The culinary literature of any given city (or region) reflects the character of its peoples, and taken altogether, this selection, which I submit as the “best of the best”, shows Jackson as richly cultured, with an enduring commitment to the commonweal. Among its citizens have been talented cooks who were writers of surpassing ability. These books encompass an extraordinary amount of cultural history, contain the highest order of culinary exposition, and taken altogether could work as a syllabus for any tutorial on Southern cooking.
Allison’s Wells: The Last Mississippi Spa
(Muscadine Press: 1981)
In 1981, proprietor Hosford Fontaine—doubtless at the urging of countless friends—published Allison’s Wells: The Last Mississippi Spa. The book is a treasure-trove of history, with profiles of the people who kept the resort functioning as well as other unforgettable characters, musicians and artists such as Till Caldwell, Inez Wallace, Ted Faires, Marie Hull and others. Many of these people contributed to the illustrations, which are augmented by dozens of charming vintage photos including a poignant image of Hosford standing amid the charred ruins. Best of all, The Last Mississippi Spa also includes a sprawling section on recipes for almost anything to put on the table: hors d’oeuvres, soups, salads, dressings, breads, meats, seafood, vegetables, breakfast and brunch dishes, desserts, candy and cookies, all “tried and true” from the La Font kitchens. The book includes a warm and heartfelt Forward by Charlotte Capers and a brief introduction by Eudora Welty.
The Jackson Cookbook
(Hederman Brothers: 1971)
This cookbook could well be held up as an archetype of a Southern ladies’ cookbook; it’s stiff with tradition and understated elegance. Indeed, in a note “About the Cover,” the editors explain that Artist Carl Davis translated Welty’s comments about “the era of the Madeira tea napkin,” into a work of art using an heirloom tea napkin “hand embroidered by Miss Irene Anderson,” with Jackson’s monogram “J”. This note follows a short essay by the Women’s Editor of The Clarion-Ledger, Mary Alice Bookheart, “The Aesthetics of Eating,” which states in part, “This is not necessarily a cookbook of old Jackson recipes. … What (the cookbook committee) has attempted to do in compiling this book is to achieve a happy blend of old and new …” This book also includes some restaurant favorites, such as the “Edwards House (King Edward Hotel) Chicken”. The recipes are simple and use familiar ingredients as well as commercial items, and provide recipes for any occasion, ranging across the menu. The Jackson Cookbook is a wonderful addition to any kitchen library, but what sets it apart, raising it to a level no other cookbook in Mississippi can hope to achieve, is the Forward, “The Flavor of Jackson,” a jewel of exposition by Welty.
The Southern Hospitality Cookbook
Oxmoor House: 1976
Simply put, Winifred’s The Southern Hospitality Cookbook is not only a groaning board of splendid recipes, but as a whole nothing less than an illuminating documentation of upper-class cooking in the mid-20th century South. The recipes are rich and varied, the ingredients often expensive and times for preparation are usually considerable. Indeed, the most frequent critiques of the book involve how “fussy” the recipes are, many calling for minute amounts of several various ingredients and elaborate stage-by-stage instructions on their preparation. But this is the way Winifred and the women of her class and generation cooked; they had plenty of time on their hands, and more often than not enough money to spend on costly and hard-to-find ingredients. Many of the recipes are true heirlooms from Virginia and the Eastern Seaboard. She also includes recipes from dozens and dozens of friends and neighbors. The Southern Hospitality Cookbook is a milestone in the culinary history of Jackson, but what takes it to a higher level is a short essay by her editor at The National Observer, David W. Hacker (“Savoring Miss Welty’s Wit at a Special Seafood Lunch”) and a preface by Eudora herself (“A Note on the Cook”).
Standing Room Only
Hederman Brothers: 1983
“With Narratives by Eudora Welty and Beth Henley,” announces the marquee on New Stage’s truly superb “Cookbook for Entertaining”. Henley’s short essay on theatre parties is quite fun, and Welty’s “A Note about New Stage” is the definitive article on this beloved Jackson institution. The posters and playbills, along with the accompanying texts, that separate the divisions are also marvelous diversions, but the true stars here are the recipes. This is hands-down my favorite Jackson cookbook because the recipes are sumptuous, clearly presented, and a lot of them are just damned fun. Most of them are written for more than four servings and are captioned with “can double”. Also included are the invaluable sections, “Buying Guide for 50 Guests” and “Setting a Bar for 50 for One Hour”. SRO throws in an herb and wine guide as curtain calls.
