Why I Make French
Toast
A Cultural Experience Paper
My French
toast is one of the favorite weekend breakfasts of both my wife and daughter. For most people, French toast is nothing more
than a fast, easy, inexpensive way to prepare breakfast. Every time I make French toast I retell some
version of the same story about where, when, how, and from whom I learned to
make French toast. For my family, the
story is much more important than the French toast. For me, the story is a way to remind myself
of many of the most important values and ideas I have learned in my life. It is also a way to remember and honor one of
the finest men I have ever known.
When I was
about twenty-one, I lived in Summers County, West Virginia, on an institution
called the Appalachian South Folklife Center.
The Folklife Center was founded by Don West and his wife Connie. They lived there until shortly before their
deaths in the early 1990’s. Prior to
founding the Folklife Center they had lived in Baltimore, Atlanta, and a
variety of other cities and towns all over the Southern Appalachian
Region. Don West was a poet, preacher,
teacher, union organizer, and social activist.
Connie was an Appalachian artist and social activist. She spent most of her life raising her two daughters and supporting Don in his work.
Their lives were dedicated to the preservation of Appalachian culture,
social activism, and the teaching of art, literature, and ideas related to
those subjects.
All year
round in the 1970’s, large groups of people from all over the country and world
came to the Folklife Center for workshops, festivals, and other
activities. Don West felt very strongly
that the Folklife Center should not accept any government funding due to the
bureaucratic and ideological controls which would have been attached to such
funding. As a result, money to operate
the Folklife Center was always tight and spending had to be closely
monitored.
One of the
ways that Don West cut spending was by frequently feeding French toast for
breakfast to large groups. Don would
frequently perform the cooking chores himself even though he was the founder
and Executive Director. The eggs came
from chickens which were kept on the large farm which is the site of the
Folklife Center. The bread was always
from the thrift store; or in the vernacular of the poor, was ‘day-old
bread’. Don had grown up on a hillside
farm in North Georgia and was the hardest working person I ever knew. He had paid his way through Lincoln Memorial
University by working in a dozen or more
jobs in his four years there. He had done the same while earning a master’s
degree from Vanderbilt. He had gone on to work in textile mills and coal mines
in conjunction with his union organizing activities. As the director of activities at the Folklife
Center, he ran the farm and often engaged in carpentry, plumbing, or logging in
order to lower expenses. Don would enter
the kitchen at 5 or 6am with his large calloused hands and do the work in the
kitchen while simultaneously teaching Appalachian culture, literature, or union
history to whomever might be helping him that morning. On many of those mornings, I was lucky enough
to be helping Don West.
Don had
graduated from Lincoln Memorial University in 1929 in a class that included
James Still and Jesse Stuart who were also famous Appalachian writers. Don was famous enough at his death that the
New York Times carried his obituary.
However, he was not nearly as well known as his two classmates. But collectively, they are often referred to
as the best group of regional writers to graduate in a single class from any
college or university. The fact that Don
West was not as well known was largely a matter of choice on his part. His first major book of poetry, “Clods Of
Southern Earth” was a major pre-publication success and received very positive
reviews all over the country. Don West could
have pursued his writing career purely for the sake of money and success and
would have been likely to be just as well known as Still and Stuart. Instead, he chose to focus the work of his
life on the promotion of Appalachian culture, unionism, and social activism in
a consistent and unflinching way for the rest of his life.
Don West was
actively involved in the defense of the Scottsboro Boys. Don West was run out
of Atlanta for working to spread the truth about Angelo Herndon, a black
radical who was sentenced to death in Atlanta under the sedition and treason
laws of the time during the Great Depression for speaking out against poverty
and discrimination in the south. During
his lifetime, Don West had three homes burned by people who were opposed to the
teaching of social activism and equality.
Don West was called before the McCarthy Committee during the witch
hunts; and his testimony was copied and passed out on street corners by people
opposed to his teachings in Hinton, West Virginia, when he first created the
Folklife Center.
