The Empress of Sweet Potatoes

Like many towns in the upland South, Vardaman grew up around a timber railhead. Some of the lordliest white oaks that ever left the continent descended from the hills above Vardaman and were shipped across the Atlantic to construct the great barrels that held the finest wines of the 1925 Exposition of Paris. But after the lumber was gone, farmers in the area turned to the sweet potato and their intuitions were crowned with success. Vardaman is now the (admittedly self-proclaimed) Sweet Potato Capital of the World.

cover card blogThe distaff side of my family is from Vardaman, and I’ve been eating sweet potatoes my whole life, so for a long time I’ve been sailing along considering myself an expert on the subject. Then here comes this McGreger girl who blows my dinghy out of the water. April McGreger has chops; whereas my father was a lawyer from Sarepta (sue me), she is a sweet potato farmer’s daughter from Vardaman proper.

In her introduction to Sweet Potatoes, the tenth installment in the University of North Carolina Press’ “Savor the South” series, McGreger says, “By the time I was a teenager, I had worked at pulling slips, the shoots that densely bedded ‘seed’ sweet potatoes send up, and had spent a couple of summers riding the ‘setter’ that plants those sweet potato slips in expansive fields. I learned firsthand how eyes and ears and noses fill with dust from the warm, just-plowed earth and how the modern farmer’s schedule is set by nature and financial demands, often at odds with each other.”

People you have no idea how refreshing, how delightful it is to find a book about food written by a genuine human being who has a fundamental knowledge of “farm to table” and not by one of these pompous foodways pundits who don’t know a roux from a rutabaga or a kitchen flim-flam aristo whose closest connection to the earth is trying to grow weed on his daddy’s back forty before flunking out of college and entering culinary school. McGreger is a very fine writer (as we expect of Mississippi’s children) and a scholar to boot, so she takes an appropriately schoolmarmish tone when it comes to sweet potatoes. In her own rhetoric, she poses the question “Is there any food more central to our southern identity than sweet potatoes?”

The short answer is no, and perhaps for that very reason the sweet potato demands definition, particularly as a botanical and linguistic entity. I’ll leave that explanation to April, who does a thorough job of sorting out the Latin as well as the vernacular. She spends some time on the history of this important foodstuff, pointing out the antiquity of its use and cultivation in the New World as well as its introduction to the Old. Central to her narrative is the role of the sweet potato in the culinary history of the American South where it’s been keeping body and soul together throughout the region’s tumultuous history.

McGreger laments, “Once such a prominent food in the southern diet, the sweet potato is now eaten by many only on Thanksgiving in the form of sweet potato casserole or sweet potato pie”, and her selection of recipes is designed to illustrate the versatility of the sweet potato and to provide cooks at every level of proficiency with a means of making them more of a staple in the kitchen”, as well they should be. She chafes at being restricted to only fifty recipes, but to her credit she offers a spectacular variety “aimed to help you refine techniques to develop your own repertoire.” These are arranged in four categories: “Breakfast: Morning Pastries, Grits, Gravy, and Hash”; “Sides and Salads: Vintage Classics and Fresh, Modern Twists”; “Mains, Soups, Stews, and In-Betweens: A World of Flavor”; and “Desserts: A Little Something Sweet”.

Before getting to the recipes proper, McGreger includes a crucial section concerning the selection, storage and preparation of sweet potatoes as well as a description of a few of the most essential culinary varieties (some have been developed as a garden ornamental) and what sorts of dishes they are best suited. Granted most of us have access only to the traditional “moist, orange-fleshed, and sweet” types, but it’s worth knowing other varieties are out there, and if the trend to greater diversity in the marketplace and the proliferation of farmers’ markets continues, finding whites, yellows, purples and heirloom varieties is something to look forward to.