The most distinguished cookbook in this selection, and winner of the prestigious Southern Living Hall of Fame Award, Southern Sideboards is THE right cookbook for traditional Southern recipes before the “foodie revolution” of the 1980s. These recipes aren’t designed for health or with an eye to fussy ingredients, so if you’re the type of person who wouldn’t be caught dead in a checkout with a can of Cream of Celery soup, then it’s certainly not for you. But if you’re one of those hide-bound traditionalists who want to know EXACTLY how Granny made that Southern Cornbread DRESSING, then this is your book. Sure, the recipes are often complex and some do take a little time, but you know what? Time and preparation are keys to good cooking and good eating. The game recipes are truly superb, as are the desserts, particularly the cakes. Southern Sideboards is distinguished by a splendid, heartfelt essay by Mississippi native Wyatt Cooper, an author, screenwriter, and actor who is better known as the fourth husband of Vanderbilt heiress and socialite Gloria Vanderbilt and the father of journalist Anderson Cooper.
The Sweet Potato Queens’ Big-Ass Cookbook and Financial Planner
Three Rivers Press: 2003
Despite what you may think, I am not including Jill Conner Browne’s cookbook in this list because I’m afraid that if I didn’t, I’d in the very near future have a magenta sequined bootie up my patootie. No, I honestly think the Big-Ass Cookbook is absolutely fabulous. Not only does it have lots and lots of great—albeit indulgent—recipes, it also has reams of practical advice: “Hormones are serious juju, and if you don’t get them sorted out, you might find that you need money for things like lawyers and bail.” I think it’s Jill’s best book, though I must profess a weakness for cookbooks. Here you’ll find satire without (much) malice or rancor, some of the best writing—flat-out writing—to come out of Mississippi, and humor that’s deliberately earthy without being crass or (too) coarse. Of course, I’ll never be deemed worthy to sew a single sequin on an SPQ outfit, but I adore them from afar.
My dad had a soft touch for door-to-door salesmen. I can still see him laid back on the couch in his boxers listening to some guy spell out his hard-luck story. I doubt if any of them left without an order and a couple of dollars in their pocket. We had three sets of encyclopedias and all kinds of serials put out by national publication like Time/Life or the Reader’s Digest. Our home was full of books full of words and pictures, and I spent hours poring over them when as a boy.
It wasn’t until a decade after he died that I began to explore the other books, the old faded covers and the tattered paperbacks. There I found the father I didn’t know, a man beyond my comprehension as a child, and certainly beyond mine as an old man. Still the books set a mold of time, of place, and more so of my father, the contours set by such as a raggedly paperback edition of Greek poetry in English translation in which I found the epigram of Simonides that Senator John F. Kennedy cited in his speech at the Syria Mosque in Pittsburgh, Pennsylvania in October, 1960: “Passerby: Tell Sparta we fell faithful to her service.”
Jess Jr. had a personal connection with the Kennedys, since in his capacity as District Attorney for Lafayette County in 1962 he had to juggle the political ramifications of a grand jury indictment against James J.P. McShane, who led the federal agents who escorted James Meredith, the first African American student at University of Mississippi. The indictment was eventually revoked.
He had a copy of C.H. Cramer’s Royal Bob: The Life of Robert Ingersoll. Ingersoll, an American lawyer, Civil War veteran, political leader and orator during the Golden Age of Free Thought (roughly from 1875 to 1914), was noted for his broad range of cultural activities and his defense of agnosticism. Another book relating to Jess Jr.’s political leanings on a more local level is Kirwan’s Revolt of the Rednecks: Mississippi Politics, 1876-1925, a solid nod to his political roots in the hills of north Mississippi.
One of the most puzzling yet astoundingly revealing works I found among my father’s books was Richard Brautigan’s first novel. A Confederate General from Big Sur, published in 1964. Jess Jr. was a student of the Civil War not only as a Southerner but as a politician since its ramifications were being felt with intensity in his lifetime. In Brautigan’s novel, which takes place in 1957, a man named Mellon believes he is a descendant of a Confederate general from Big Sur, California. There is no proof of his existence, although Mellon meets a drifter who has also heard of this general. Mellon seeks the truth of his own modern-day struggle in the United States in light of the Confederacy’s past struggle with the Union. I like to believe my father picked this book up on the basis of its title alone, but read it in its entirety in what was an ongoing effort to keep abreast of the mindset of the nation.
As to other fiction, he had Faulkner’s A Fable and The Town, two very divergent works; Jess Jr. knew Faulkner’s attorney Phil Stone and might have met the writer, but I feel he read Faulkner’s works more out of a desire to understand how this man from Lafayette County came to win a Nobel Prize than for any other reason. He also had a copy of Welty’s Golden Apples, which is puzzling, since of Welty’s works this is more rooted in classical mythology than any other, and my father was very much a student of reality. Like me, perhaps he was just a rube who came to read old books, and their poems and legends became a part of who he was.
