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Danielle is a Memphis-born writer living and working in Brooklyn. Her work has appeared in Lapham's Quarterly, Pitchfork, The Paris Review Daily and more.

Series Exhumes Out-of-Print Books by Black Authors

A row of vintage worn books

Since last January, author Michael A. Gonzales has been writing a monthly column for Catapult called “The Blacklist,” in which he rescues out-of-print texts by black authors from obscurity. Gonzales so far has uncovered little-known works of satire, crime fiction, and urban realism from the middle to the end of the 20th century. In each installment, he interviews those close to the work — usually editors, friends, or the authors themselves if they’re still living — for insight into the book’s creation.

The second piece in the series was on Henry Dumas, author of several collections of poems and short stories, as well as the posthumously published novel, Jonoah and the Green Stone. Dumas was killed by a police officer in a New York City subway station in 1968 at age 33.  The novel was acquired by Toni Morrison for Random House while she was an editor there. With a detailed, painterly touch, Gonzales brings color and drama to the story he tells about the book and the atmosphere that nurtured it into being:

It was poet and Miles Davis biographer Quincy Troupe who introduced his friend Toni Morrison to both Dumas’ work and Redmond. Having moved to New York City in 1971 to teach, Troupe was already a well-known poet and essayist on the West Coast. “I didn’t know Dumas personally, but I loved his literary voice,” Troupe said from his home in Harlem. “His voice was different from the other young poets; it was elegant, but also as haunting as voodoo. I gave Toni the two books (Poetry for My People and Ark of Bones) published by Southern Illinois University and she freaked out. She loved them and wanted to publish them at Random House.”

In a 1975 review, the New Yorker called the prose in Ark of Bones a “collection of extraordinary short stories,” while also declaring that “Dumas was that rarity—a passionately political man with a poet’s eye and ear and tolerance of ambiguity . . . one of the saddest things about his book is that it leaves no doubt in the reader’s mind that there were even better books to come.”

On the night of his murder, Dumas, who in photos was a lean, goateed man, had just left a rehearsal with jazz futurist Sun Ra and his Space Arkestra, and was headed downtown, perhaps to hear more way-out musical sounds at the Vanguard or Slugs. Although he also loved gospel and the blues, it was at Slugs where Dumas and Sun Ra met in 1966. “Everybody should try to be what they are,” Sun Ra told the young scribe, whose tapes of the interview were released posthumously as The Ark and the Ankh in 2001. According to the Redmond-penned liner notes, “The two men were very close and Sun Ra waxed alternatively angry and depressed when he received news of his protégé’s death.”

In the latest installment, Gonzales highlights Rhode Island Reda detective novel written by Charlotte Carter. She was a Chicago-born poet who’d been inspired to write crime fiction, in part, by the work of Chester Himes. While introducing us to Carter’s novels, Gonzales also draws a lineage of black crime fiction.

According to Paula L. Woods’ seminal collection of Black crime fiction Spooks, Spies, and Private Eyes, the first published Negro mystery story ever published was “Talma Gordon” by Pauline E. Hopkins in 1900 in Colored American Magazine. Still, it wouldn’t be until the 1990s that Black women began contributing to the genre en masse with novels by Eleanor Taylor Bland, Barbara Neely, Valerie Wilson Wesley, and Grace F. Edwards lining the bookstore shelves.

Nevertheless, it was [Charlotte] Carter’s jazz-loving, sexually liberated protagonist that resonated with me from the moment I’d bought the book at the now-closed Shakespeare and Company bookstore on Lower Broadway. “A terrific novel, from those witty, subversive opening sentences, to the edgy, melancholy and very satisfying ending,” read Pulitzer Prize-winning critic Margo Jefferson’s blurb on the book. Tracing [protagonist] Nanette’s origins, Carter says, “I was with a man (Frank King) who I subsequently married actually, and he was writing crime fiction. One day we were on 6th Avenue in the 20s, in what used to be known as the Flower District, and we saw a young woman playing saxophone with a hat in front of her to collect tips. When we got home, Frank said, ‘You should do a book about a female saxophonist. It would be kinda funny, but you like mysteries so much, why don’t you do that?’ And, that’s how it started; I never would have done it without him.”

