A Timeless Tale Turns 50:
To Kill a Mockingbird

BY TJ BEITELMAN
PHOTO COURTESY MONROE COUNTY HERITAGE MUSEUM, THE AARON WHITE COLLECTION

Fifty years can seem like a very long time. The American South of 1960, the year Harper Lee published her classic novel To Kill a Mockingbird, was a profoundly different place from the American South of today.

If you need evidence of that, look no farther than Congressman Artur Davis’ current campaign for governor of Alabama. Polls show that Davis, a Harvard educated black man who was born and raised in Montgomery, is ahead in his party’s primary and in a statistical dead heat with all of the opposing party’s candidates.

Win or lose, the viability of his candidacy alone represents a cultural sea change from the world Lee was writing about half a century ago. Clearly some things have changed in these five long decades.

But the South is also a timeless land of myths and monsters and the chivalrous heroes who set out to slay them. In such a place, 50 years is a blink of an eye and the things that change aren’t nearly as telling as the things that have always been true. And those enduring truths aren’t always so easy to measure. Things like honor and dignity and grace in the midst of hardship can be difficult to quantify. That’s what art is for.

To Kill a Mockingbird is at home in both of those worlds. The novel works as history and myth, and that’s its genius. It’s a story that accurately reflects a certain time and place—the human struggles and triumphs, big and small, of a tucked-away Alabama town in the middle of a turbulent century—while also transcending it. Such a balancing act is no small trick, especially for a first-time author.

Adding to the book’s mystique, the author herself is a font of mystery, reverence and the rampant speculation that often accompanies both. To Kill a Mockingbird is not just Lee’s first novel, it’s her only novel, which puts her in company with the likes of Ralph Ellison and J.D. Salinger—enigmatic writers who produced an influential book very early and then did little or nothing to turn that success into a long and prolific career.

It’s possible that Harper Lee’s experience of writing To Kill a Mockingbird was so difficult that she decided against doing battle with the typewriter ever again. There’s a well-known story of Lee becoming so frustrated as she was finishing the novel that she tossed the manuscript out the window of her New York apartment building one winter evening, only to retrieve it from a pile of sooty snow at the urging of her editor.

It’s also possible that, at some point, she simply decided it was unwise to try to one-up perfection. Upon its release, the novel was greeted with reviews hailing it as equal parts literary gem and potent agent of social enlightenment. The Washington Post suggested it would outweigh “a hundred pounds of sermons on tolerance, or an equal measure of invective deploring the lack of it.” The book stayed on national bestseller lists for more than a year and a half, winning the 1961 Pulitzer Prize along the way.

The following year, the story was adapted for the screen. The film, which brought Gregory Peck an Academy Award for his portrayal of Atticus Finch, cemented To Kill a Mockingbird’s status as a lasting classic of American storytelling that played no small role in reshaping the nation’s social fabric.

“It came at a critical time in the fight for racial justice and civil rights legislation that would put an end to some of the worst of the bigotry and the restriction and the repression in the South,” Peck once told the makers of Fearful Symmetry, a documentary on the making of the film.

Cleo Thomas, an attorney in Anniston who, in 1976, was the first African American to be elected president of the SGA at the University of Alabama, believes the book achieved its place in the canon so quickly not just because it spoke a hard truth to power, but also because of the way it spoke that truth. “The magic is for it to be declaimed in a child’s voice, in such a domestic way. At the breakfast table, on the porch,” says Cleo. “It’s a classic because it’s simply so true.”

Of course, things can change in 50 years. Samford University literature professor Dr. Chris Metress, whose presentation “The Rise and Fall of Atticus Finch” has been featured by the Alabama Humanities Foundation’s Road Scholars program, is interested in how the book’s reception has evolved since its publication—particularly the current critical debate over whether Atticus is a hero in the fight against racial intolerance or just someone whose futile efforts to work within a corrupt system are a part of the problem, not the solution.

“It’s easy from our own time and place to imagine that Atticus could have done more to challenge the racism that shaped daily life in Maycomb,” says Metress.“But if there comes a time when we can no longer admire what Atticus Finch stood for, and what he stood up against, that probably tells us more about our own shortcomings than it does about Atticus.”

And that is the mark of great art. Even as the culture transforms around it, it still reflects the deeper secrets of the human experience. To Kill a Mockingbird has always served that vital purpose and, for that reason, it’s always been worth celebrating.

The Gift of Music

Scrollworks offers Birmingham-area residents a top-dollar musical
education, free of charge.