In retrospect Jess Jr. could well be considered a learned man, and as such he was quite different from his peers, who included the political lights of his day as well as an across-the-board array of businessmen and dignitaries but perhaps most importantly people from every walk of life. For all that I have a handful of his books for a thread, he will always be a puzzle to the man I am, but not to the boy I was who loved him with every fiber of my being.
The muse of fiction is a thirsty bawd, particularly in the South where the icon of a hard-drinking writer unjustly brushes even us most humble wordsmiths with a tar of dissolution. Eudora Welty, every inch a lady, certainly did not fall into this rough-hewn category. Nonetheless, I have it on good authority that Welty and her friend Charlotte Capers, a Jackson historian, wit and essayist, were often to be found ensconced in Eudora’s home on Pinehurst with a bottle of Old Crow, and other guests are rumored. (The same authority relays that Welty later became a convert to Maker’s Mark, which she took it on the rocks with a splash of water.)
Eudora lived to a ripe old age, garnering laurels all the way. In her youth, she worked for the short-lived (1935-39) Federal Writer’s Project. Thousands worked on the project, including several well-known authors, many of them women. Fieldworkers such as Welty made about $80 a month, working 20 to 30 hours a week, collecting stories, local histories and taking photographs. They also collected recipes for a project entitled “America Eats”, and most of these recipes and recollections of foods have been gathered together by Mark Kurlansky in his splendid Food of a Younger Nation. Welty’s contributions to “America Eats” are somewhat substantial, and from all over the state: stuffed apples, stuffed eggs, lye hominy, barbecue sauce, a seafood and an okra gumbo, court bouillon, beaten biscuit, Spanish rice, potato salad and, last but not least, a mint julep. Welty writes:
A collection of recipes from the Old South is no more complete than the Old South itself without that magic ingredient, the mint julep. In the fine old City of Columbus, in the northeastern part of the state, hospitality for many years is said to have reached its height in Whitehall, the home of Mr. and Mrs. T.C. Billups. “The drink is refreshing,’ Mrs. Billups says, needlessly enough, “and carries with it all the charm of the Old South when life was less strenuous than it is today; when brave men and beautiful women loved and laughed and danced the hours away, but in their serious moments, which were many, aspired to develop minds and souls that made them among the finest people this old world has known.’ The Whitehall recipe is as follows:
Have silver goblet thoroughly chilled.
Take half lump sugar and dissolve in tablespoon water.
Take single leaf mint and bruise it between fingers, dropping into dissolved sugar.
Strain after stirring.
Fill the goblet with crushed ice, to capacity.
Pour in all the bourbon whiskey the goblet will hold.
Put a spring of mint in the top of the goblet, for bouquet.
Let goblet stand until FROSTED.
What compels writers of great works for adults 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 a series of whimsical poems published under the title 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:
‘. . . . . . . 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 it’s not that easy.
Bruce, Mississippi is some three miles south of a hamlet in Calhoun County named Banner. In 1975, Tom Yancy, a junior at Bruce High School, wrote a letter to Eudora Welty, who responded with much grace.
“For reasons best known to ourselves,” Hodding Carter, Ben Wasson and Kenneth Haxton decided “one low-water night some time back” to organize “still another addition to the multiplicity of publishing houses whose directors dream of an America that will some day read instead of write.”
Their brainchild, Levee Press, ranks among those small publishing enterprises—the Woolfs’ Hogarth and the Webbs’ Loujon, for instance—that are distinguished by the quality of their production. Though its output was miniscule by any standards—only four publications in roughly that many years totaling somewhat less than 3000 copies (2635 “official” count)—Levee Press imprints command a significant price among an elite of discerning bibliophiles because the names of the four authors—Foote, Welty, Faulkner and Percy—resonate in the state, the region and the world. Had Levee Press maintained production at such a level of quality, the Greenville publishing house could very well in time have become one of the premiere imprints in the nation, but indifference, dissent, certainly some combination of the two—melded to bring an end to it.