The Blacklist goes a long way towards highlighting the complexity and variety of literary art by people of color. This kind of excavation work often goes unnoticed and unheralded — it is in the vein of Walker’s headstone for Hurston, Nina Collins’ rescue of her mother, Kathleen’s short stories, Brigid Hughes’ recovery of the work of Bette Howland. It’s an exciting series to follow, and I anticipate that some of the work highlighted will make its way back to the marketplace.

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A Woman’s Search for Salvation, Love, and Family

Women reading the Holy Bible., reading a book.,reading

In a vivid personal essay for Kweli Journal, author Jodi M. Savage writes about growing up in New York City with her Pentecostal evangelist grandmother. The church gives their family a community to belong to and allows the narrator’s grandmother to build a life of leadership and influence.  But it could also be stifling and punishing for the women of its congregation. The author figures out how to honor her grandmother’s memory while bearing witness to the church’s limitations.

Granny raised me on mustard greens, hot water cornbread, and a super-sized portion of Jesus. Although I mastered the Rubik’s cube of rules for sanctified living, religion robbed me of my voice and left shame in its place. You could say that it all started with my teenage neighbor Bobby.

When I was a kid, I let Bobby paint my fingernails red. I knew it was a sin by Pentecostal standards, but my nails looked so pretty and shiny in the sunlight. A few days later, our street had our annual block party. Everyone had moved their cars off our Brooklyn street that morning; one end was blocked off with a Cutlass Supreme and the other with a Nissan Maxima. We played in the street all day until late into the night—volleyball, tag, double Dutch, hide-and-seek. Folks played spades and dominoes on the sidewalks; roamed from yard to yard sampling each other’s food; and blasted reggae, reggaeton, old school R&B, and hip hop from speakers all at the same time.

As I played across the street from my house, Bobby barreled into me on his bike. His front wheel and handlebars collided with my groin and stomach, sending me flying several feet away. I limped home to tell Granny what happened. She suddenly noticed my red fingernails for the first time. Again, we were Pentecostal, which meant we weren’t allowed to wear fingernail polish. Anything red was considered to be a special kind of sinful—carnality of the whorish variety. Instead of consoling me, Granny whipped me with an extension cord. That was the day I learned that one’s own pain is secondary to religious dogma. I learned to keep quiet when people hurt me, or else risk punishment for revealing something far worse—something sinful.

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A Frustrating Year of Reporting on Black Maternal Health

Danielle Jackson | Longreads | June 2018 |3370 words (14 minutes)

“It’s in fashion to talk about black women’s maternal care,” Bilen Berhanu, a Brooklyn-based full-spectrum birth doula told me recently. I’d asked her about the outpouring of news stories, from multiple national outlets, about infant and maternal mortality over the past twelve months.

The reporting has added flesh and aching detail to what I’ve come to think of as an embarrassing public health crisis in the United States. Among industrialized countries, our nation has the highest rate of infant deaths. We’ve had dramatic declines since 1960, but we have not kept pace with other nations we’d consider peers. New American moms face similar danger: The rate of maternal mortality in the U.S. has been rising since 2000 while falling for most other nations in our subset.

Deep, persistent inequality — access to safe neighborhoods and hospitals, functioning schools, healthy food — plays a part. But across family income levels and educational attainment, the infant mortality rate for black babies is more than twice than it is for whites, according to data from 2007-2013. Black mothers are also more imperiled than white ones — they are three to four times more likely to die from pregnancy-related causes leading up to or within a year after giving birth. In New York City, black mothers are 12 times more likely to die than their white counterparts. Read more…

Chimamanda Ngozi Adichie Reckons with Fame

(Monica Schipper/WireImage)

Chimamanda Ngozi Adichie has published three novels and a short story collection; she was awarded a MacArthur “genius” grant in 2008, and her latest novel, Americanah won the National Book Critics Circle Award for fiction in 2013. Still, when Beyoncé quoted from Adichie’s TED talk “We Should All Be Feminists” for her song “Flawless,” the author ascended to a new level of fame. In a wide-ranging profile written by Larissa MacFarquhar for The New Yorker, Adichie addresses the increased scrutiny of her interviews and public statements, dives deep into the sights, sounds, and places that have inspired her work, and considers her legacy.

