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Pineapple Coconut Sheet Cake

Way back when, die-hard home cooks would sniff and curl a lip at a newlywed or (worse) single parent who brought a sheet cake to a bake sale. THEY, of course, brought an heirloom 8-layer caramel/German chocolate in a handmade paper mache decoupage box. Even worse, those die-hards naturally felt compelled to extract a timorous confession from the donor that a boxed cake mix was involved. Canned frosting was the coup de grace; admission to the bridge club would be ever afterwards inconceivable. Granted, homemade cakes are a certified source of pride and satisfaction if not to say social status; given the time, they’re worth the effort. But if you’re losing your mind over at least a half dozen other things like the rest of us, use a boxed mix with homemade frosting and let them eat cake.

Combine 1 box Pillsbury White Supreme cake mix, 8 oz. sour cream, ¼ cup melted butter, 3 large eggs at room temperature, half of an 8-oz. can of crushed pineapple (drained and squeezed), and a can of cream of coconut (Coco Lopez). Mix on medium speed until smooth. Pour batter into a 9×13-inch pan greased with butter and lined with parchment paper. Place in a preheated 350 oven until toothpick-clean and firm in the middle, about 30 mins. Cool on a rack. Blend 8 oz. softened cream cheese with two cups confectioner’s sugar, (the other 4 ounces of crushed, drained, and squeezed pineapple, and a tablespoon coconut extract. If needed, thin to spreading consistency with milk, top cake, and sprinkle with 2 cups toasted shredded coconut or coconut chips.

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Ars Voces: Jaime Harker

My academic life has always been about hidden treasure. When I first moved to Mississippi, I read John Howard’s Men Like That, and he gave me a vision of a vast queer Mississippi underground, erupting in newspaper stories, highway rest stops, and bookshelves. He introduced me to three gay Mississippi writers, including Hubert Creekmore, Water Valley native, poet, novelist, translator, and editor. I checked Creekmore’s The Welcome out of the UM library; it took me over ten years to locate a copy. I have been asking every editor at the University Press of Mississippi to reprint the novel, with no success. Opening a queer feminist bookstore in Creekmore’s hometown is, I hope, the first step in a campaign to bring him back in print.

I love digging around in archives. I spent two weeks hunting for fan letters in Christopher Isherwood’s papers. I found amazing ones, including a young man from North Carolina who mailed Isherwood photographs of his lovers, with detailed commentary on the back of each; water color portraits in a handwritten tribute; flirty come-ons from English teenagers. He wrote them all back, and often invited them to his house. At Duke University, I found the papers of fantastic Southern lesbian feminists. They kept everything—not just letters with agents and editors, but love letters from exes, flyers for readings, gossip and descriptions of parties and chance encounters. Dorothy Allison’s are my favorite. Most archives organize correspondence by letter writer, and store them alphabetically. Dorothy Allison kept every piece of mail she received in order and has them in her archive by date.

One has to really dig to find the gems. But in between, you get a sense of her life as it was lived: Flip; a flyer for a reading; flip, a letter to her friend about her recent breakup; flip, a letter to her agent; flip, an invitation to an S/M sex party; flip, a letter to a manufacturer complaining about a defective whip she received in the mail; flip, a letter from Cris South, a member of the Feminary collective and novelist, about her forthcoming book and her shifting identity from butch to bottom; flip, a contract from her editor. Finding the treasures was a delight, but so was the rich tapestry of a live lived in real time, without a sense of what would be seen as ‘important’ later. That sequence is what makes it important, even as the gems I uncover become part of another narrative forming in my own head.

The treasures are the stories I share when people wonder how I could spend seven years working on a book. But the truth is I love the searching as much as I love the discovery. Doing research has taught me patience, something that my wife Dixie tells me I sorely need. She’s right. Chefs understand this, of course. You can’t rush the rising of the dough, the marinade on the pork, or the brine on the turkey; slow-roasted vegetables in the oven are better than the microwave or boiling water. I have a tendency to want things right away, but Dixie knows that the best things take time.

Writing a book teaches you that, too. You can’t dash off a dissertation, or a book, in a series of all-nighters. You have to work a little bit every day, without being able to see the end; you research, and write, and revise, and repeat, endlessly. To sustain this, you must learn to love the process, to learn to love the questions themselves, as Rilke put it: ““Be patient toward all that is unsolved in your heart and try to love the questions themselves, like locked rooms and like books that are now written in a very foreign tongue. Do not now seek the answers, which cannot be given you because you would not be able to live them. And the point is, to live everything. Live the questions now. Perhaps you will then gradually, without noticing it, live along some distant day into the answer.”

Violet Valley Bookstore is the same. I love the process—the arrival of books, the evolving categories on the shelves, the unexpected visitors to the store, from San Francisco and Durham and Jackson and Oxford. I love the excited teenagers, taking photos for Snapchat, and the serious bibliophiles, touching the vintage Mississippi textbooks. I would like this little 10×40 foot bookshop to be a hidden treasure in Mississippi for years to come.

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Shrimp Victoria

Howard Mitcham said Brennan’s let him publish this recipe in Creole Gumbo and All that Jazz, one of the best books ever written on the food and culture of New Orleans. Mitcham’s wonderful woodcuts accentuate the book’s splendor, and his cartouche of  Queen Victoria is one of my favorites.

Place a stick of butter In a large sauté pan and heat. Add a finely diced scallion, a half cup sliced mushrooms, and 2 lbs. raw shrimp peeled and deveined. When shrimp are cooked through, reduce heat and add about two tablespoons of chopped fresh basil, about a quarter cup of dry white wine, and a teaspoon white pepper. In another saucepan, make a white roux with 2 tbsp. butter, 1 tbsp. flour and a quarter cup of hot milk. Add half of this to the shrimp and increase heat until sauce has thickened. Reduce heat and add a little over half a cup of sour cream. Mix well and serve immediately over rice, pasta, or pastry shells.