The final
fire in Don West’s life was accidental and destroyed the combination dining
hall, kitchen, and meeting room at the Folklife Center in the time I lived
there. A small group of us had been to
an evening class at the Antioch Appalachia location in Beckley, West Virginia,
and received a call that the building was in flames. We rushed at dangerous speeds across the
mountain between Beckley and Hinton, past Bluestone Dam and onto the Folklife
Center property to find Don and Connie West, a few volunteer firemen, and a
small group of neighbors who had learned over the recent years just how
important Don West and the Folklife Center were to Appalachia. Don West, who had been beaten and left for
dead in Harlan County union efforts, sentenced to inhumane country jails for
his beliefs, and threatened with death a hundred times stood with his six foot
four frame bent and tears in his eyes staring into the still flaming
embers. His arms and face were scorched
from multiple trips into the flames to rescue several of Connie’s paintings and
a few mementos of their lives. But the
thing that Don West spoke of regretting losing most was a simple chestnut board
riddled with bullet holes. It had been
labeled The Death Board where it had hung for years over the food service
window. That board had been in a wall in
a small coal miner’s shack where several union miners had been stood against
the wall and murdered by company gun thugs.
That board had symbolized the entire American labor effort against
inadequate wages, open shops, and company sponsored discrimination. It had also symbolized both the group of men
who had been willing to die for the effort and Don West who had lived his life
with the same willingness to die for the effort while fighting daily to see
that such men and women were never forgotten.
Another of
the most telling memories I have of Don concerns the one time he allowed me to
read his scrapbook. As I was leafing
through the volume of book reviews, newspaper stories, and letters, I came on a
wrinkled and tattered page from a Blue Horse Writing Tablet, the common
household writing paper of the south.
There was a hole in one side of the page where it had been wrapped
around a brick which had been thrown through Don’s window in the middle of the
night. In a semi-literate scrawl, the
page read “You nigger loving son of a bitch get your ass out of Georgia”. Don had simply replaced the window, put the
page in his scrapbook and gone back to work teaching, preaching, and promoting
the ideas in which he believed.
When I make
French toast, I am doing much more than just making French toast. I am honoring Don West and the life he
lived. I am making sure that at least a few other people in my life know that there are many more important things in
the world than money. I am working to
pass on the ideas and values I learned from Don West. I am making an attempt to insure that my
daughter will have the foundation of thinking instilled in her which can lead
her to be a contributing member of society in more than a simple tax paying
kind of way. I am doing much more than
making French toast.
There’s Anger In The
Land
By Don West
In the summer of 1950 I picked up
a Negro hitchhiker in south Georgia and brought him across the Chatahoochee at
Eufala, Alabama. As we crossed the
river, he began telling me the story of how his brother was lynched and his
body cut down from the limb and flung across the doorway of his mother’s
shack—broken, bloody, and lifeless.
Oh,
there’s grieving in the plum grove
And
there’s weeping in the weeds
There
is sorrow in the shanty
Where a broken body bleeds…
For there’s been another
lynching
And
another grain of sand
Swells
the mountain of resentment—
Oh,
there’s anger in the land!
And a woman broods in silence
Close
beside an open door
Flung
across the flimsy doorstep
Lies
a corpse upon the floor!
You’ll
not ask me why I’m silent;
Thus
the woman spoke to me
Her
two eyes blazed forth anger
And
her throat throbbed agony.
Let
the wind go crying yonder
In
the treetops by the spring,
Let
it’s voice be soft and feeling
Like
it was a living thing.
Once
my heart could cry in sorrow
Now
it lies there on the floor
In
the ashes by the hearth-stone—
They
can’t hurt it anymore!
Did
you ever see a lynching,
Ever
see a frenzied mob
Mill
around a swaying body
When
it’s done it’s hellish job?
Yes,
the night was full of terror
And
the deeds were full of wrong
Where
they hung him to a beech wood
After
beating with a thong.
Oh,
there’s grieving in the plum grove
And
there’s sobbing on the sand,
There
is sorrow in the shanties—
And
there is anger in the land!
When I make French toast, I am doing
much more than making French toast.
Copyright 2003 & 2015 by Roger D. Hicks