When she talks about feminism or gay rights in Nigeria, she knows what she’s getting into, and she does it on purpose. But her celebrity is such that even an offhand remark can set off a fracas that she did not anticipate. A few years ago, when asked by a journalist to comment on the shortlist for the Caine Prize, an English award for African fiction, she said she had no interest in the topic, although one of the nominees, she said, was “one of my boys in my workshop.” Her antipathy to the Caine Prize was long-standing, due to her dislike of a former administrator of the prize, whom she had found sexist and patronizing, and whom she venomously fictionalized in her short story “Jumping Monkey Hill.”

as though God, having created him, had slapped him flat against a wall and smeared his features all over his face

Asked where she went instead to find the best African fiction, she said, “My mailbox,” where she received her workshop students’ stories. On Nigerian Twitter, all hell broke loose. “It doesn’t take much brain juice to realize from her interviews that Ms CNA’s ego can sink an island,” wrote Manny. “So the best African fiction is in Chimamanda Adichie’s inbox?” Abubakar Ibrahim, a novelist, wrote. “I hail thee, queen-god mother. Go fuck yourself, Chimamanda.”

Earlier this year, Chimamanda commented to a reporter in France, “Post-colonial theory? I don’t know what it means. I think it’s something that professors made up because they needed to get jobs.” Nigerian academics reacted with hurt and outrage. “That’s it!” Difficult Northerner wrote. “We need to put Chimamanda in rice. How can you shit on postcolonial theory while claiming not to know what it means. The same postcolonial theorists who assign your books & videos in classes.”

She is O.K. in principle with not being liked: she thinks that the desire to be liked is something that women need to get over. A male friend of hers told her that Ifemelu, the main character of “Americanah,” was Chimamanda without her warmth, and she bristled at this, even though she thought it might be true. Why the hell are you judging her like that? she thought. If Ifemelu were a male, would you expect and want warmth? All the same, it is painful to be attacked. “Ta-Nehisi Coates said to me once that what hurt him the most, becoming successful, was how much it was black intellectuals who seemed to be out for him, and I know what that’s like. I told him that there’s a circle of Nigerians who are resentful of my international success, and it’s very hurtful, because I want my people to wish me well.”

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‘Unfettered Glamour’: The Legendary Career of André Leon Talley

NEW YORK, NY - 1979: Diana Ross and Andre Leon Talley dancing at Studio 54, c 1979 in New York City. (Photo by Sonia Moskowitz/Getty Images)

New York Times fashion director and chief fashion critic Vanessa Friedman profiles former Vogue creative director André Leon Talley upon the launch of “The Gospel According to André,” a feature-length documentary on Talley’s life. The film includes interviews with friends and former colleagues of Talley, such as Whoopi Goldberg, Fran Lebowitz, and Anna Wintour, and traces his love for fashion back to his early days in segregated Durham, North Carolina. It was the number one limited-release movie in box offices sales last weekend, according to Page Six.

For much of his career, Talley was the only black male editor of a top tier fashion publication. Goldberg says in the film that he was “so many things he wasn’t supposed to be,” but for most of the years of his rise, Talley did not publicly acknowledge the isolation and emotional strife that came with his influence. In a 1994 story for the New Yorker, Hilton Als described Talley, hauntingly, as “the only one.” Friedman’s profile illuminates the costs Talley paid for breaking ground.

When he tells this story in public, he often defangs it by rolling his eyes and pursing his lips, and then appending a joke about wanting to be in designers’ beds without the actual designer to see what kind of fancy sheets they had. But when he tells it in private, he doesn’t add the comic flourishes, and the muscle between his eyebrows contracts in an involuntary spasm.

For all the talk lately about the need for diversity on fashion runways, there has been much less about the fact that its executives and designers and editors in chief have been, and are still, largely white.

“Where are the black people?” Mr. Talley said. “I look around everywhere and say, ‘Where are the black people?’ I think fashion tries to skirt the issue and finds convenient ways to spin it. There are examples of evolution, but they are few and far between. The biggest leap of faith was Edward Enninful becoming editor of British Vogue — that was an extraordinary thing. Virgil Abloh getting Louis Vuitton men’s wear.”