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Dixie Kim Chee

Wash fresh turnips with greens well and shake dry. Peel roots and cut into chunks or wedges. Chop leaves and stems coarsely. Toss roots and greens with minced garlic, spring onions cut on the bias, and kosher salt. Let this sit for about half an hour, then sprinkle with a heaping teaspoon of ground cayenne pepper, red pepper flakes, or chopped fresh hot peppers for punch.

Toss again, then stuff mixture into clean glass jars, topping off with liquid from the bowl. Seal jars tightly, and set them in a cool dark place. In a few days, check to see if it’s fermenting; look for bubbles.  If bubbling, open the jar very carefully over a sink to let a little bit of the gas escape. Take care; if you’re rash about opening the jar, you might end up covered in juice. (This, children, is the the voice of experience speaking.) Reseal the jar, and let it sit for another day or so. Repeat the gas release and refrigerate for a week before serving.

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A Prince of Troy Meets the Garden Club

Aurora, goddess of the dawn, fell in love with Tithonus, the son of King Laomedon of Troy, and took him to Olympus. The goddess asked her father Zeus to make him immortal and he agreed, but she had not thought to ask also that he should remain young. So Tithonus grew old but could not die. Twisted and immobilized by age, he prayed for death. Aurora, with a divine feeling for the natural fitness of things, turned him into a cricket that sings to her as the day warms.

he Mexican sunflower was first described by the British botanist Joseph Dalton Hooker, who visited the United States in 1877. He came at the invitation of American botanist Asa Gray, who with Dalton intended to investigate the connection between the floras of eastern United States and those of eastern continental Asia and Japan.It was during this visit that he visited the American Southwest where—in addition to meeting Brigham Young—Hooker collected specimens of the plant, which he sent to England that year along with over a thousand others. Hooker, as the discoverer of the species, was entitled to give it a name, and for reasons that may forever remain fathomed, he named it after the prince who sings to the morning sun.

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 orange-brushed branches tower over his gentle lines and mounds of green and blue, pink and purple, an aesthetic pedigree most appealing to those ladies, God love ’em.

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Crab Tchoupitoulas

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.

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Kool-Aid Pickles

So I’m checking out at the store, and I hold up a jar of pickles and two packs of cherry Kool-Aid to my girls Meshaun and Lorita who are sitting in the motorized shopping carts up next to the front door with their phones and say, “Guess what I’m making?” They look at one another like, “This fool don’t know what he’s doing,” and tell me first that I should’na bought cherry, you gotta use Tropical Punch, and you dump that pickle juice out and make a quart of that punch with two packs of mix and one cup of sugar, and you shouldna’ bought whole pickles cause now you gotta slice them in half and no, you do not need to heat it up, just pour the Kool-Aid in there and put it in the refrigerator for about a day. That’s all you gotta do, and what are you doin’ tryin’ to cook anyway, you big dummy.

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Jett’s Table

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, 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.

Aunt Jett (left) with her sisters Maude and Virgie.
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Something of a Philosophy

Food is a passionate issue for many people, and some foods are certainly controversial. Barbecue, for instance, is a highly inflammatory subject, but almost any food can become a flash point; I was once involved in a knock-down-drag out in a bar about how to make the perfect grilled cheese.

Arguments over foods range from the sublime to the ridiculous, but unless you’re one of those self-styled and overly-promoted griddle Napoleons or oven Antoinettes you can get your fill of almost everywhere—or just an all-around jerk yourself—talks about foods and cooking tend to be cordial, albeit with the a measure of peppering. People who enjoy food and cooking are gregarious, open, and giving, and their activities revolve around food.

The best meals are home-cooked, and home itself must be one of the warmest words in the English language. Home entails more than place; the word implies security, comfort, congeniality and much, much more. Here in the South, the word has become infused with almost mystical connotations, evoking a paradise lost like all others. When we talk about home cooking, we’re talking about foods with a voice in the family and in the community, a cuisine that sings of time and place, a balm for the mind, a madeleine for memory. Foods without history and bereft of geography are just plain bad.

I grew up in north Mississippi, which is home to the cooking of the middle South, of the yeomanry, of the people who were the rule rather than the exception in the rural South of their day. My people are descended from small farmers who came into Mississippi from Virginia and the Carolinas, and the way my ancestors cooked still informs the state’s table. Theirs was not a light cuisine; it sustained people through long days of hard labor. They fed themselves and their families on the same basic foods the colonists at Jamestown ate: corn and pork augmented by whatever they could get to grow augmented by game and fish. Food was important to them because it was their only unadulterated source of pleasure. They planted and harvested, cooked and baked, canned and preserved, making the most of what they had season to season, year to year, generation to generation.

Recipes are dead words; it’s up to the cook to breathe life into them. And the same recipe in the hands of, say, six or seven cooks will produce different (often surprisingly different) results. If you want to learn how to cook, then cook. You’re likely to burn everything but water on the way, but once you’ve become more secure in your abilities and more confident of your results, then by all means be more creative. Cooking, like any art, lends itself easily to experimentation, but be “original, not outrageous,” as Alice B. Toklas cautions. Capote once said of writing that you must learn the rules before you can break them, and this is true of cookery as well.

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Lucretia’s Beans

“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 and with her black eyes.”

“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.”

“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 wallpapered rooms where the fancy ladies sprayed perfume on the pink lampshades.”