In the late 1940s, during the “golden age” of Mississippi literature, the output was phenomenal, with Welty and Faulkner as cynosures in a stellar flurry of belles lettres including works from Carter himself, who had commandeered the Greenville Delta Democrat-Times—as he had the Hammond Daily Courier—into a newspaper of integrity and distinction, an achievement acknowledged by the Pulitzer jury that awarded him the prize for editorial writing in 1946. Hodding was at the peak of his career; his reputation as a capable spokesman for a progressive South was solidly entrenched across the nation. Ben Wasson, who had worked in New York theater with Leland Hayward and acted as Faulkner’s first literary agent, wrote on the arts and as a literary critic for the newspaper. Kenneth Haxton, a composer and husband of National Book Award nominee Josephine Ayers Haxton, who wrote under the surname Ellen Douglas, worked full-time at his family’s department store, Nelms and Blum’s (his mother was a Blum), where he had installed a bookstore. Carter also had young Shelby Foote working for him at the Delta Democrat-Times then, and while Hodding can dryly drawl about the enterprising intentions of him and his cronies in their cups, it was Foote who came up with the idea to publish a book using the resources of the Delta Democrat-Times.
Shelby Foote grew up in Greenville alongside his fraternal friend Walker Percy under the patriarchal wing of planter/poet William Alexander Percy. Foote, like Walker, had literary ambitions which in time both realized, but in early 1947, Foote had just turned 30, had only one major work in progress (Tournament), and his expenses were mounting. Apparently quite on his own initiative, he decided to print and publish his own work with the limited resources of the Delta Democrat-Times print shop. Since his enterprise just happened to mesh with their own previous plans to publish books in the hub of the Delta, Ben Wasson, representing Hodding Carter and Kenneth Haxton, asked Foote if he would add the name “Levee Press” to the pamphlet they had heard he was planning to print. “We gonna call it the Levee Press,” Wasson said, nodding out the window at the earthworks against the river.
From within the Tournament manuscript, Foote excised the grim story of Abraham Wisten, the tragic story of an ambitious Jewish immigrant, entitled it The Merchant of Bristol and hired co-worker Bill Yarborough to typeset and print 260 copies of the 20-page novella on June 2, 1947. Foote stapled them together himself and—with considerable pluck—signed, numbered and marketed his work in the book section of Nelms and Blum’s at $1.50 a copy. More than one wit remarked that just as much would buy a good dress shirt, and sales were predictably disappointing, not only perhaps because of Foote’s perceived pretentions but more likely because as a publication, The Merchant of Bristol is nothing more than a pamphlet, reminiscent of the blue essay books used for university examinations. Wisten’s tragedy was reprinted in Foote’s first work of fiction, Tournament, in 1949.
Writing in the Commercial Appeal on July 6, 1947, columnist Paul Flowers announced, “Freshest literary venture in the South today is the Levee Press at Greenville, Miss. (there’s always something going on among the literati of Washington County.) The Levee Press is the idea of a group of writers, for the perpetuation of stories, essays, and other literary material which may not have enough general interest for publication on a national scale, but too good to be forgotten… Shelby Foote broke the ice with a short story, published in pamphlet form, and 250 copies, each one numbered and autographed, went out to persons who had subscribed. The project is non-profit and there’s no incentive except to keep alive bits of writing which ought to live. More small volumes will be coming from the Levee Press. It will not be commercial, and no one connected with it is looking for material gain (except Foote, of course: JY) However, most, if not all of its insiders are welling manuscripts in the open market, but they will publish at home, just for collector’s items some of the pieces nearest their hearts.” Flowers doubtless received this description of the Levee Press’s objectives from Hodding Carter himself by way of promotion, and perhaps this is an echo of the “reasons best known to ourselves” that he referred to some six years later in Where Main Street Meets the River, where he claimed—again, after the fact—that the purpose of the Levee Press was to “publish limited, signed editions of new, relatively short books—“novella” sounds better—by established Southern writers.”
With the publication of A Curtain of Green (1941) and The Wide Net and Other Stories (1943), Welty had garnered three O. Henry awards and a Guggenheim fellowship, which made her a clear candidate for publication with the Levee Press. Wasson “brazenly” asked Welty if she would permit the new publishing firm to issue one of her manuscripts as a book and had told her the plans for the new press. In Count no ‘Count, Wasson recounts, “The great and gracious lady replied that she approved of such a venture, that Mississippi needed a limited editions press, and that, as it happened, she did have a manuscript. It was a novella, Music from Spain.” In December, 1946, Welty traveled to San Francisco to visit her friend and ofttime paramour John Robinson, rented her own apartment there in January and between then and March wrote a lengthy story, “Music from Spain”. The story stands at somewhat of a distance from the body of Welty’s oeuvre because it is set outside of Mississippi, in San Francisco, its narrative is stream-of-consciousness and it is distinctly erotic—indeed, homoerotic— a daring element in a work for publication in Greenville, Mississippi in the late 1940s. After contacting Welty’s agent, Diarmuid Russell, Carter and company contracted Welty for 750 copies was agreed to give her 25 per cent of the $2.50 price—Wasson claims $4—in exchange for non-exclusive rights to “Music from Spain”.