Still, as far as progress made in the more than three decades Mr. Talley has been letting the insults bounce off his caftans, it doesn’t seem like very much. “As the world turns, it does not turn very fast,” he said.

He is hoping the film speeds it up. Mr. Enninful, for one, thinks it will. “It will mean a lot to a new generation to see that there was this man who grew up in the South and through all obstacles made it, because it will give young black kids hope and the aspiration to be in this industry,” he said.

Mr. Talley is also hoping it provides a platform to vault him to the next stage in his life.

“I could see myself being an Oscar Wilde and going on the road and sitting on stage and talking,” he said. When he said this, he was having lunch at Majorelle, a French restaurant on the Upper East Side that he loves because of its flower arrangements, its pistachio souffle and because it shares a name with Yves Saint Laurent’s garden in Marrakesh.

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Stacey Abrams’ Historic Win in Georgia: A Reading List

ATLANTA, GA - MAY 22: Georgia Democratic Gubernatorial candidate Stacey Abrams takes the stage to declare victory in the primary during an election night event on May 22, 2018 in Atlanta, Georgia. If elected, Abrams would become the first African American female governor in the nation. (Photo by Jessica McGowan/Getty Images)

On Tuesday, former state representative Stacey Abrams won the Democratic nomination for Governor of Georgia, becoming the first black woman gubernatorial nominee of a major political party in U.S. history. She defeated her opponent handily, beating Stacey Evans with a three-to-one margin with a platform calling for Medicaid expansion, criminal justice reform, gun safety measures, affordable childcare, and universal pre-K.

Abrams faces a tough general election in November. Only four African-American politicians have served as governor in the U.S. ever, with none in the Deep South since Reconstruction. A run-off election will be held in July to determine the Republican nominee, and of the candidates likely to oppose Abrams, both support looser gun laws, tax cuts for high earners, and defunding sanctuary cities as part of a “crackdown on illegal immigration.” Abrams hopes to win by building a multi-racial coalition of progressives (including new voters) that taps into Georgia’s shifting demographics.

Abrams is part of a national wave of women running for office in record numbers, as well as a galvanizing energy among progressives partly inspired by opposition to President Trump. Her candidacy has drawn national attention; should Abrams win, one of the most populous red states could be in play for progressives seeking national office for the first time in decades. It could also signal a significant shift in values and priorities for the Deep South.

For a deeper dive, here are a few pieces that smartly contextualize Abrams’ victory, as well as what’s at stake in the fall.

On Stacey Abrams and the Georgia Primary

“Stacey Abrams Wins Democratic Primary for Governor, Making History.” (Jonathan Martin & Alexander Burns, New York Times, May 2018)

Martin and Burns consider the history-making moment of Abrams’ primary win and why the candidate has drawn support from Democrats at the federal level. The reporters also note other primary successes among progressive Democrats Tuesday night, especially women candidates like Amy McGrath of Kentucky.

“Stacey Abrams Makes History in the Georgia Primary.” (Charles Bethea, The New Yorker, May 2018)

Bethea talks to a cross section of conservative and progressive Georgia political insiders about Abrams’ chances in the general election.

“America Has Never Had a Black Woman Governor. Stacey Abrams Has Something to Say About That.” (Jamilah King, Mother Jones, April 2018)

Reporter Jamilah King profiles Abrams, capturing the candidate’s appeal to black women voters and her push to assemble a “rainbow coalition.”

On Change in the South

“Reverse Migration Might Turn Georgia Blue.” (Alana Semuels, Atlantic, May 2018)

Young, unmarried blacks and single women are moving to the South, especially Atlanta and its suburbs, in large numbers. Searching for lower housing prices and better quality of life, transplants tend to be more progressive than other residents. They could be instrumental in helping Abrams achieve victory.

“Racism is Everywhere, So Why Not Move South?” (Reniqua Allen, New York Times, July 2017)

Allen takes a closer look at why black millennials like her are flocking to southern cities.

“Slavery’s Southern Legacy.” (Sophia Nguyen, Harvard Magazine, May 2018)

Nguyen reports on a new book (by researchers Avidit Acharya and Matthew Blackwell), which claims that political attitudes in the South, especially on issues of race, can be predicted by how deeply individual counties relied on slavery prior to the Civil War.

