dumplings made to stretch an old hen between ten people.

The foods you love best are often those of your childhood, and my friend’s father found the warmth of potato soup irresistible. I can still conjure up an image of this man sitting out in his shed and opening a can of soup, heating it on a little electric eye, eating it and thinking about his own Momma standing at her wood stove in a pair of old slippers, her hair limp with sweat and tied up with a penny piece of ribbon, cooking the only thing she had to cook—potatoes—into a soup for her family. I can also imagine this man reminiscing upon this while his wife teetered around the kitchen in high heels, her hair lacquered into a $5 hair-do she had redone twice a week cooking store-bought stuff on an electric range.

His wife herself probably remembered her Momma in much the same way as her husband did his, but for my friend’s mother it was a bitter memory, and her efforts to obliterate that—to her mind painful—image of poverty extended to those around her. Bound and determined to eradicate whatever she felt was coarse or common about her and others, she sacrificed upon the altar of her misguided pride the very foods that she secretly loved and learned to make at her mother’s side.