A Southern Gallimaufry
Though considered coarse by our doyen of Southern gardening, Elizabeth Lawrence (among others) she (along with those others) unfailingly mentions in the same breath that the Mexican sunflower (Tithonia roundifolia) sets Monet’s gardens at Giverny ablaze in late summer, their blazing branches tower over his gentle lines and mounds of green and blue, pink and purple.
This recipe is a riff on a dish served at Pere Antoine in the Vieux Carré. There, mushroom caps are stuffed with a creamed spinach-mushroom-crab mixture, then breaded and deep-fried. Here the stuffing is served en casserole, a superb addition to any event buffet.
Sauté a half pound of thinly-sliced fresh mushrooms in a stick of butter. Stir in two cups chopped spinach and a half pound lump crab meat (picked through!). Make a quart of cream sauce–use half-and-half–and add to spinach/crab mix along with a cup of freshly grated hard/sharp cheese. Work in a finely julienned sweet red pepper, a few tablespoons of grated onion, and a minced clove of garlic (or two).
Season to your taste; I like a good slash of white pepper and a teaspoon or so of dried thyme. Mix very well, pour into an oiled casserole, and top with a freshly-grated hard cheese. Bake at 350 until browned and bubbling. Serve with dry toast and fresh lemons.
My Aunt Jett learned to cook from her mother, whose people settled a wilderness. Food was their only pleasure not subject to religion. They sustained themselves and their families on corn and pork with whatever else they could grow or kill. They planted and picked, cooked and baked, dried and canned what they could, making the most of what they had season to season, year to year, generation to generation.
Jett always had something fixed for whatever company might drop in: stewed greens, limas, black-eyed peas, or snap beans, new or creamed potatoes, fried chicken, pork chops, or breaded steak. If it were summer, she’d have fresh sliced tomatoes, fried okra, or corn on the cob.She served her meals with sliced onion, cornbread or biscuits, and sawmill gravy with sweetened tea to drink; she seasoned with streak-o’-lean, salt, black pepper (maybe a little cayenne) and sage.
Jet’s cooking was simple, but not coarse; it had a balance and symmetry all its own, dictated by long-ago voices set in concert with the seasons. Jett thanked God before we ate, and that, too is elemental of our sustenance.
“I grew up poor! We were so poor! Rupert, tell them!”
“They were so poor they had to piss in a bucket a block away!” Rupert was on the back porch, working on the lawn mower.
“But we were proud!” Lucretia said. “My mother was old Creole blood. She sold the calas on Dauphine, her apron white as an old nun, stiff as a young priest, and she’d go, “Belles calas! Mo gaignin calas, guaranti vous ve bons! Belles calas, belles calas!” And all the girls who worked up in their rooms, they’d come down to get Mama Diart’s cakes for their gentlemen who were sleeping it off in the beds like they’d get the strong coffee from Monsoir’s. The bottle they had already.”
“We ate the rouge ser riz, all the time! If we were lucky, Mama would get the ham joint that Hector Monsoir had saved for her because you see he was secretly in love with Mama from a long time ago when she was so beautiful and slender like a dancer with her laughing eyes.”
“They were so poor, she had to share her brassiere with her sisters!” Rupert tried to crank the lawnmower, but failed and he cussed.
“But not like those beans they make now!” Lucretia shouted. “Pah! Those beans they make now they taste like those little wads of dough the Italians boil to put in that red gravy they make. Beans that have no bones, no flesh, no . . . spirit. They use those big long-nosed beans, those . . . what do they call them, yes, them kidney beans, the light-colored ones like a bean the white people in the country use to put on their meal bread.” She made a face like spitting. “And they should be pissed on! No, she used the little red beans she bought from old Helene on Magazine.”
“They were so poor, if her brothers didn’t wake up with bones, they didn’t have anything to play with!” Rupert pulled the cord and the mower cranked, coughing and spitting. He pushed it into the yard and began mowing.
“She would bring the beans home when she sold her cakes, put them in the big pot on the back of the stove with water enough over the joint and start the laundry for the ladies in the Quarter. All afternoon they’d soak, and she’d start the fire. She had the herbs, too, from the market on Decatur, and pepper.
When we all got home she made the rice, and we would eat while all around us we could hear music play and see shadows dancing in the pretty wallpapered rooms where the fancy ladies sprayed French perfume on the pink lampshades.”