 “’Please God, Don’t Let Me Get Stopped’: Around Atlanta, No Sanctuary for Immigrants.” (Vivian Yee, New York Times, November 2017)

According to Yee, “the regional ICE (Immigration and Customs Enforcement) office in Atlanta made nearly 80 percent more arrests in the first half of this year than it did in the same period last year, the largest increase of any field office in the country.” The Republican contenders in Stacey Abrams’ race have run strident anti-immigration campaigns.

“When the South Was the Most Progressive Region in America.” (Blain Roberts & Ethan J. Kytle, Atlantic, January 2018)

Roberts and Kytle, both historians, discuss how the post-Civil War’s South created multi-racial democracies based on state constitutions that were more progressive than many in the North. Reconstruction era activists and politicians, the authors contend, “[provide] a blueprint for a liberal resurgence that may already be under way in the 21st century South.”

On National Trends

“Red State, Blue City.” (David A. Graham, Atlantic, March 2017)

Graham posits that U.S. politics are growing increasingly polarized along a rural/urban divide.

“A Progressive Electoral Wave is Sweeping the Country.” (John Nichols, The Nation, June 2017)

Nichols details the importance of down-ballot victories, across the country, that signal a rising tide of resistance to the policies of President Trump.

Duchess Meghan and the New Multiculturalism of the House of Windsor

WINDSOR, UNITED KINGDOM - MAY 19: Duchess of Sussex and Prince Harry, Duke of Sussex wave as they leave Windsor Castle after their wedding to attend an evening reception at Frogmore House, hosted by the Prince of Wales on May 19, 2018 in Windsor, England. (Photo by Steve Parsons - WPA Pool/Getty Images)

Markle majored in international relations and theatre at Northwestern University, Illinois. Besides becoming an actor, she became a feminist who worked for UN Women as an advocate for political participation and leadership. Yes, she has been praised and criticised as “outspoken”, but her style never risks being “aggressive” or “combative”, or any of the other words thrown at women who are deemed insufficiently graceful when they disagree with men. Even when she makes staunch political statements, her manner astutely — sometimes cloyingly — balances the forthright and the pleasing. She’s learned to use political maxims and assertions very effectively. As in: “It’s time to focus less on glass slippers and more on glass ceilings.” With the word “fairytale” now a ubiquitous tag line for the royal romance, this should be a useful daily mantra.

The Cinderella story refuses to dwindle into a period piece; in the last 20 years alone there have been six film remakes with white, black and Latina leads. But Markle has not been plucked from poverty or — like the heroines of such romcom adaptations as Pretty Woman and Maid in Manhattan – from the low-status toil and trouble of working-class life. Her net worth as an actor has been estimated at around $5m. An actor’s fortunes can fluctuate, especially when that actor is a woman. But so can the fortunes of a wife. If the royal marriage were to end in divorce, Markle would not have to depend on the Windsor millions nor, like many once-upon-a-time celebrities, design a skincare or jewellery line for QVC.

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‘I Feel Closer to My Faith Than I Did Before’: Holding On to Ramadan

PUTRAJAYA, MALAYSIA - JUNE 05: An officer of Malaysia's Islamic authority uses a telescope to perform "rukyah", the sighting of the new moon of Ramadan, in Putrajaya outside Kuala Lumpur on June 5, 2016. Muslims scan the sky at dusk in the beginning of the lunar calendar's ninth month in search of the new moon to proclaim the start of Ramadan, Islam's holiest month during which observant believers fast from dawn to dusk. Muslims celebrate the end of Ramadan with the Eid al-Fitr festival. (Photo by Mohd Samsul Mohd Said/Getty Images)

For BuzzFeed Reader, poet and essayist Hanif Abdurraqib considers how holding on to the observance of Ramadan, despite an adulthood spent veering from other aspects of his faith, has been a grounding force in a busy, thoroughly modern life.

I don’t know why Ramadan is the act of faith which has endured for me. I hardly refer to myself as a practicing Muslim these days, but I am still very invested in the rigor of Ramadan. And I suppose that might be it — the rigor is the act I still chase after. A part of this is routine — even when I stopped praying in my early twenties, I found myself still adhering to the commemoration of the holy month. But a part of it, I imagine, is like the home-run hitter who comes to the plate with the bases loaded and his team down by four, swinging for the fences and trying to get it all back at once.