When Ben Wasson proposed that Levee Press “do a Faulkner”, the other two laughed. Even though Faulkner in 1946 was one of three finalists for the first Ellery Queen Mystery Magazine Award (second to Rhea Galati), he was by most other standards the single most important Southern American writer of his day, but Wesson had a card up his sleeve. Not only had he been Faulkner’s agent when Faulkner was struggling to publish Flags in the Dust, but it was Wesson who for fifty dollars a week pared down Faulkner’s novel for the demands of Harcourt, Brace. For two weeks, while Faulkner sat nearby writing The Sound and the Fury, Wasson cut almost a fourth of the book, and Harcourt, Brace published the truncated version on January 31, 1929, as Sartoris. Some might say that Ben Wesson was calling in a debt, but for whatever reason, in late February, 1948, Wesson traveled with Carter to Oxford for an evening at Rowan Oak. Faulkner, “at-first-reticent”, gradually warmed his visitors, who left with an original manuscript, a “horse race piece” Faulkner suggested they call “A Long Dangling Clause from a Work in Progress.”
On March 1, Faulkner reported his commitment to his agent, Robert K. Haas: “Hodding Carter and an old friend of Mine, Ben Wasson, have what they call the Levee Press, at Greenville, Miss. Three times a year they get out an issue, which is sort of a colophon thing: a single story or article, limited number. I am letting them have the section of the big mss. Which Ober offered to Partisan Review and was declined. It will resemble a special edition pamphlet, bound of course, signed by me, to sell at $2.50. I get 25%. This is all right with Random House, isn’t it? The section is about 80-100 pages typescript. They will call it Section (of from) Work in Progress. I think. I want to do it mainly to confound the people who say nothing good out of Miss. The Press is less than a year old, is already getting known even though in slightly precious circles, like Yale reviews etc. Its foundation is Carter’s Greenville daily newspaper. His name is familiar to you, probably: lecturer, liberal, champion of Negro injustice though no radical, no communist despite Bilbo and Rankin.”
So it was with these commitments an announcement was made in the Commercial Appeal on May 2, 1948: “The Levee Press probably will be doing some celebrating about that time also (2nd week in May with publication of Cohn’s Where I Was Born and Raised), announcing books by Eudora Welty and William Faulkner, to be issued by the Greenville house. That won’t hurt the Levee Press, either, starting off with a pair of names such as Welty and Faulkner, for those are two writers highly esteemed in the English speaking world. The Levee Press may turn into an important venture in the American publishing world. It got off to a modest beginning about a year ago with a short story by Shelby Foote.”
For the Welty book, Carter stepped up his game considerably. Always the consummate newspaperman, he purchased a Jansen type plate that he had admired in certain Knopf publications. With no local bindery available, he contracted that job to a publishing company in Texas Dickens. Carter also hired local artist Elizabeth Calvert to design the colophon, a stylized “L” bracketing a river steamer, which was ensconced beneath those of Welty and Faulkner (Percy died in 1943). Ken Haxton designed and drew the Picassoesque/art deco guitar for the terra-cotta cover and chose for each of the seven section headings musical motifs from the Spanish composer Isaac Albeniz, Recuerdos de viaje, “En la Alhambra”. Writing in The New York Times Book Review in 1949, Charles Poore called the volume a “handsome example of bookmaking”. Music from Spain was incorporated into Welty’s third collection of short stories, Golden Apples, published by Harcourt, Brace in 1949. Welty’s 25 per cent of the $2.50 take was the price of literary notoriety in Mississippi at the time, but on the current market a (quality) copy of Music from Spain published by the Levee Press sells for $1000, a distinguished association copy, inscribed and signed by Eudora Welty, to authors Allen Tate and Caroline Gordon: “To Caroline + Allen/ with love/ from Eudora”.)
Though Levee Press’s relationship with Eudora Welty is undocumented, Faulkner’s exchanges are unsurprisingly high-profile, with vibrant accounts provided by both Carter, in Where Main Street Meets the River and Wasson, in Count no ‘Count, given that the author was awarded the Nobel Prize during the publishing process. Carter, Wasson and Haxton shortened the title of the Faulkner manuscript to Notes on a Horsethief. “It was good,” Carter claimed, “even though a few readers have since complained that they never before had read thirty thousand words divided into only three sentences.” Again, Levee Press extended its resources for Notes on a Horsethief. Elizabeth Calvert’s flowing, linear artwork for the rich, Sherwood green cover and the endpapers, described by Jean Stein as “horses in flight”, are striking and dramatic. Horsethief is arguably Levee Press’s highest achievement both in terms of art and letters.