What compels great writers to write for children? For whatever reason, many do, and some titles are familiar: C.S. Lewis’ Narnia series, Tolkien’s The Hobbit, E.B. White’s Charlotte’s Web, and T.S. Eliot wrote Old Possum’s Book of Practical Cats, a childhood favorite of composer Andrew Lloyd Webber.
More obscure are Joyce’s, The Cat and the Devil, Twain’s, Advice to Little Girls, Woolf’s, The Widow and the Parrot, Mary Shelley’s The Fisher’s Cot, and then we have these little-known children’s books by two of Mississippi’s brightest literary lights; Welty’s The Shoe Bird and Faulkner’s The Wishing Tree.
In 1927, Faulkner gave the story that was to become The Wishing Tree to Victoria “Cho-Cho” Franklin, the daughter of his childhood sweetheart, Estelle Oldham. Faulkner was still infatuated with Estelle and had hopes of her leaving her current husband and marrying him, which she did in 1929. Faulkner typed the book on colored paper, bound it himself and included a lyrical dedication:
To Victoria
‘. . . . . . . I have seen music, heard
Grave and windless bells; mine air
Hath verities of vernal leaf and bird.
Ah, let this fade: it doth and must; nor grieve,
Dream ever, though; she ever young and fair.’
But Faulkner made copies for three other children as well, and when Victoria tried to publish the book decades later, copyright had to be worked out between the four. In 1964, Faulkner’s granddaughter Victoria, Cho-Cho’s daughter, got Random House to publish a limited edition of 500 numbered copies, featuring black-and-white illustrations by artist Don Bolognese.
The Wishing Tree is a grimly whimsical morality tale, somewhere between Alice In Wonderland and To Kill a Mockingbird. Dulcie, a young girl, wakes on her birthday to find a mysterious red-haired boy in her room who whisks her, the other children, the maid Alice, and a 92-year old man through a “soft wisteria scented mist” to find the Wishing Tree. They wish, and they unwish, and at the end they meet St. Francis who gives them each a bird–a little winged thought. The Wishing Tree is about the importance of choosing one’s wishes with consideration. “If you are kind to helpless things, you don’t need a Wishing Tree to make things come true.”
On April 8, 1967, a version of the story appeared in The Saturday Evening Post. Three days later, Random House released a regular edition, which went through three printings that year alone and no more. The book is now regarded as a literary curio from the man who put an Ole Miss coed in a cathouse in Memphis.
Eudora Welty finished what was to become The Shoe Bird in 1963 under the working title Pepe to fulfill a contractual obligation to Harcourt Brace—and to put a new roof on her house. She sent the final draft to Diarmund Russell in March, and he was enthusiastic: “totally charming—something all ages can read.” Eudora readied what was now entitled The Shoe Bird for publication in early 1964 with illustrations by Beth Krush, dedicating it to Bill and Emmy Maxwell’s daughters, Kate and Brookie.
The Shoe Bird is Arturo, a parrot who works in The Friendly Shoe Store “in a shopping center in the middle of the U.S.A.,” helping Mr. Friendly greet customers and bringing him a match for his end-of-the-day pipe. Arturo’s motto is: If you hear it, tell it. One day, a little boy who was leaving the store said, “Shoes are for the birds!” and after the store had closed Arturo, true to his motto, repeats the phrase and all the birds in the world—including a dodo and a phoenix—gather at the shoe store to be fitted for shoes. The Shoe Bird is a nice little story with lots of puns, but it’s heavy-handed with the moral of speaking for oneself instead of just repeating what others say.
Reviews in adult publications were “cordial but restrained,” while reception among children’s literature commentators was either negative or—as in the case of the influential Horn Book, nonexistent. Kirkus Reviews described the novel as uneventful and concludes: “the overly wordy result is so obscure that readers are likely to want to leave dictionaries as well as shoes to the birds.” An orchestral ballet was composed by Welty’s friend Lehman Engel and performed by the Jackson Ballet Guild in 1968. A 2002 choral piece was also commissioned by the Mississippi Boy Choir and composed by Samuel Jones.
As to what compels a writer to write for children, can it ever be as simple as to win over a childhood sweetheart or to roof a house? It’s never that simple and never that easy.
Sauté a cup of finely chopped white onions in a stick of butter until clear; stir in 3 tablespoons flour. With grace and beauty, blend in a cup and a half of milk mixed with an egg yolk. Stir until smooth and thick. Remove from heat, add six sliced hard-boiled eggs, two tablespoons grated hard cheese, cayenne for heat, and paprika for color. Salt to taste. This recipe serves about eight people.