I know the ways in which I fail in the face of my beliefs, and yet I wish to consider myself forgiven once each year, when I wake up early to pray and have a small meal with the sun breaking over the horizon. When I abstain from food and drink and still take a long run. I suppose it has never stopped being a performance, but when I engage in Ramadan now, I feel closer to my faith than I did before. I am performing it for no one but myself, in most instances. I am often traveling, or secluded during the month. My non-Muslim friends and peers rarely know I’m fasting, or often forget. To go about it in solitude is my preferred mode now, when nothing else matters but the monthlong journey back to some emotional center I’ve thought myself to be lacking. When the month ends, I don’t return to a dedicated spiritual practice, and my life resumes as it normally does all other 11 months of the year. But for as many days as it takes the crescent moon to unsheathe itself, I remember all of the old prayers I skipped. I remind myself how to talk to a holy entity. I don’t eat, sure, but the not eating has become the easy part, particularly as I’ve aged. To find the humility to imagine yourself as small in the face of something larger than you is the hard part, and for me, that has little to do with not eating, and more to do with the knowing that you could eat, at any time. That you have the ability and privilege to fill yourself, and you still choose not to. I do this in the name of a faith that I am uncertain of, and haven’t always felt at home in, and that makes the act both more complicated and more fulfilling.

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When Will Hip-Hop Have Its #MeToo Reckoning?

Kelis performs in Paris, 2014. (David Wolff-Patrick/Redferns via Getty Images)

In a recent interview with the celebrity news site Hollywood Unlocked, singer Kelis discussed her seven-year relationship with ex-husband, Nas, the legendary Queens rapper, with a level of detail she never had publicly. She described a mix of “intense highs and really intense lows,” including bruises from physical fights, alcoholic binges, cheating, and emotional abuse. Kelis also made claims that, since the divorce in 2010, Nas had been a difficult and unreliable co-parent to their 8-year-old son. At more than an hour long, the interview is a marvel of a testimony and rings with emotional honesty. Kelis seemed weary of keeping quiet about her past, saying she simply woke up and thought “not today.” Read more…

A Family’s Pear Pie Tradition Binds Them Together

Pears (Pyrus communis), Rosaceae. (Photo by DeAgostini/Getty Images)

In a personal essay for the Southern Foodways Alliance, journalist and writer Rosalind Bentley remembers how the women in her family made pies and cobblers out of Florida-grown sand-pears. Bentley beautifully describes harvesting, baking, and delighting in sand-pear pies as a tradition among them that marked the milestones of womanhood and knitted the family together through hardship.

Yet there were moments of light—and they often happened in our tiny kitchen. There’s the memory of Mama zesting lemons against the old aluminum grater for a lemon meringue pie, her lips pursed, humming as she worked. By the time the egg whites were whipped into peaks and spread atop the pie, she’d be three verses into her third hymn. There was old-style banana pudding, bread pudding studded with raisins, and I think once, when I was in Girl Scouts, there was an attempt at caramel apples. On rare occasions, there’d be a sand-pear pie.

I’d watch her work, as she mimicked her mother’s steps. I was too young to see how the rhythm of the rolling pin across the dough and the notes forming in my mother’s throat helped her bear a bone-deep sadness.

By seventh grade, I’d developed my first real crush on a boy. I imagined we’d get married, a union the very opposite of my parents’. It would be perfect in every way. My body was transforming, as were my appetites.

Two events stand out as markers of my budding: One is the day I told my mother we’d be better off without my father and that she should divorce him. At first her face registered shock. As I kept talking she began to relax. On some level, I knew he loved me and I wanted to believe he’d once loved her. But it was too late. She was tired and so was I. It was difficult after their divorce, but with the help of family and my mother’s penny-pinching, we made it.

The other is the day I decided to make a pear pie on my own. I think I was about thirteen, the same age my mom was when she left home. I’m pretty sure it was a Sunday after church. I followed her steps. Measure. Sift. Nutmeg. Plenty of sugar. Chips of butter. The kitchen was redolent as the pastry baked. When I pulled it from the oven, I was so proud. It hadn’t over-cooked, and I just knew it would dribble with honey-toned nectar when we lifted a slice from the pan.

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