Notes on a Horsethief was printed on November 4, 1950, and the following January, on the 23rd, Estelle Faulkner phoned Carter, telling him that her husband had decided that there was no sense in unpacking the nine hundred and fifty books he had received the month before for signing only to ship them right back, and he had put the unopened crate in his station wagon early that morning and was on his way to Greenville. Carter alerted Wasson, who “smuggled” Faulkner into Hodding’s office at the Delta Democrat-Times, sent out for the crate of books, and an ad hoc assembly line was organized with Wasson opening the books for a signature, Faulkner—standing, in a half-crouch—signing and numbering them and a young woman from the bindery took it from him to blot the signatures and replace them in the box. Carter sent out to Al’s Café for beer. “Hospitality dictated that I do something for a man who had driven one hundred and twenty miles just to stand in my office and sign his name to copies of a book for which he could have received far more than our limited edition’s twenty-five percent royalty could bring him at six dollars a copy,” Carter wrote, recording “for the factual-minded” that Faulkner’s ration of signed books to beers turned out that day and the next morning to be “sixty volumes of Faulkner to one bottle of Budweiser.”
Notes on a Horse Thief was published scarcely a month before Faulkner accepted the Nobel Prize Stockholm’s City Hall on December 10, 1950. The nine hundred copies sold out quickly, and soon copies were selling for as high as $25 in. Irving Howe, reviewing this “privately printed and fabulously pieced story” in The Nation, said it was “a bad piece of writing,” but Charles Poore in the New York Times Book Review, called it “at once a brilliantly told story of a manhunt and a subtly woven allegory on man’s fate.” Notes later became a section in Faulkner’s much-belated Pulitzer winner, A Fable, with gracious thanks from the author to Levee Press for permission to reproduce the material.
Choosing the next work to be published proved problematic; Carter, Wasson and Caxton intimated later that it had been their intention to publish Mississippi writers exclusively, but in the end it just turned out that way. In fact, Carter was considering publishing a book of poems by John Gould Fletcher of Arkansas that had been turned down by his New York publisher, but at the last minute the decided to print them after all. Wasson wrote to Flannery O’Connor, Carson McCullers and Robert Penn Warren, but none had a manuscript of suitable length ready for publication. Writer and photographer Carl Van Vechten, who Gertrude Stein had appointed her literary executor, sent some unpublished works by her, but the three principals of Levee Press found them so mystifying that they returned them, regretfully, to a subsequently indignant Van Vechten. Unknown writers (including Greenville son Howard Mitcham jly) submitted hundreds of manuscripts, but none of them seemed good enough.
The shadow of William Alexander Percy looms large in Greenville, and Carter, Wasson and Haxton all knew the man well and admired him immensely. Percy died in 1942, and Knopf published The Collected Poems of William Alexander Percy in 1943, with a second edition the following year. Yet Ann Stokes, who claimed to have worked with Percy in editing the poems for the collection, claimed that she had variant forms of some of the published poems that should be printed, and insisted with no small degree of persistence that Hodding Carter publish these poems as well. Carter felt some degree of obligation to Stokes, who sold him the land on which he had built his new Feliciana house. Ben Wasson thought publishing Percy’s poetry was redundant and the book would not sell, and Carter, while engaged in a lengthy and complicated correspondence with Alfred Knopf, whose company held the copyright to the Percy poems, actually went so far as to ask Knopf to deny him permission to reprint the poems, Knopf consented, giving Carter no excuse to refuse Stokes’ nagging.
Of Silence and of Stars, with a forward by Carter, edited by Anne Stokes, decorations by Elizabeth Calvert, was issued in mid-1953, the title taken from the poem “Home” (“I have a need of silence and of stars…”). It is a handsome volume, with a deep blue cover featuring a sketch of herons somewhat similar but not as striking as the horses on the Faulkner cover, and the end papers are illustrated with drawings of cypress in a bayou. A note on the dedication page is a quote from Faulkner’s Nobel acceptance speech. Stokes dated each poem and divided them into three groups: those written before 1915, those written between 1915 and 1920 and those completed after Percy’s World War I experiences. Six hundred and fifty copies were printed, and while each copy was numbered, of course they are unsigned.