Equally important is her section on selection and storage, since while she recommends buying sweet potatoes “dirty by the bushel, directly from a farmer”, the roots must be cured in a warm, humid environment for a few weeks in order to fully develop their flavor. Most essential is McGreger’s advice on the preparation of sweet potatoes, and since she is clearly the final court of authority when it comes to cooking these vegetables (roots and leaves, it’s worth noting), this section is the heart of her work.

April wryly regrets never winning the Little Miss Sweet Potato crown, but a lot of thought, a lot of time, and a lot of love went into this wonderful work, and in my less-than-humble opinion it establishes April McGreger as not merely a Little Miss, nor even a Queen, but as the Empress of Sweet Potatoes.

Candied Sweet Potatoes

This recipe comes from April McGreger, a fellow native of Calhoun County, Mississippi, and author of Sweet Potatoes, the tenth volume in University of North Carolina’s wonderful “Savor the South” series. April is a splendid cook, but I find her technique a little fussy. I simply assemble the ingredients in a skillet, put a loose lid on it, and bake at 350 until potatoes are tender and syrup reduced.

The genius of southern food is less in its individual dishes than in the overall composition of the meal. Syrupy sweet potatoes balance earthy field peas and sharp turnip greens shot through with hot pepper vinegar. Crispy cornbread swoops in to sop it all up. Here is a particularly nuanced version of ubiquitous candied sweet potatoes that makes use of that coffee can of bacon grease my grandparents and parents kept above the stove.

MAKES 6 SERVINGS

4 medium sweet potatoes (about 2 pounds), peeled and sliced 1/2 inch thick
3 tablespoons unsalted butter
1 tablespoon bacon drippings
1 cup sugar
3/4 teaspoon kosher salt
1/3 cup water
1 tablespoon lemon juice

Layer the sweet potatoes in a large cast-iron skillet. Dot with the butter and bacon drippings, and sprinkle with the sugar and salt. Pour the water and lemon juice over the sweet potatoes and cover the skillet with a tight-fitting lid or foil. Simmer for 15 minutes. Remove the cover and simmer until the sweet potatoes are very tender and the sauce is thick, 30-35 minutes more. Baste the sweet potatoes with the syrup from time to time, being careful not to break them up.

Bahr on the M&SV

Among the most distinguished and elegant writers in the Mississippi canon, Howard Bahr writes compelling novels of the American Civil War. Bahr is the winner of the 2007 Michael Shaara Prize for Excellence in Civil War Fiction for his book The Judas Field. His novel The Black Flower: A Novel of the Civil War received the W.Y. Boyd Literary Award for Excellence in Military Fiction in 1998, and in 2011 Bahr was the winner of the Mississippi Governor’s Award for Excellence in the Literary Arts. Between 1968 and 1973, Bahr worked in various positions for the Illinois Central Railroad, the Alabama, Tennessee, and Northern Railway, Missouri Pacific Railroad, the Southern Railway, and the CB&Q Railroad. A friend and neighbor, he kindly consented to interpret this old schedule for the Mississippi & Skuna Valley Railroad.

The Mississippi & Skuna Valley Railroad was constructed between May 1925, and September 1926. The M&SV came off the Illinois Central main line at Bryant, just south of Coffeeville. The road was twenty-one miles long running slightly northeast; at its terminus, the town of Bruce, Mississippi, was built around the E. L. Bruce Co. lumber mill. Original motive power was one Prairie Class (2-6-2) steam engine. Sometime before 1952, the road obtained at least three seventy-ton GE diesel switch engines. The M&SV also operated a motor rail car (named “Bruce”) for express and passenger service. The car was a coach body set on a Reo truck chassis.

The M&SV timetable is from the August, 1952, edition of The Official Guide of the Railways. Among the common symbols on railroad time tables are found the following:

§ indicates a train that runs only on Sunday
† indicates a train that runs daily except Sunday
∫ when placed beside a station name, indicates a “Flag Stop” (i.e., passenger trains only stop at those stations upon a displayed signal)
■ meaning can vary; on the M&SV timetable, indicates motor rail car service.