You can find mixes for this old cake in the store, but they cannot compare to scratch, and September’s hot, dry weather is the perfect time to make it. It’s tricky; the water and cream of tartar go a long way to make sure you get good results.
Preheat oven to 350. Separate a dozen eggs, using caution to ensure no yolks make it into the whites. Bring whites to room temperature and stir in a tablespoon of water. Sift a cup of cake flour with a half cup sugar until it’s very light, at least twice, thrice is better. Beat egg whites in a large, very clean, dry bowl until foamy and sprinkle in a half teaspoon of cream of tartar. Continue beating, and as the texture begins to even out, add a teaspoon or two of pure vanilla extract and–gradually mix in another cup of sugar. Keep beating at a medium speed until the whites form stiff peaks, then carefully fold in the flour while sifting it over the whites. Use a spatula, and turn the bowl; the key is not to deflate the bubbles, so don’t over-mix.
Gently pour the batter into a 10-in. ungreased tube pan; the cake has to cling to the sides as it rises to make it crusty. Bake until the top is browned and springy. Use a knife to separate the cake out, and cool on a rack.
Slice or cube young cucumbers, squash, or green tomatoes. Pack into jars. Mix water and vinegar 2:1 with a tablespoon each salt and sugar per cup of liquid. A little garlic is a nice touch. Heat and stir until dissolved, cool, and pour over vegetables, with enough liquid to cover. Seal and shake a time or two. Refrigerate overnight before serving.
When I was working at Audie Michael’s, a restaurant on the Square in Oxford (current site of the City Grocery), we became well-known for two items outside our regular menu. One was gumbo, and the other was lasagna. We ran both regularly as luncheon specials.
Since we were basically an upscale burger joint, we didn’t do a lot of catering, usually only large take-out orders for regular customers. But one day Pat Lamar, a wealthy, socially prominent patron and later mayor of Oxford, sent in a messenger carrying a beautiful, shin-high (swear to God) McCarty bowl with a tapered bottom. My boss came waltzing into the kitchen with this huge piece of pottery and said, “Mrs. Lamar wants you to make lasagna in this for her party tonight.”
“Sure,” I said. “Is this oven-proof?” He looked at me like I’d hit him with a hammer. “What do you mean, oven-proof?” he asked. (He was a nice guy, just lacked focus.) “Look,” I said. “I’m not about to take an expensive piece of pottery, fill it full of lasagna and bake it in an oven without knowing that it’s not going to shatter.”
When realization blossomed in his mind, he panicked. In my experience, this has been management’s basic reaction to anything that’s not in the manual.
“What are we gonna do?” he said.
“Call her up and see if she’s baked in it before,” I said.
A few minutes later he came back and said, “She’s never put it in the oven, but she thinks it will be fine.”
I was skeptical. Even if the piece was insured, I didn’t want to have to clean up an oven full of lasagna and broken crockery. So I got on the phone and called Ron Dale, the top ceramics professor at Ole Miss.
“Jesse Lee,” he said, “To be honest with you, I do not know if it will withstand the heat or not. But the one thing not to do is to put a cool piece into a hot oven. Bring it up to heat.”
So I took a deep breath and made lasagna. I filled the bowl with warm water to heat it up a bit, poured that out, and filled it with swirled layers of meat, cheese, sauce, and noodles, all warm.
The entire ordeal, a Vesuvius-looking wonder that took four people to lift, went into a cold oven. I turned the thermostat up maybe fifty degrees every fifteen minutes or so. My boss positioned himself in front of the oven on a stool staring at the oven door until I ran him out with a mop.
After three hours, the lasagna was bubbling beautifully and the bowl showed no cracks. I found a box big enough to hold the damn thing and was just closing the lid when Mrs. Lamar’s entourage came to pick it up for the party, which had already started.
Once it was out of my hands, I went up to the bar and got good and snockered.
Select the ripest peppers without bruising, mold, or tears. Wash, drain, and remove stems and husks. Spread in a single layer on a sheet pan and place in a very low oven. In most ovens, this is the “warm” setting, about 160 degrees, Vent slightly (I use a wooden spoon.) Toss and turn every half hour or so until thoroughly dry. Store in a vented container until ready for use. This process works for most thin-skinned peppers, and depending on the size takes three to five hours.