Although Ben Haxton placed “The Levee Press” on the title page of his 1997 work The Undiscovered Country as a tribute to the spirit of the enterprise he shared with Carter and Wasson, Of Silence and of Stars proved to be the last book issued by Levee Press. Carter toyed with the idea of publishing “lost literature” of the South, particularly a stirring antebellum courtroom plea that Natchez lawyer Sargent S. Prentiss made in a Kentucky court to save the lives of three Mississippi planters involved in a bloody brawl while attending a wedding, this idea never came to fruition, and after failing to get a manuscript from Tennessee Williams, the Levee Press passed out of existence. Carter, Wasson and Haxton all had other, more pressing involvements, and Wasson, evidently the principal behind the publishing venture, clearly lost interest after the Percy work was foisted on the press. Still, the output of the Levee Press is a high-water mark in the publishing history of Mississippi and a notable achievement that’s likely never to be duplicated in this state or any other.
The culinary history of Jackson, Mississippi is filled with colorful characters, including one who exemplifies the genteel aspects of the city in the early decades of this past century.
Winifred Green Cheney was born into a very old Jackson family; originally from Maryland, the Greens moved to Jackson in the early 19th century. Winifred was born in the second family home at 647 North State Street in 1913. She graduated magna cum laude from Millsaps with a bachelor of arts in Latin in 1933, and on October 25, 1934, after a 7-year engagement, she married Reynolds Cheney, who became one of the city’s most prominent attorneys. The couple had three children: Reverend Reynolds S. Cheney II, W. Garner Cheney and Mrs. Patrick (Winifred C.?) Barron.
While Winifred, in almost every respect, was a model for a well-to-do woman of social standing in the mid-century South (active in her church and in social charities, etc.), in another she was not: Winifred was a writer. In the course of her life, she wrote (about cooking, mainly) for such well-known publications as The National Observer, The Rotarian, Southern World and, of course, Southern Living. She published two cookbooks (both by Oxmoor House), Cooking for Company (1985), and the truly wonderful Southern Hospitality Cookbook (1976).
Winifred’s Southern Hospitality Cookbook is not only a treasure-trove of splendid recipes, but as a whole is a tutorial of upper-class cooking in the mid-20th century South. The recipes are rich and varied; the ingredients are often expensive, and the times for preparation are usually considerable. Indeed, one of the most frequent critiques of the book is how complicated, indeed “fussy” the recipes are, many often calling for minute amounts of several various ingredients and elaborate stage-by-stage instructions on their preparation. But this is the way Winifred and the women of her generation cooked; they had plenty of time on their hands, and more often than not enough money to spend on costly and hard-to-find ingredients.
Many of the recipes are heirlooms from Virginia and the Eastern Seaboard, as well as many from “my great-grandmother … from Lone Star Plantation in the Mississippi Delta, written in her fine Spencerian hand.” (“But there were no directions,” Winifred adds. “I found this to be true with most of the old ‘receipts’ in her walnut escritoire papeterie.”) She also includes recipes from dozens and dozens of friends and neighbors: Odel Herbert’s Carrot Casserole, Vivienne Wilson’s Asparagus and Carrot Escallop, Claudia Whitney’s Meat Spaghetti, Zollie Kimbrough’s Shrimp Casserole, Linda Lacefield’s Apricot Stuffing for Duck, Becky Voght’s Caramel Icing; and many, many more.
Winifred’s cookbook is a milestone in the culinary history of Jackson as well as the Middle South, but what takes it to a higher level is a short essay by her editor at The National Observer, David W. Hacker (“Savoring Miss Welty’s Wit at a Special Seafood Lunch”), and a preface by Eudora herself, “A Note on the Cook” in which she writes:
“The original Lady Bountiful was the invention of an Irish dramatist in 1707. Winifred exists as her own version. She makes her rounds with baskets and trays as a simple extension of her natural hospitality.In good weather, but especially in bad, splashing forth in raincoat and tennis shoes, carrying a warm cake straight from her oven, she sympathizes with you or celebrates with you by sharing her table with you.
When Jane Austen’s Miss Bates, attending Mr. Weston’s ball, is seated at the supper, she surveys the table with a cry, ‘How shall we ever recollect half these dishes?’ When I sit down to Sunday dinner at Winifred’s, I feel just like Miss Bates. What guest could not? But it now becomes possible for us to recollect the dishes we’ve dined on there. The cook herself has recollected the recipes for them in her own cookbook. It’s like another extension of Winifred Cheney’s gracious hospitality; she has added another leaf to her table.”