Times in the A.M. are printed in light-faced type; times in the P.M. are printed in bold type. The time given for each station is the scheduled time that the train leaves the station. Southbound and westbound trains are given odd numbers. Read down. Northbound and eastbound trains are given even numbers. Read up. On this table, mileage between stations is not given. Mileage from Bruce Junction is indicated in column Mls.

On the M&SV timetable, the motor coaches have regularly scheduled runs. The absence of numbered freight trains indicates that freight trains run “Extra”; i.e., they can be listed at any time. This timetable is for the convenience of passengers and does not show sidings where trains may pass. Most likely, the motor coaches had rights over freight trains. In any event, the M&SV is so short, and traffic so light, that train control was probably informal. By 1952, the Illinois Central ran no passenger trains from Jackson, Tennessee, to Grenada, Mississippi. Thus, one wonders why passengers would want to go from Bruce to Bruce Junction.

The Man That Painted Banner Red

It was in the spring of the year in the dear long ago. There had been a long dry spell and the farmers were well up with their work, but, complaining as to the weather quite a number were gathered in town. A dark heavy cloud was seen rising in the west and about noon a nice refreshing shower fell to bless and benefit these sons of toil.

In the afternoon the village of Banner was filled with happy farmers. The postmaster, Esq. Brower, and myself were sitting in the post office looking at the throng around Frank Brantley’s grocery. The dingy old gallon pot was sitting on a stump in front of the grocery, well filled with red liquor and surrounded by a happy crowd, all in a merry mood and still partaking rather freely.

All at once a young man stepped into the post office and asked if there was any mail for John Martin. He was rather small, with light hair and a few strangling red hairs on his upper lip and chin. Brower, after a careful look, told him there was no mail for John Martin. He said then, “I am a stranger here. This is the first time I was ever in Banner. I am Fighting John Martin from Butta Hatchie creek; I am a fighter from the east. I have often heard of Banner and I have come over to-day to clean her up and paint Banner red. I understand you have some fighters here and I would like to meet them. I tell you I am a fighter.”

He pulled from his ponderous pocket an old-style, iron-barrel pistol, with tube and hammer on the top and said, “You see this. I am going to have some fun this evening. The first man that bristles up to me, I’m going to down him.”

He walked nimbly across the muddy street to the stump and gallon pot, introduced himself to the crowd and took a drink of the liquor. A dispute between the Van Winkles and the Hardins soon resulted in a general fight. The men were all in their shirt sleeves and most of the young men and boys were barefooted. The men engaged in the fighting were old Carter Van Winkle who had a small lumber stick in his hand and he knocking the Hardins right and left, when he was modestly confronted by John Martin who asked, “Who are you and which side are you fighting? I am Fighting John Martin from Butta Hatchie. Did you ever see me turn loose in Banner? If not, look out!”

He thrust his old pistol into Van Winkle’s face and pulled the trigger, but the pistol snapped and Van Winkle struck him over the head with his stick and brought him to his knees. Martin galloped across the muddy street on his all-fours with Van Winkle striking him with the lumber stick first on the right and then on the left side as he crawled across with his pistol in one hand and his hat in the other.

Just as he crossed the street Van Winkle left him and returned to the general fight. Martin dragged himself into the post office all covered with blood, handed his pistol and hat to Brower and called for a doctor. The little Banner doctor examined him and found that he had received a downward lick on the side of his head that pealed the scalp his forehead back beyond his ear.

“Fix it quick doctor I want to get away from here.” The doctor took two or stitches, brought the edges of the wound up together, tied a few bands across. Brower handed him his hat and pistol; remarking as he did so, “This is hell turned loose in Banner, is it not?”

“No,” said the little doctor, “he is the man that painted Banner red.”

“Let me out of here,” said Martin and he slipped out, took through the woods to the south of Banner and that was the last seen of Martin, the Fighter from Butta Hatchie that painted Banner red.

(Signed, The Rambler, The Calhoun Monitor, Pittsboro, MS, Aug. 18, 1904)