BY LORI K. DITORO
PHOTOGRAPHY BY ROB CULPEPPER

Long ago, before college-prep courses and debates over charter schools, music lessons were considered an integral part of any well-rounded student’s education. Today, though studies show musical training has a positive effect on learning, the art has been relegated to an extracurricular activity. And with school funding cuts and the high price of private lessons and instruments, many children don’t have the opportunity to participate.

Scrollworks, a Birmingham-based nonprofit group staffed by accomplished musicians, works every day to change that by offering people in the Birmingham area a chance to learn to play a musical instrument. The educational arm of the Metropolitan Youth Orchestras of Central Alabama (MYO), Scrollworks began three years ago and now teaches about 150 students in the Birmingham area each week. Being able to offer this service is “powerful,” says Jeane Goforth, the MYO’s CEO.

“When we formed our youth orchestra, we noticed that it was made up mostly of kids who could afford private lessons, and it wasn’t as diverse as we had hoped,” says Jeane, who, along with the other founders of the MYO, began the orchestras to bring children from all over the city together to play music. The group realized that, because of spending cuts and other factors, many inner-city children weren’t receiving the musical training needed to participate in the youth orchestra. Inspired by the El Sistema program in Venezuela (which began as an afterschool program teaching 11 kids in a garage, and now, 30 years later, teaches 300,000), Jeane and the other founders formed Scrollworks to give all children the benefits of playing an instrument. “It’s been proven that it helps with both math scores and language skills,” Jeane continues. “One of the things that we feel is important for the kids, once they develop their musical skills, is to become part of an ensemble because we think that helps them learn to get along as well.” Students don’t have to make appointments or register to be a part of the Scrollworks program— they simply have to walk in and pick up an instrument. And they’re encouraged to try out as many as they want.

“It’s a really good way for kids to find out what instrument they’re suited for,” Jeane says. “Some kids get assigned an instrument when they walk into band, and it’s not always the best fit. This way, they can try all the different instruments and find the one that speaks to them.”

Scrollworks also loans instruments to the children so they can practice at home. Raven Bice, a 15-year-old student from McCalla, initially took advantage of borrowing a violin. “I’ve always liked music, but we just couldn’t find anywhere [to take lessons] that we could afford,” Raven says. “When we heard about this, we decided to try it—we were so excited.” After she started the program, Raven’s parents were so proud of her accomplishments that they saved up to buy her a violin of her own for her birthday. “Scrollworks allowed me to have such a wonderful opportunity to play music and have a great time and find something that I’m really passionate about and that I’m good at,” Raven says. “It’s great that I found that.”

Jeane says that many participants may have an opportunity for more than just music lessons and positive reinforcement: What they learn at Scrollworks can also make them eligible for scholarships. She often encourages students to play the viola— an instrument orchestras typically struggle to find. Because of this, many viola scholarships are offered.William Jones, III, a 12- year-old from East Point, decided to take Jeane’s advice when she suggested that he try the viola about two years ago. He’s been playing it ever since and plans to audition for the Alabama School of Fine Arts next year.
While William enjoys his instructors and the flexibility of his lessons, his mother, Aimee, admits that what drew them to Scrollworks initially was the free lessons. “Free lessons and you get all these talented teachers,” she says. “Scrollworks is one of the best places that you could get lessons. I don’t think that you could pay for lessons any better than what you get here.”

Scrollworks depends on community members for financial support, donated instruments and teachers. For more information on how you can get involved visit myorch.org.

Get Involved
You don’t have to be a child to take advantage of Scrollworks’ lessons— adults are welcome too! Scrollworks currently provides lessons at the following locations:
CENTRAL PARK UNITED METHODIST
4616 Terrace Rd.W.
Birmingham,AL 35208                                                                                                                                   Wednesdays: 3:30 to 5:30 p.m. for piano, guitar and violin Thursdays: 3:30 to 5:30 p.m. for woodwinds and drums
HIGHLANDS UNITED METHODIST CHURCH
1045 20th St. S.
Birmingham,AL 35205
Fridays: 3:30 to 5:30 p.m. for piano, guitar, woodwinds and strings Saturdays: 12:00 to 4:00 p.m. for piano, drums, guitar, woodwinds, trumpet and strings (Call about voice.)

Hot Diggity Dog!

Who says they don’t make things like they used to? Pete’s Famous has been serving up its famous fare since 1920.