God bless Uncle Daniel! If anyone can be generous to a fault it’s him, though Grandpa called it an open disposition and claimed that within the realm of reason there were people who would take advantage of such, which is how Uncle Daniel, attracting love and friendship with the best will and the lightest heart in the world, ended up with Grandpa in his new Studebaker sitting with old Judge Tip Calahan driving through the country on his way to the asylum in Jackson. From the word go Uncle Daniel got more vacations than anyone because they couldn’t find a thing in the world wrong with him, and he was so precious all he had to do was ask and he’d be on the branch-line train headed back to Clay County. Everybody missed Uncle Daniel so bad when he was gone that they spent all their time at the post office sending him things to eat. Divinity travels perfectly, if you ever need to know.
It’s important to know that divinity, as with all recipes using whipped egg whites, is best made when the weather is dry. Having said that, boil three cups of sugar, one-half cup of Karo corn syrup, three-fourths cup of water to the hard ball stage. Beat the whites of two eggs with a teaspoon each salt and vanilla until stiff. Pour the warm syrup over the whites and blend in chopped pecans. When it begins to harden drop by spoonfuls onto wax paper or spread in a oiled pan and cut to shape.
Among Mississippi cookbooks, The Jackson Cookbook, first issued by the Symphony League of Jackson in 1971 and followed by a well-deserved 30th anniversary issue, has the singular distinction of being a literary treasure. Eudora Welty’s introduction, “The Flavor of Jackson”, is a savory dish of Southern culinary exposition. The editor of a local publication once expressed surprise that Jackson had a culinary history “worth writing about”, but she was, as most local editors seem to be, unfamiliar with Jackson as well as Welty. Eudora’s essay is a finely-seasoned piece with a wonderful flavor all its own. Most of the city’s culinary history concerns home cooking, since restaurants here were rather much a novelty until the mid-twentieth century, but Jackson’s storied hospitality has always featured a splendid board.
One holiday item she writes about in the introduction is a white fruitcake. “I make Mrs. Mosal’s White Fruitcake every Christmas, having got it from my mother, who got it from Mrs. Mosal, and I often think to make a friend’s fine recipe is to celebrate her once more,” Welty wrote. The recipe in The Jackson Cookbook was submitted by Mrs. Mosal’s daughter, Mrs. D.I. Meredith. In 1980, a limited edition Christmas card was send out from Albondocani Press, Ampersand Books and Welty. For this piece of ephemera, Eudora greatly expanded on the original recipe.
1 1/2 cups butter
2 cups sugar
6 eggs, separated
4 cups flour, sifted before measuring
flour for fruit and nuts
2 tsp. baking powder
pinch of salt
1 pound pecan meats (halves, preferably)
1 pound crystallized cherries, half green, half red
1 pound crystallized pineapple, clear
some citron or lemon peel if desired
1 cup bourbon
1 tsp. vanilla
nutmeg if desired
Make the cake several weeks ahead of Christmas if you can. The recipe makes three-medium-sized cakes or one large and one small. Prepare the pans — the sort with a chimney or tube — by greasing them well with Crisco and then lining them carefully with three layers of waxed paper, all greased as well.
Prepare the fruit and nuts ahead. Cut the pineapple in thin slivers and the cherries in half. Break up the pecan meats, reserving a handful or so shapely halves to decorate the tops of the cakes. Put in separate bowls, dusting the fruit and nuts lightly in a sifting of flour, to keep them from clustering together in the batter.
In a very large wide mixing bowl (a salad bowl or even a dishpan will serve) cream the butter very light, then beat in the sugar until all is smooth and creamy. Sift in the flour, with the baking powder and salt added, a little at a time, alternating with the unbeaten egg yolks added one at a time. When all this is creamy, add the floured fruits and nuts, gradually, scattering the lightly into the batter, stirring all the while, and add the bourbon in alteration little by little. Lastly, whip the egg whites into peaks and fold in.
Start the oven now, about 250. Pour the batter into the cake-pans, remembering that they will rise. Decorate the tops with nuts. Bake for three hours or more, until they spring back to the touch and a straw inserted at the center comes out clean and dry. (If the top browns too soon, lay a sheet of foil lightly over.) When done, the cake should be a warm golden color.
When they’ve cooled enough to handle, run a spatula around the sides of each cake, cover the pan with a big plate, turn the pan over and slip the cake out. Cover the cake with another plate and turn rightside up. When cool, the cake can be wrapped in cloth or foil and stored in a tightly fitted tin box. From time to time before Christmas you may improve it with a little more bourbon, dribbled over the top to be absorbed and so ripen the cake before cutting. This cake will keep for a good while, in or out of the refrigerator.