- Kentucky Writers in Kentucky
On December 2, 2014, Carnegie Center Director Neil Chethik and Literary Liaison Bianca Spriggs paid a visit to Wendell Berry at his farm in Port Royal, Kentucky. The occasion was Berry’s selection as the first living writer to be inducted into the Kentucky Writers Hall of Fame, which is run by the Carnegie Center in Lexington. Tanya Berry, [End Page 36] Wendell’s wife of fifty-eight years, invited Chethik and Spriggs inside, where they admired the Berry library while waiting for Wendell to arrive from his writing camp nearby. Then, over tea, a conversation ensued among the four of them about Kentucky writers: Why are there so many good ones? What are their typical characteristics? What impact do they have on Kentucky politics? After a few minutes, Wendell took out a small notebook from his shirt pocket and began to jot down notes. The resulting remarks, published below, were delivered to a crowd of more than 400 people at the Carnegie Center on January 28, 2015, as part of the third annual Kentucky Writers Hall of Fame induction ceremony.1
In the spring of 1964, Tanya and I and our children had been living in New York for two years. When my work in the city ended that spring, we loaded ourselves and our belongings into a Volkswagen Beetle with a luggage rack on top and took the New Jersey Turnpike south. We were returning to Kentucky—to settle, as it turned out, permanently in my home country in Henry County. On my part, this homecoming cost a good deal of worry. Just about every one of my literary friends had told me that I was ruining myself, and I was unable entirely to disbelieve them. Why would a young writer leave a good job in New York, where all the best artistic life and talent had gathered, to go to Kentucky?
There are no “control plots” in a person’s life. I have no proof that I would not have done better to stay in New York. But I see that in retrospect my story has gained the brightening of a certain comedy. When I turned my back supposedly on the best of artistic life and talent in New York and came to Kentucky, half believing in my predicted ruin, [End Page 37] who was here? Well, among many dear and indispensable others: James Still, Harlan Hubbard, Harry Caudill, Guy Davenport, and Gene Meatyard. All of them I came to know and, I hope, to be influenced by. In 1964 also Thomas Merton was living in Kentucky. I can’t say that I knew him as I knew the others, but I had read The Sign of Jonas when it was published in 1953, Tanya and I by courtesy of Gene Meatyard visited Merton twice at Gethsemani, and to live here was to feel his presence and his influence. I met Harriette Arnow in, I think, 1955 when I first encountered Mr. Still, at the only writers’ conference I ever attended. Many years later I met her again, spoke to her and shook her hand, remembering from then on her eyes and the testing look she gave me. No book more confirms my native agrarianism than The Dollmaker.
My point is that in 1964, for a young writer in Kentucky and in need of sustenance, sustenance was here. In the fifty years that have followed, the gathering in Kentucky of Kentucky writers has grown much larger. It would take me a while just to call their names: old friends, allies, influences, members, permitting me to be a member, of an unending, enlightening, entertaining, comforting, indispensable conversation. My further point is that in 2015, for an old writer in Kentucky and in need of sustenance, sustenance is here.
Of literary or writerly life in Kentucky I have no worries. It seems lively, various, and dispersed enough to continue, which is all I can presume to ask.
My worries begin when I think of the literary life of Kentucky in the context of the state of Kentucky: a commonwealth enriched by a diversity of regions, but gravely [End Page 38] and lastingly...