BY ALICIA K. CLAVELL
PHOTOGRAPHY BY COREY NOLEN

It’s 10 minutes to 11 on a Sunday morning and already customers are lined up along 2nd Avenue North waiting for their Pete’s Famous hot dog. A Birmingham Boy Scout leader has three of his scouts in tow, including one who will try this local treasure for the first time. “There’s nothing better than a ‘Pete’s famous all the way’ and a Grapico,” says the Troup 63 scout leader.

Next in line is hot dog-aficionado Buddy C., who has frequented Pete’s for more than 50 years since he first worked the stand at age 16. “When I was working here, a hot dog was 15 cents and a Coca-Cola was a dime,” he remembers. Today, at $2.10 a dog and $1.25 for an 8-ounce bottled Coke, it’s still one of the best meal deals in town.

But of course, it’s not just the prices that keep regulars like Buddy coming back—it’s the specialty hot dogs. “The dogs are the greatest in the country,” says Buddy. The scouts agreed.When asked what he thought of Pete’s hot dogs, the first-time scout customer just smiled, nodded his head vigorously and took another huge bite.

Previously Louis’s Place, the hot dog stand was purchased by current owner Constantine “Gus” Koutroulakis’ Uncle Pete and a business partner in 1939 for a total of $600 ($300 each) after a particularly lucrative game of pinochle. Gus was just out of high school when his father asked him to work the stand while Uncle Pete took a summer vacation to visit relatives in Greece. “In those days we did what our parents told us,” Gus recalls. Gus went dutifully to work for the summer, but shortly after his return, Uncle Pete suffered a heart attack, and Gus took over the business. He has rarely missed a day ofwork since.

The space inside Pete’s Famous is as big as some walk-in closets. Gus estimates the stand’s size at 7 feet by 20 feet with only one small renovation in the ‘40s to bring the space up to code. There’s one register, counter space at the back of the store and elbowroom only (no seating) for customers to eat their Zeigler Meats hot dogs made-to-order and topped with Pete’s special sauce. “Two more dogs, Gus!” customers can be heard saying from the counter.

A little after 11, J.J. Fletcher and his wife and daughter stop in. The Mississippians came to Birmingham to see a concert the night before but stayed for the hot dogs. “I saw the sign outside last night and thought, ‘It’s gotta be good!’ ” says J.J. The neon sign—which Uncle Pete originally purchased for $500— has been attracting customers like J.J. for decades. Gus has since spent $2,500 to revamp the sign, which he says has five transformers and was worth every penny. Over the years, celebrities from near and far, including Fred Astaire, George Wallace, Bear Bryant and Pat Sullivan, have paid visits to the Birmingham establishment. But Gus says the most famous visitors are “You—because you are my customer!”
With a few exceptions, Pete’s is open 7 days a week from 11 a.m. to 6 p.m.

Customers may choose from items on the menu board in the back. Not in the mood for a hot dog? Pete’s also offers hamburgers and a hot beef sandwich (similar to a Sloppy Joe). Vegetarians can order up a “lent dog” which contains everything you’ll find on a special dog—mustard, onions, sauerkraut and, of course, Pete’s special hot dog sauce— minus the meat. And just what’s in that special sauce?

Gus won’t reveal the recipe but says his customers have been trying to figure it out for years. Even folks who take the “Eat 12, Get 1 Free” challenge (customers who eat 12 dogs in one standing, get the next one free) have yet to figure out the ingredient list.

What’s next for Pete’s? “If I retire, the next thing is the cemetery. And while that real estate is already paid for, I’m not ready to occupy it,” says Gus with a laugh.

 

Alabama’s own gourmet goat cheese

Get a taste of a nationally acclaimed creamery in Birmingham’s backyard.

BY MARTI KILPATRICK
PHOTOGRAPHY BY ROBERT RAUSCH

Down awinding dirt path outside of Huntsville, a small group of artisans spend their days hand-rolling goat cheese in the humble building that houses Belle Chèvre creamery. Here in unassuming Elkmont, Alabama, owner Tasia Malakasis oversees the production of cheese that is nationally renowned.

“I have a product in Dean & Deluca in Manhattan and Piggly Wiggly in Elkmont,” she says of the company’s broad reach. This democratization of goat cheese is a main tenet of Tasia’s business and stems from her infectious enthusiasm.

Approachability is a defining trait of this goat cheese CEO, who wants you to know that the creamery doors are open—and that ‘chèvre’ rhymes with ‘rev.’ Much has beenmade of Tasia’s storybook transition from software marketing manager to goat cheese doyenne, perhaps in part because of the perfectly plotted turning point in her journey. After picking up Belle Chèvre at a Dean & Deluca in New York and realizing it was made on the outer limits of Huntsville, her hometown, Tasia felt compelled to act. She courted the owner of the creamery and eventually ended up purchasing the business.

Now, with a 20-year anniversary behind it, Belle Chèvre is no longer primarily a staid French fromagerie. The company’s line of award-winning goat cheese has grown to include playful products, such as the “Southern Belle” (bourbon pecan- and mintencrusted goat cheese) and the “Belle and the Bees Breakfast Cheese,” which features honey from the Savannah Bee company.

“What’s different about us is that we do this with a sense of humor,” says Tasia. “But the product is serious.” Proof is in the honors that keep coming: awards from industry organizations like the American Cheese Society number in the 50s.
At the moment, Tasia is dreaming big, looking to expand the creamery with plans for a rural, timber-frame goat cheese complex, potentially including a new creamery, barn, store and learning center. She plans to widen distribution as well and admits to being rather persistent.

After all, she’s accustomed to winning folks over with her affable personality—her current sales manager became a goat cheese convert and ended up at the company after Tasia convinced her to take a taste of Belle Chèvre. Next Tasia plans to court larger grocery stores. “If they hesitate to carry Belle Chèvre, I’ll just get them to taste it next to the other goat cheeses at the store,” she says with a mischievous smile that belies the intensity behind the statement.

Her job will not be done until America appreciates goat cheese as much as the ubiquitous pasteurized orange stuff. And for Tasia, that mission starts not in Manhattan or France, but at the end of the dirt path in North Alabama. If you don’t believe her, those creamery doors are open and waiting.
 

Goat Cheese-and-Olive-Stuffed Chicken Breasts
6 kalamata or other brine-cured black olives
1 oz. soft mild goat cheese (about 2 tbsp.)
1⁄2 tsp. chopped fresh thyme leaves
1⁄4 tsp. salt
1⁄4 tsp. pepper
2 boneless chicken breast halves with skin
1 tsp. vegetable oil
Preheat oven to 300°. Pit and thinly slice olives. In a small bowl, stir together olives, goat cheese, thyme, and salt and pepper to taste until combined well. Pat chicken dry and season with salt and pepper.

Slice a pocket in each chicken breast by horizontally inserting a thin knife through 3⁄4 of the center of the meat and gently sawing until a pocket is formed. Divide, filling evenly between pockets. Pat chicken dry and season with salt and pepper. In a small, heavy ovenproof skillet, heat oil over moderately high heat and brown chicken, skin sides down, about 2 minutes. Turn chicken over and brown about 2 minutes more. Transfer skillet to middle of oven and bake chicken until cooked through, about 15 minutes. Greek Kiss: a banon wrapped in a brined Greek grape leaf.

Goat Cheese Chocolate Truffles
6 oz. fine-quality bittersweet chocolate
(not unsweetened), chopped
6 oz. fromage blanc
2 tbsp. confectioners' sugar
1⁄2 tsp. vanilla extract
1⁄8 tsp. pure lemon extract
1⁄4 c. unsweetened cocoa powder, sifted
In a metal bowl set over a pan of barely simmering water, melt the chocolate, stirring until it is smooth. Remove the bowl from the pan and let the chocolate cool slightly.
In a bowl, whisk together cheese, confectioners' sugar, vanilla and lemon extract until the mixture is light and fluffy.Whisk in the chocolate until the mixture is combined well and chill the mixture, covered, for 1 hour, or until firm. Form heaping teaspoons of the mixture into balls, and roll the balls in the cocoa powder.
Chill the truffles on a baking sheet lined with waxed paper for 30 minutes, or until firm. The truffles keep in an airtight container, chilled, for 3 days.

Caramelized Onion-Goat Cheese Bruschetta
2 tbsp. butter
3 onions, sliced
Salt and pepper to taste
1⁄2 c. balsamic vinegar
4 oz. goat cheese
8-10 baguette slices, toasted
Melt butter over medium heat. Add onions, stirring to coat. Turn heat to medium low and cook for about 45 minutes, stirring occasionally, until golden. Season to taste with salt and black pepper.
Meanwhile, simmer balsamic vinegar over medium heat until reduced by half. Let cool.
Spread goat cheese over baguette slices. Top with onions, and drizzle with balsamic vinegar reduction. Southern Belle: chevre with bourbon-soaked pecans, fresh mint and course sugar
Hand-rolled logs (or buche)